Song#: 0594
Date: 05/09/1981
Debut: 82
Peak: 48
Weeks: 9
Genre: Pop, Rock
Pop Bits: Winwood just had his first solo hit with the #7 "While You See a Chance," which was from his second LP "Arc of a Diver." This title-track follow-up couldn't quite reach the Top 40, but the album was already a success reaching #3 and going platinum.
ReduxReview: If you've heard this album, it's pretty solid. But there is nothing on it as catchy as "While You See a Chance." The balance of the LP has good songs, but there's just not another real single among them. So releasing the title track was probably the best shot at a follow-up. It's a good tune that I like, but as a single it kind of sinks. It's a little too laid-back and there is nothing catchy to latch onto. So for me, good song, not a good single.
ReduxRating: 6/10
Trivia: The "Arc of a Diver" album was a true solo outing. Winwood wrote/co-wrote all the songs, played all the instruments, and produced/engineered the recording. He had build a studio on his farm in England and, for the most part, created this entire album on his own.
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Saturday, October 26, 2013
Friday, October 25, 2013
"Theme from 'Greatest American Hero' (Believe It or Not)" by Joey Scarbury
Top 10 Alert!
Gold Record Alert!
One-Hit Wonder Alert!
Song#: 0593 Date: 05/09/1981
Debut: 85
Peak: 2
Weeks: 26
Genre: Pop, Adult Contemporary, Soundtrack
Pop Bits: Scarbury seemed to have a tough time getting a career launched. He began recording in 1969 and from then through the 70s he jumped label-to-label releasing singles that went nowhere. His only slight break came in 1971 when "Mixed Up Guy" reached #73 on the chart. Later in the 70s, he was mainly doing background vocals and was working as a session singer for producer/songwriter Mike Post. In 1980, Post was enlisted to write a theme song to a new TV show called "The Greatest American Hero." He did so with co-writer Stephen Geyer and then got Scarbury to sing a full-length version that would later be edited for the show's opening. The series was an unexpected hit and its theme proved to be quite popular, enough so that this single was issued. With the song a hit, the label wanted an album and one was rushed together for release. It would be Scarbury's only full-length album. Although he had his 1971 chart entry and a Top 50 follow-up to this song, Scarbury is considered a one-hit wonder thanks to this theme.
ReduxReview: I loved this song back then and still do. It's just a terrific pop song. I would venture a guess that even if this wasn't a TV theme song, it would still have been a hit. The 70s and 80s had some really good TV theme songs, but just looking at them as pop compositions, I'd have to say this one was tops.
ReduxRating: 9/10
Trivia: Scarbury continued on in music and in addition to being a successful session vocalist, he also wrote songs for other artists. His best effort was co-writing the #1 country hit "No Matter How High" (1989) by the Oak Ridge Boys. The song was actually the Boys' seventeenth and final #1 country hit.
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Thursday, October 24, 2013
"You're So Easy to Love" by Tommy James
Song#: 0592
Date: 05/09/1981
Debut: 86
Peak: 58
Weeks: 7
Genre: Pop
Pop Bits: The previous year James had his second biggest solo hit with the #19 "Three Times in Love" from the album of the same name. James then had this single come out and it couldn't really do much on the chart. It's assumed that this single would have previewed his next album, but James' label, Millennium, was having financial issues around this time and most likely could not afford the promotion or recording of a new LP, especially since this single wasn't a significant hit. The label ended up closing a couple of years later. It also brought an end to James solo career at the time and this song would serve as his final chart song.
ReduxReview: This is a fairly weak song and the arrangement/recording doesn't have much umph to it. I think because of that it just kind of moseys along with very little to capture your attention. It's not bad - just bland like a lot of inoffensive MOR tunes.
