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

casey-kasem-at40-abc-billboard-650

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

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

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

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

walk this way

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

don't bring me down

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

urgent

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

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

always on my mind

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

taco

tpau2

The original T’Pau (from STAR TREK).

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

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

bridge of spies

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

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

heart and soul

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

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

china in your hand

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

pleasure and pain

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

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

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

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

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

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

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song of the day #2 – “Holiday” | MADONNA | 1984.

casey-kasem-at40-abc-billboard-650

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

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

Well, it’s Independence Day here in the U.S. of A. (Happy 241st Birthday America!), and it’s pretty quiet here today in the Central Maine town of Winslow (where I write this).  For the first time in 26 years, there’s no Independence Day parade here (my folks’ house is on the parade route), and no fireworks either (my folks’ house is across the street from where they’d normally be set off, in nearby Fort Halifax Park).  The damn town didn’t even put up the flags on the telephone poles.  I know they have their reasons for not doing the events this year, but I think they could have at least put the flags on the poles for a few weeks leading up to today. 

O well.  My sister and her family are here from Pennsylvania, and there’s still lots of family in the area, so we all got together for lunch earlier, and my brother was headed to the store to buy fireworks.  We’ll see how that goes.  Here’s of the favorite pics I took at 2016’s fireworks display (keep in mind I ordinarily don’t take normal fireworks photos; I tend to go for the alt-shots).  I called this shot “80s album cover fireworks.”

IMG_8034 80s album cover fireworks

It’s also 47 years to the day when the inaugural AMERICAN TOP 40 broadcast was aired.  Happy Anniversary AT40!  That original broadcast (using the BILLBOARD Hot 100 chart dated July 4, 1970) included hits from artists who would continue to have hits in the 80s, like Stevie Wonder, Joe Cocker, Aretha Franklin, The Moody Blues and Chicago, had Rock And Roll royalty on the chart, like Three Dog Night, Creedence Clearwater Revival, Simon & Garfunkel, Sly & The Family Stone, and it had “The Long And Winding Road” by The Beatles.  The No. 1 song that week? “The Love You Save” by The Jackson 5.

casey_at40

Between 1979 and 1989, more than 40 songs reached No. 16 on BILLBOARD’s Hot 100 chart (the chart AT40 used in from 1970 through 1988, when Casey left AT40), and featured several songs by women (I told you’d they’d be back!), including songs by Quarterflash, Pointer Sisters, Sade, Katrina & The Waves (yes, they actually did had more than one hit!), Roberta Flack, and two from both Aretha Franklin and Stevie Nicks.

Songs that reached No. 16 also included four awesome (real) one-hit wonders Bob & Doug McKenzie (“Take Off”), Godley & Creme (“Cry”), Double (“The Captain Of Her Heart”) and French singer Patrick Hernandez (“Born To Be Alive,” which spent 15 weeks at No. 1 in his homeland of France).

born to be alive

Other notable No. 16 hits are Wang Chung’s “Dance Hall Days,” “Dreaming” by Orchestral Manoeuvres In The Dark, Electric Light Orchestra’s “I’m Alive” (from XANADU), “Renegade” by Styx, “Rock Of Ages” by Def Leppard, “Synchronicity II” by The Police, “Russians” by Sting, “Super Freak” by Rick James, Duran Duran’s “Save A Prayer” (a song released a few years too late to be a bigger hit here in America), and Madonna’s first single to reach both the Hot 100 and the Top 40, “Holiday.”

Hard to believe, but in the beginning, Madonna signed on for only two 12” singles with Sire Records.  I think she was just playing it smart.  Her first single, “Everybody,” was released in early October 1982, when she was 24 years old.  Though it was a No. 3 hit on BILLBOARD’s Dance chart (a double-A-sided 12” single with “Burning Up”), “Everybody” just missed the BILLBOARD Hot 100, stopping at No. 107.

everybody

Though “Everybody” failed to reach the Hot 100, both Sire co-founder Seymour Stein and Madonna were convinced something big was going to happen; maybe not right away, but soon.  They were right.

madonna n seymour

A happy day (“holiday?”) for Madonna and Sire Records co-founder, Seymour Stein…

Sire released Madonna’s self-titled debut album in late July 1983, and the first single from the album, “Holiday,” was released in early September 1983.  It was produced by her then-boyfriend and future longtime collaborator and remixer, John “Jellybean” Benitez, which would prove to be an incredibly brilliant move.