ReduxRating: 4/10
Trivia: James and his group The Shondells were signed to the infamous Roulette Records. The company was well-known for letting their artists have creative freedom, but the trade off was not paying them. James chronicled a lot of what went on in his autobiography saying that the label was a front for organized crime that included money laundering. If artists needed money, they basically had to go and get their own gigs to earn some. The label kept most of their royalties for other purposes. Many years later when the Roulette catalog was acquired by Rhino/Warner, James finally started to receive back royalty payments for his work - as much as six-figures.
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Date: 05/09/1981
Debut: 86
Peak: 58
Weeks: 7
Genre: Pop
Pop Bits: The previous year James had his second biggest solo hit with the #19 "Three Times in Love" from the album of the same name. James then had this single come out and it couldn't really do much on the chart. It's assumed that this single would have previewed his next album, but James' label, Millennium, was having financial issues around this time and most likely could not afford the promotion or recording of a new LP, especially since this single wasn't a significant hit. The label ended up closing a couple of years later. It also brought an end to James solo career at the time and this song would serve as his final chart song.
ReduxReview: This is a fairly weak song and the arrangement/recording doesn't have much umph to it. I think because of that it just kind of moseys along with very little to capture your attention. It's not bad - just bland like a lot of inoffensive MOR tunes.
ReduxRating: 4/10
Trivia: James and his group The Shondells were signed to the infamous Roulette Records. The company was well-known for letting their artists have creative freedom, but the trade off was not paying them. James chronicled a lot of what went on in his autobiography saying that the label was a front for organized crime that included money laundering. If artists needed money, they basically had to go and get their own gigs to earn some. The label kept most of their royalties for other purposes. Many years later when the Roulette catalog was acquired by Rhino/Warner, James finally started to receive back royalty payments for his work - as much as six-figures.
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"Almost Saturday Night" by Dave Edmunds
Song#: 0591
Date: 05/09/1981
Debut: 87
Peak: 54
Weeks: 8
Genre: Rock
Pop Bits: As a solo act, Edmunds got off to a great start back in 1970 with his #4 hit "I Hear You Knocking." But label issues caused any momentum from the single to wane and subsequent releases didn't fare well on the chart. Fast forward to later in the 70s and Edmunds association with Nick Lowe. Together, their band Rockpile would back both artists' solo albums and then finally issue a formal group disc in 1980. That LP's lead single "Teacher Teacher" reach #51 and following that success Edmunds issued the solo album "Twangin..." Most of the tracks had already been recorded in previous sessions with Rockpile and it would be the last Edmunds album to feature the group. This first single got near the Top 50 and was his best showing solo single since his 1970 hit.
ReduxReview: A good chunk of Edmunds work revolves around rockabilly, which is not one of my favorite genres. However, this song doesn't fall in that category and it rocks out pretty good. It took me a little bit by surprise as I expected to not like it. But I got hooked right away and I really enjoyed it, even though it is a shorty (just over 2 min.). It has a little bit more urgency than the original (see below) and I like that as well.
ReduxRating: 7/10
Trivia: Double Shot! 1) Most of the songs on the LP were remakes including this single. The song, written by John Fogerty, was originally released on Fogerty's 1975 self-titled solo album. It was released as a single and it hit #78. 2) One track on the LP, "The Race Is On," featured The Stray Cats. The association between the two artists comes from Edmunds producing their hit debut album.
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Date: 05/09/1981
Debut: 87
Peak: 54
Weeks: 8
Genre: Rock
Pop Bits: As a solo act, Edmunds got off to a great start back in 1970 with his #4 hit "I Hear You Knocking." But label issues caused any momentum from the single to wane and subsequent releases didn't fare well on the chart. Fast forward to later in the 70s and Edmunds association with Nick Lowe. Together, their band Rockpile would back both artists' solo albums and then finally issue a formal group disc in 1980. That LP's lead single "Teacher Teacher" reach #51 and following that success Edmunds issued the solo album "Twangin..." Most of the tracks had already been recorded in previous sessions with Rockpile and it would be the last Edmunds album to feature the group. This first single got near the Top 50 and was his best showing solo single since his 1970 hit.
ReduxReview: A good chunk of Edmunds work revolves around rockabilly, which is not one of my favorite genres. However, this song doesn't fall in that category and it rocks out pretty good. It took me a little bit by surprise as I expected to not like it. But I got hooked right away and I really enjoyed it, even though it is a shorty (just over 2 min.). It has a little bit more urgency than the original (see below) and I like that as well.
ReduxRating: 7/10
Trivia: Double Shot! 1) Most of the songs on the LP were remakes including this single. The song, written by John Fogerty, was originally released on Fogerty's 1975 self-titled solo album. It was released as a single and it hit #78. 2) One track on the LP, "The Race Is On," featured The Stray Cats. The association between the two artists comes from Edmunds producing their hit debut album.
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Wednesday, October 23, 2013
"Lovin' the Night Away" by The Dillman Band
Song#: 0590
Date: 05/09/1981
Debut: 88
Peak: 45
Weeks: 9
Genre: Country Rock, Soft Rock
Pop Bits: This Minnesota band almost made the Top 40 with this title track from their second album. Originally signed to United Artists Records, the group issued a self-titled debut in 1978 that didn't go anywhere. Dropped from UA, the group moved over to RCA and recorded a follow-up. Having this single hit the chart prompted RCA to ask for another album, which the group did record. Unfortunately, shake-ups at the label brought changes and the album was shelved and it left the group without a contract. The group disbanded but did reunite in 2003 and they continue to do shows around Minnesota.
ReduxReview: There were songs similar to this hitting the chart around this time and most, like this, were pretty good. It has a slightly old-fashioned rock sound and it is certainly an easy listen. There is nothing really outstanding here, but it is well-done and likable.
ReduxRating: 5/10
Trivia: The group's name was originally The Daisy Dillman Band and that was the title of their debut album. They got the name from a popular local author, Daisy Dillman, who wrote a historical book called "100 Year in Excelsior." The 1953 book was about the first church organized on Lake Minnetonka. For the group's second album, "Daisy" was taken out of the name (which I'm guessing was at the urging of their new label). Their reunion brought back the full group name once again.
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Date: 05/09/1981
Debut: 88
Peak: 45
Weeks: 9
Genre: Country Rock, Soft Rock
Pop Bits: This Minnesota band almost made the Top 40 with this title track from their second album. Originally signed to United Artists Records, the group issued a self-titled debut in 1978 that didn't go anywhere. Dropped from UA, the group moved over to RCA and recorded a follow-up. Having this single hit the chart prompted RCA to ask for another album, which the group did record. Unfortunately, shake-ups at the label brought changes and the album was shelved and it left the group without a contract. The group disbanded but did reunite in 2003 and they continue to do shows around Minnesota.
ReduxReview: There were songs similar to this hitting the chart around this time and most, like this, were pretty good. It has a slightly old-fashioned rock sound and it is certainly an easy listen. There is nothing really outstanding here, but it is well-done and likable.
ReduxRating: 5/10
Trivia: The group's name was originally The Daisy Dillman Band and that was the title of their debut album. They got the name from a popular local author, Daisy Dillman, who wrote a historical book called "100 Year in Excelsior." The 1953 book was about the first church organized on Lake Minnetonka. For the group's second album, "Daisy" was taken out of the name (which I'm guessing was at the urging of their new label). Their reunion brought back the full group name once again.
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Tuesday, October 22, 2013
"Next Time You'll Know" by Sister Sledge
Song#: 0589
Date: 05/09/1981
Debut: 90
Peak: 82
Weeks: 5
Genre: R&B
Pop Bits: The disco-ish title track single to their new album "All American Girls" didn't fare too well only reaching #79 on the pop chart. For their second single the try the ballad approach, but it did about the same as the first and was even a low-charter at R&B (#28). The album continued the downward slide of the group from which they wouldn't really recover - at least here in the US.