“Holiday” debuted on the BILLBOARD Hot 100 a couple of days before Halloween 1983 at No. 88.  Songs by Alabama, Linda Ronstadt and The Stray Cats all debuted higher that week, but “Holiday” would outlast them all.

holiday

By early December 1983, Madonna’s first Hot 100 hit became her first Top 40 hit, making a steady climb up the chart until stopping at No. 16 for two weeks in January / February 1984. 

Around the globe, “Holiday” enjoyed a nice chart run, and reached the Top 10 in the U.K., Australia, Belgium, Germany, Ireland, the Netherlands, New Zealand, and even reached No. 25 on BILLBOARD’s R&B chart.

“Holiday” was still on the chart in March 1984 when her follow-up single, “Borderline,” debuted on the Hot 100.  That would go on to become her first Top 10 hit, reaching No. 10 and spending 30 weeks on the chart.  Then, “Lucky Star” would go on to reach No. 4 in late October 1984, and the rest, as they say, is history. 

bandstand

Dick Clark interviewing Madonna on AMERICAN BANDSTAND, 1.14.1984.

patrick n madonna

Patrick Hernandez and Madonna on the beach in France…

Madonna famously performed “Holiday” on AMERICAN BANDSTAND in mid-January 1984 (video link below; for now anyway), a couple of weeks before “Holiday” peaked at No. 16.  In the post-song interview, she told Dick Clark how she went to Paris because of “Born To Be Alive” by Patrick Hernandez (another aforementioned member of the No. 16 chart club), and Patrick offered Madonna the opportunity to be a backup singer and dancer on his tour.

In that same January 14, 1984 interview, Dick Clark asked, “We are a couple of weeks into the New Year.  What do you hope will happen, not only in 1984 but the rest of your professional life?  What are your dreams?”  Madonna did not hesitate when she replied, “To rule the world.”  And, by the end of 1984, she did just that.  “Like A Virgin” ruled the Hot 100 and BILLBOARD’s Dance chart, and would rule the Pop charts in Australia, Canada and Japan, and would reach the Top 10 in at least 12 other countries. 

QUIRKY CHART FACT: In regards to Madonna’s comment about ruling the world, in the Spring of 1985, Tears For Fears nearly ruled Madonna’s chart world with their huge hit, “Everybody Wants To Rule The World,” which was No. 1 three songs after her No. 1 hit, “Crazy For You.”  (And, when the year-end chart for 1985 was tabulated, “Crazy For You” was ranked No. 9, and “Everybody Wants To Rule The World” was ranked No. 8.  But, admittedly, 1985 belonged to Madonna on the Pop charts and then some all over the world.)

TFF everybody

There have been a number of covers of “Holiday” over the years, including one by Sheffield, England Synthpoppers Heaven 17, who covered it in 1999.  A couple of years after the Madonna original, a Dutch Rap duo called MC Miker G & DJ Sven took the backing music of “Holiday” and created a rap over it, calling it (appropriately enough) “Holiday Rap” (which also borrows from Cliff Richard’s 1963 U.K. hit, “Summer Holiday”).

holiday rap

“Holiday Rap” was a huge hit in Europe, topping the charts in the Netherlands, France, Germany and Switzerland, and reaching the Top 10 in the U.K., Australia, Norway and Sweden.

Everyone who knows me knows that Cyndi Lauper is my all-time favorite recording artist, and has been for a long time.  Back in the 80s, though, Madonna did rule my Pop music world.  I have pretty much every 80s 12” single, every album, and even a VHS of “The Virgin Tour.”

cyndi n madonna

I don’t know when it was, but there was a time back in the 90s (maybe upon my move to Portland, Maine in 1994) when Cyndi became my favorite female recording artist over Madonna.  I still loved Madonna’s work, but Cyndi impressed me, even more so in the past 15 years (and not just because Cyndi was kind enough to be my first big interview on my STUCK IN THE 80s radio show). 