ReduxReview: The ballad route worked for A Taste of Honey after disco died out with their "Sukiyaki" reaching #2. The Sisters probably should have done the same thing right off the bat instead of releasing the dance-oriented "All American Girls." But the lack of exposure of that single probably affected this single when they finally went for a ballad. It's a nice song, but probably wasn't strong enough to really get them back to the Top 10. However, I think it might have done better as the first single. Or they had a terrific rock-ish tune on the album called "He's Just a Runaway" that seemed primed to be a hit.
ReduxRating: 5/10
Trivia: The lead singer and youngest of the Sledge sisters, Kathy, left the group in 1989 for a solo career. Although she never reach the pop chart, she did have a #1 Dance/Club chart hit with "Take Me Back to Love Again" in 1992.
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Date: 05/09/1981
Debut: 90
Peak: 82
Weeks: 5
Genre: R&B
Pop Bits: The disco-ish title track single to their new album "All American Girls" didn't fare too well only reaching #79 on the pop chart. For their second single the try the ballad approach, but it did about the same as the first and was even a low-charter at R&B (#28). The album continued the downward slide of the group from which they wouldn't really recover - at least here in the US.
ReduxReview: The ballad route worked for A Taste of Honey after disco died out with their "Sukiyaki" reaching #2. The Sisters probably should have done the same thing right off the bat instead of releasing the dance-oriented "All American Girls." But the lack of exposure of that single probably affected this single when they finally went for a ballad. It's a nice song, but probably wasn't strong enough to really get them back to the Top 10. However, I think it might have done better as the first single. Or they had a terrific rock-ish tune on the album called "He's Just a Runaway" that seemed primed to be a hit.
ReduxRating: 5/10
Trivia: The lead singer and youngest of the Sledge sisters, Kathy, left the group in 1989 for a solo career. Although she never reach the pop chart, she did have a #1 Dance/Club chart hit with "Take Me Back to Love Again" in 1992.
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"The Waiting" by Tom Petty & the Heartbreakers
Song#: 0588
Date: 05/02/1981
Debut: 61
Peak: 19
Weeks: 13
Genre: Rock
Pop Bits: Coming off of their most successful album to date, "Damn the Torpedoes," there were high expectations for their follow-up since they basically graduated to superstar status. They issued the LP "Hard Promises" and this first single, while not hitting the Top 10 like the previous album's "Don't Do Me Like That" (#10), it was another Top 20 hit for them and was their first song to reach #1 on the new Mainstream Rock chart.
ReduxReview: I really thought this would be a Top 10'er. I think it is one of his most accessible, pop-leaning songs. Add the call-response "yeah-yeah" and it's a tailor made hit. But for whatever reason it stalled just inside the Top 20. The song probably wouldn't top any list of Petty's best songs, but it certainly was a solid song and a good single.
ReduxRating: 7/10
Trivia: "Hard Promises" had a bit of delay getting released. Petty's record company was going to issue the album with their new "superstar pricing," which would list an album $1.00 more than the standard $8.98 LP price. Petty had issues with this and it started a bit of a public feud between the artist and label. Since Petty had creative control, he was considering naming the album "Eight Ninety-Eight" or not submitting the album at all. Eventually, MCA agreed to drop the superstar pricing and the album got released with the normal list price.
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Date: 05/02/1981
Debut: 61
Peak: 19
Weeks: 13
Genre: Rock
Pop Bits: Coming off of their most successful album to date, "Damn the Torpedoes," there were high expectations for their follow-up since they basically graduated to superstar status. They issued the LP "Hard Promises" and this first single, while not hitting the Top 10 like the previous album's "Don't Do Me Like That" (#10), it was another Top 20 hit for them and was their first song to reach #1 on the new Mainstream Rock chart.
ReduxReview: I really thought this would be a Top 10'er. I think it is one of his most accessible, pop-leaning songs. Add the call-response "yeah-yeah" and it's a tailor made hit. But for whatever reason it stalled just inside the Top 20. The song probably wouldn't top any list of Petty's best songs, but it certainly was a solid song and a good single.