Since 2002, Cyndi Lauper has released an album of Standards, an Acoustic album, a Dance record, BILLBOARD’s No. 1 Blues album of 2010 (and near-Grammy Winner for Best Traditional Blues album; MEMPHIS BLUES), plus she’s had a reality TV show with her husband and young son, written an autobiography, wrote the score to the musical, KINKY BOOTS (for which she won a Tony Award), and last year, released an album of old Country standards.  Her version of Patsy Cline’s “I Fall To Pieces” still gives me goosebumps, it’s so damn good.  Most importantly, in 2008, Cyndi co-founded the True Colors Fund, a non-profit charity meant to educate folks about LGBT issues and to end LGBT youth homelessness.  How is it Cyndi’s not in the Rock And Roll Hall Of Fame yet?!

cyndi n tony

Cyndi Lauper celebrating the meeting of her friend, Tony…

In comparison, the last Madonna album I truly loved is now 12 years old (the amazing CONFESSIONS ON A DANCE FLOOR from 2005, which stayed in my car for an entire year).  But, irregardless, Madonna (who turns 59 in August 2017) continues to do things on her terms, which has been a covenant of sorts for her since her music career began 35 years ago, and you’ve got to respect that.  I certainly do, even if I’m not so much digging the music as of late. 

confessions

I know “Holiday” isn’t about Independence Day, or any particular holiday, but today, it felt right to share, and yes, I am taking some time to celebrate.  You should too.  May the 4th (of July) be with you…

lady-liberty-fireworks-flag

“If we took a holiday yeah / Took some time to celebrate / Just one day out of life / It would be so nice…”

https://www.youtube.com/watch?v=xbSTzlzoUi4

 

madonna

song of the day – “Ain’t Nobody” | RUFUS & CHAKA KHAN | 1983.

casey-kasem-at40-abc-billboard-650

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!”

I’ve known one Rufus in my lifetime, and that was a sweet dog (a black Lab?) who was the face at one of my early hangouts when I first moved to Portland, Maine in 1994 – Java Joe’s.  Like myself, Java Joe’s has long been removed from Maine’s largest city, though I do love to visit the Forest City when I can.

When I was first introduced to Rufus & Chaka Khan, it wasn’t because of their first (and biggest) Top 40 hit, 1974’s “Tell Me Something Good” (written by Stevie Wonder), it was because of their last  Top 40 hit – “Ain’t Nobody.”

For the longest time – and this still makes me laugh – I always thought Rufus & Chaka Khan were a married couple.  I didn’t know until much later that Rufus was actually a Funk band out of Chicago, and Chaka Khan was their lead singer. 

The band had formed in 1968, but by 1978, tensions were pretty high between the members of Rufus and their lead singer, who was becoming increasingly popular.  In 1983, they released one final album together – a (mostly) live double-album (and ultimate documentary) called STOMPIN’ AT THE SAVOY. 

OLYMPUS DIGITAL CAMERA

There were four new studio tracks (led by Chaka Khan) included with the live set, and two of those were released as singles.  The first single released was “Ain’t Nobody.”  At the same time, a producer for a new film, BREAKIN’ (a film based around the popular breakdance craze), had heard the song and eventually put the song in the film and on the soundtrack.

breakin

Well, talk about going out on top.  After years of declining record sales and issues between the band and Chaka Khan, “Ain’t Nobody” turned out to be a great hit, and was released shortly after STOMPIN’ AT THE SAVOY hit the record stores (as they used to say back in the day). 

“Ain’t Nobody” debuted on the BILLBOARD Hot 100 on the first day of October 1983, way down at No. 91 (and there were three more debut songs under that!).  For the song’s first six chart weeks, this Funk gem steadily rose up the Hot 100, and in its seventh chart week, blasted onto the Top 40, moving from 43-29.  It was already Rufus & Chaka Khan’s highest-charting single since 1975’s Top 5 hit, “Sweet Thing.”

In a weird chart quirk, “Ain’t Nobody” stayed at No. 29 the following week, but starting moving back up the week after.  In December 1983, it spent three weeks at its peak position of No. 22 and departed the BILLBOARD Hot 100 in mid-February 1984 after 19 weeks.

ain't nobody

Over on BILLBOARD’s R&B chart, “Ain’t Nobody” became the band’s fifth and final No. 1 song, and though it only spent a week at No. 1 there, it was that chart’s sixth-biggest song of 1983.  On BILLBOARD’s Dance chart, it reached No. 6.