ReduxRating: 7/10
Trivia: "Hard Promises" had a bit of delay getting released. Petty's record company was going to issue the album with their new "superstar pricing," which would list an album $1.00 more than the standard $8.98 LP price. Petty had issues with this and it started a bit of a public feud between the artist and label. Since Petty had creative control, he was considering naming the album "Eight Ninety-Eight" or not submitting the album at all. Eventually, MCA agreed to drop the superstar pricing and the album got released with the normal list price.
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Monday, October 21, 2013
"You Make My Dreams" by Daryl Hall & John Oates
Top 10 Alert!
Song#: 0587 Date: 05/02/1981
Debut: 82
Peak: 5
Weeks: 21
Genre: Pop
Pop Bits: The duo just scored their second #1 single with "Kiss on My List," which was the third single from their "Voices" LP. A fourth single from an album was rarely issued back then, but it seemed obvious that they needed to supply a follow-up to a major hit. So this fourth single was issued and their hot-hot status pushed it right into the Top 10.
ReduxReview: Again, this seemed like a no-brainer. Why they issued two other lackluster songs before this one and "Kiss" is a mystery. Maybe they were trying to get mileage out of the album by putting what would normally be lesser singles first than after the big songs. I mean, any idiot could listen to the album and easily pick these two songs as the hits. Whatever the case may be, luckily these two songs found their way to the singles chart. I prefer "Kiss" a little bit more, but there is no denying that this song is just terrific pop - c'mon, just try not to bop around to this - I dare you!
ReduxRating: 8/10
Trivia: Are you familiar with the Keyboard Cat? You know, the short vids where a guy dressed up his cat and manipulates it to play a keyboard? Well one was done where the he inserts the cat into the video for this song. It's pretty funny. Amazingly, it is still on YouTube. You'd think copyright issues would block it. Check it out.
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"Sweet Baby" by Stanley Clarke & George Duke
Song#: 0586
Date: 05/02/1981
Debut: 83
Peak: 19
Weeks: 20
Genre: Pop, R&B, Adult Contemporary
Pop Bits: Both Clarke and Duke were well established stars in the jazz world long before this collaboration. Clarke was an influential bassist noted for his work with Chick Corea's group Return to Forever, and Duke was a session keyboardist/composer who worked with greats like Miles Davis and Frank Zappa. Both dabbled in crossover music, especially R&B, and it created high expectations when they were set to release their first of three "Clarke/Duke Project" albums. This first single release was definitely commercial in nature and it paid off for them with a Top 20 hit (#6 R&B). Their jazz-based fans were not really impressed with their direction, but it make them even more famous and they gained a new audience. This would be their only pop chart entry. The two would continue to work together on two more collaborations, along with working as separate solo artists and session musicians in multiple genres.
ReduxReview: Here is another example of jazz musicians crossing over to the chart. It was kind of hot at the time and it seemed most any jazz person looking to expand their audience was dabbling in either pop or R&B music. It doesn't always work, but in this case the single was quite nice. It's a lovely slice of AC/R&B that doesn't necessarily highlight the expertise of each musician, but for a couple of jazzy dudes going commercial, this is pretty tasty.
ReduxRating: 7/10
Trivia: Double Shot! 1) Clarke has gone on to be a prolific composer of film scores and TV music. His works include the films "Boyz n the Hood" and "What's Love Got to Do With It," and the TV show "Pee-Wee's Playhouse" for which he received an Emmy nomination. 2) Their album "The Clarke/Duke Project" would receive a Grammy nomination for Best R&B Vocal Performance, Duo or Group.
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Date: 05/02/1981
Debut: 83
Peak: 19
Weeks: 20
Genre: Pop, R&B, Adult Contemporary
Pop Bits: Both Clarke and Duke were well established stars in the jazz world long before this collaboration. Clarke was an influential bassist noted for his work with Chick Corea's group Return to Forever, and Duke was a session keyboardist/composer who worked with greats like Miles Davis and Frank Zappa. Both dabbled in crossover music, especially R&B, and it created high expectations when they were set to release their first of three "Clarke/Duke Project" albums. This first single release was definitely commercial in nature and it paid off for them with a Top 20 hit (#6 R&B). Their jazz-based fans were not really impressed with their direction, but it make them even more famous and they gained a new audience. This would be their only pop chart entry. The two would continue to work together on two more collaborations, along with working as separate solo artists and session musicians in multiple genres.
ReduxReview: Here is another example of jazz musicians crossing over to the chart. It was kind of hot at the time and it seemed most any jazz person looking to expand their audience was dabbling in either pop or R&B music. It doesn't always work, but in this case the single was quite nice. It's a lovely slice of AC/R&B that doesn't necessarily highlight the expertise of each musician, but for a couple of jazzy dudes going commercial, this is pretty tasty.
ReduxRating: 7/10
Trivia: Double Shot! 1) Clarke has gone on to be a prolific composer of film scores and TV music. His works include the films "Boyz n the Hood" and "What's Love Got to Do With It," and the TV show "Pee-Wee's Playhouse" for which he received an Emmy nomination. 2) Their album "The Clarke/Duke Project" would receive a Grammy nomination for Best R&B Vocal Performance, Duo or Group.
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Sunday, October 20, 2013
"Can You Feel It" by The Jacksons
Song#: 0585
Date: 05/02/1981
Debut: 89
Peak: 77
Weeks: 5
Genre: R&B
Pop Bits: The Jackson's "Triumph" album already spawned two Top 30 singles and that helped the album reach the Top 10 - their first since 1972. It was also their first #1 R&B album since 1971. This third single didn't do as well at pop or R&B (#30), but it did reach #6 in the UK and Top 10 in other countries.
ReduxReview: It took me a few listens to get into this song. Once I did, I kind of liked it. It's the sections with Michael on lead that make the song come to life. The rest kind of falls a bit flat. This probably could be a killer song as a Michael solo song with a more amped-up arrangement. I don't remember the video of this at all (see below) and after viewing it, I'm sure I would have remembered. Like a lot of what Michael did later in his career, it's way over the top and is some kind of message thing that I can't quite figure out.
ReduxRating: 6/10
Trivia: A concept and story for a video was developed by Michael Jackson and it was filmed with lots of special effects and sounds. It was more of a mini-movie lasting over 7 minutes (over 9 if you count the credit roll). The song kind of gets overpowered by the sound effects and visuals, but it was considered a bit groundbreaking at the time. For MTV's 20th anniversary (2001), they issued a list of the 100 best videos and this one was included.
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Date: 05/02/1981
Debut: 89
Peak: 77
Weeks: 5
Genre: R&B
Pop Bits: The Jackson's "Triumph" album already spawned two Top 30 singles and that helped the album reach the Top 10 - their first since 1972. It was also their first #1 R&B album since 1971. This third single didn't do as well at pop or R&B (#30), but it did reach #6 in the UK and Top 10 in other countries.
ReduxReview: It took me a few listens to get into this song. Once I did, I kind of liked it. It's the sections with Michael on lead that make the song come to life. The rest kind of falls a bit flat. This probably could be a killer song as a Michael solo song with a more amped-up arrangement. I don't remember the video of this at all (see below) and after viewing it, I'm sure I would have remembered. Like a lot of what Michael did later in his career, it's way over the top and is some kind of message thing that I can't quite figure out.
ReduxRating: 6/10
Trivia: A concept and story for a video was developed by Michael Jackson and it was filmed with lots of special effects and sounds. It was more of a mini-movie lasting over 7 minutes (over 9 if you count the credit roll). The song kind of gets overpowered by the sound effects and visuals, but it was considered a bit groundbreaking at the time. For MTV's 20th anniversary (2001), they issued a list of the 100 best videos and this one was included.
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