Around the globe, “Ain’t Nobody” was a somebody in the U.K., where it reached No. 8, and a No. 36 chart peak in the Netherlands.  A 1989 remix of “Ain’t Nobody” took the song to new heights around the globe, reaching No. 6 in the U.K., No. 8 in Ireland, No. 9 in Germany, and as part of the entire LIFE IS A DANCE: THE REMIX PROJECT album, it reached No. 1 on BILLBOARD’s Dance chart.

life is a dance

NERDY FUN FACT: David “Hawk” Wolinski, who wrote “Ain’t Nobody,” had threatened to give the song to Michael Jackson and Quincy Jones (who really wanted the song) if the band’s label, Warner Bros., didn’t release it as the first single. 

I’ll never understand why these recording acts always had to fight with the record labels for what they believed in!  I’d like to think this kind of shite still doesn’t happen, but at the very least, it’s a whole different ball game now, and more people than evah are releasing their own music, and on their own terms, which I think is fan-fucking-tastic!

After winning a Grammy Award for “Ain’t Nobody” in 1984, Chaka Khan and Rufus went their separate ways, but the legacy of “Ain’t Nobody” lives on 33 years later.  It’s been covered an incredible amount of times, including covers by the likes of George Michael (on his 1991 “Cover To Cover” tour), Amii Stewart, Klymaxx, LL Cool J (for the funny 1996 film, BEAVIS AND BUTT-HEAD DO AMERICA), Peabo Bryson, KT Tunstall and Mary J. Blige. 

ll cool j

In 2015, a German music producer and DJ by the name of Felix Jaehn released a cover, featuring young British vocalist by the name of Jasmine Thompson, and the song was called “Ain’t Nobody (Loves Me Better).”  And throughout the globe outside of North America, people did love it better than the original.  It reached No. 1 in at least eight countries, and the Top 10 in at least another 12. 

My favorite cover is actually part of a “pseudo mashup” by U.K. producer and remixer Richard X, with vocals by the English-Irish Pop group, Liberty X.  They used a sample of The Human League’s “Being Boiled” against a cover of “Ain’t Nobody,” and called it, appropriately enough, “Being Nobody.”  It was (and still is) brilliant, and was a Top 10 hit in the U.K. and Ireland in 2003.

being nobody

A couple of years before that, when my STUCK IN THE 80s radio show on WMPG-FM was just five years old, I did a countdown of the BEST 100 SONGS OF THE 80s, getting feedback from listeners, station volunteers and folks in the College Music industry (it was also my first year of 10 as WMPG Music Director).  “Ain’t Nobody” came in at No. 20 and that ranking surprised me the most out of any other on the list. 

Over time, I realized that ranking shouldn’t surprise me.  It’s an incredible song, and though it came at the end of a creative union between a well-respected Funk band and one of the best R&B and Dance singers ever, ain’t nobody gonna tell me that “Ain’t Nobody” doesn’t mean anything in the history of Funk and Dance and R&B and Pop.  Because it does.

“And now we’re flyin’ through the stars / I hope this night will last forever…”

https://www.youtube.com/watch?v=M26WD4CidnM

rufus n chaka

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

casey-kasem-at40-abc-billboard-650

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.

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.

blondie-1

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…

https://www.youtube.com/watch?v=m74w9x07DhU

one way or another

  

song of the day – “Take Me With U” | PRINCE & THE REVOLUTION featuring APOLLONIA | 1985.

casey-kasem-at40-abc-billboard-650

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 2 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 2 this day.  4 me, the show was No. 1 with a bullet.  And still is (thanks 2 the re-airing of broadcasts of AT40 on iHeart Radio).american-top-40-casey-kasem

In honor of my radio hero, Casey Kasem, 4 the entire month of June, I will B 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 2 No. 1. 

As Casey used 2 say on AT40, “And on we go!”

When my radio show, STUCK IN THE 80s, had its final show on my 50th birthday – and during the Maine Blizzard Of 2017 (Hope, Shawn and I had 2 literally shut WMPG-FM down afterwards; Shawn: “We’re rockin’ so hard, the station cannot handle it anymore!”; Hope: “No one can follow U Ron!”). 

shawn, hope + me

With the 2017 Maine blizzard in the window behind us, from L to R that’s Shawn, Hope and yours truly all sporting STUCK IN THE 80s T-shirts on the final STUCK broadcast on WMPG-FM, 2.12.17.

One of the songs I chose 4 the last show was “Take Me With U” by Prince & The Revolution featuring Apollonia.  As I mentioned on the last show, and will re-mention here (if I haven’t already on the bloggy thing), it’s one of my all-time favorite Prince songs that DOESN’T get nearly enough love as it should.

purple rain

Released as the last of five singles from 1984’s PURPLE RAIN and written by Prince (of course), “Take Me With U” was a duet between Prince and Apollonia Kotero, who played Prince’s girlfriend in PURPLE RAIN.  “Take Me With U” was initially 2 have appeared on the APOLLONIA 6 album (released on October 1, 1984, and featured one song from PURPLE RAIN – “Sex Shooter,” which Apollonia 6 played in the film). 

But, with Prince being rightfully particular about his songs (4 example, all of his videos that went back up after he died have all pretty much been removed from YouTube), he pulled the song off of the APOLLONIA 6 album, and included it on PURPLE RAIN. 

prince + the revolution

All of the singles from (and of course, the entire album) PURPLE RAIN were sensational, but unlike the other singles released from the soundtrack, “Take Me With U” had this really cool vibe 2 it, featuring a drum solo and finger cymbals at the beginning and the end of the song.  This Psychedelic-y style might have actually been the precursor 2 his next album, AROUND THE WORLD IN A DAY, especially on the singles “Raspberry Beret” and “Pop Life.”

“Take Me With U” was released on January 25, 1985, exactly seven months after the release of the soundtrack 2 PURPLE RAIN, and almost exactly six months after the release of the film, and it only took a couple of weeks 4 the single 2 debut on the BILLBOARD Hot 100 (at No. 61).

take me with u

Reaching the Top 40 of the Hot 100 in just its fourth chart week, “Take Me With U” became the fifth Top 40 single from PURPLE RAIN, and, at that point, Prince became just the seventh recording artist in history (if my math is correct) 2 have five or more Top 40 hits released from one album on the BILLBOARD Hot 100, following Michael Jackson’s THRILLER, Lionel Richie’s CAN’T SLOW DOWN, Billy Joel’s AN INNOCENT MAN, SPORTS by Huey Lewis & The News, Tina Turner’s PRIVATE DANCER, and the incomparable Cyndi Lauper, and her wonderful SHE’S SO UNUSUAL.  (The Cars would join that group a week later with “Why Can’t I Have You,” the excellent and highly-underrated fifth single from their fantastic 1984 album, HEARTBEAT CITY.)

“Take Me With U” spent a couple of weeks at No. 25 in late March 1985, and without much fanfare, faded out of the Hot 100 after 12 short weeks.  Over in the U.K., it was a double A-sided single with “Let’s Go Crazy,” and it reached No. 7.  I would like 2 think the folks in England, Scotland, Wales and Northern Ireland didn’t just listen 2 “Let’s Go Crazy” (as awesome as that song is), and flipped the record over and really enjoyed “Take Me With U” too.

let's go crazy take me with u

Everyone in The Revolution was involved with this gem, and the unity involved with this song is amazing.  And, 4 those who didn’t already own PURPLE RAIN by the end of January 1985, when “Take Me With U” was released, and were kind enough 2 buy the single anyway, and 2 those radio stations who were kind enough 2 play it, I thank U.  “Take Me With U” is that sorta-forgotten gem (though not by me) that, when U listen 2 it 4 the first time in awhile, U will remember why U loved it all those years ago, and, like me, U will love it 4evah…

“I don’t care where we go / I don’t care what we do / I don’t care pretty baby / Just take me with u…”

prince + apollonia

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

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

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

casey-kasem-at40-abc-billboard-650

In honor of my radio hero, Casey Kasem, for the entire month of June, I will be highlighting a song each day (some days will have two songs!) that peaked in the Top 40 of the BILLBOARD Hot 100, and with every blog post, just like on AMERICAN TOP 40, the hits will get bigger with each post.  Today’s “song of the day” (June 1, 2017) will feature a song that peaked at No. 40.  On June 30, I’ll feature a “song of the day” that went all the way to No. 1. 

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

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

welcome to my nightmare, 1975

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

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

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

flush the fashion

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

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

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

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

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

alice 1980 v2

Alice Cooper, 1980.

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

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

Alice_Cooper_–_Poison

From the “Poison” music video…

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

wayne's world

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

DeepPurple_AliceCooper_Instagram_1080x1080_Static

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

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

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

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

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

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

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

https://www.youtube.com/watch?v=-q3ly1d-WGw

alice cooper 1980

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.

jackie

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. 

affection

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.

deee-lite

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.

lisa+ian

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…

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

lisa 89 v1