Song#: 0967
Date: 03/27/1982
Debut: 80
Peak: 23
Weeks: 16
Genre: Rock
Pop Bits: Canadian guitarist Nova honed his skills in clubs while also moonlighting as an engineer at a local studio. The experience came in handy when he signed to Portrait Records where he was allowed to produced his own self-titled debut album. With little expectations, this single was released and became a surprise hit reaching #14 on the Canadian chart. In the US, the song was a #3 Mainstream Rock hit while just missing out on the pop Top 20. The success of the single pushed the album to #8 and it eventually would go double-platinum.
ReduxReview: I'm not sure why, but I didn't like this song back then. Crazy, right? I mean, it has about everything you'd want in an 80s hard rock tune: a dramatic beginning, crunchy guitars, nice keyboard licks, terrific hook, interesting voice, etc. It lacks very little. I hear and appreciate that now. Unfortunately, I think he peaked with his debut album as he just couldn't follow it up. But it doesn't really matter because he came up with one of the best hard rock singles of the time.
ReduxRating: 9/10
Trivia: Before signing his record deal, Nova took a turn on stage playing George Harrison in the Canadian cast of "Beatlemania."
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Saturday, August 30, 2014
Friday, August 29, 2014
"The Gigolo" by O'Bryan
Song#: 0966
Date: 03/27/1982
Debut: 82
Peak: 57
Weeks: 9
Genre: R&B, Funk
Pop Bits: O'Bryan Burnette got signed to the Capitol label with an assist from "Soul Train's" Don Cornelius. His debut LP "Doin' Alright" got issued and this first single became an R&B hit reaching #5. The song saw a little pop chart action, but it wasn't enough to really create any major crossover appeal. It would be his only pop chart entry. However, he had a run of several R&B chart singles over the course of four albums for Capitol including the #1 song "Lovelite" in 1984.
ReduxReview: Whoa! This just screams 80s funk with the chintzy keyboard sound, the horns, the "whooshing" sound, the falsetto, etc. It's pretty hilarious. I know I've never heard this song because I'm 100% sure I'd remember this. It all sounds as if O'Bryan was the result of a Prince-Rick James gene splicing. It's all a little crazy but kind of fun.
ReduxRating: 7/10
Trivia: O'Bryan co-wrote many of his songs with Don Cornelius. The connection to Cornelius was a benefit in many ways including having an O'Bryan song serve as the theme to Cornelius' show "Soul Train" for four years. "Soul Train's A' Comin'" was co-written by the pair and it appeared on O'Bryan's second album, "You and I."
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Date: 03/27/1982
Debut: 82
Peak: 57
Weeks: 9
Genre: R&B, Funk
Pop Bits: O'Bryan Burnette got signed to the Capitol label with an assist from "Soul Train's" Don Cornelius. His debut LP "Doin' Alright" got issued and this first single became an R&B hit reaching #5. The song saw a little pop chart action, but it wasn't enough to really create any major crossover appeal. It would be his only pop chart entry. However, he had a run of several R&B chart singles over the course of four albums for Capitol including the #1 song "Lovelite" in 1984.
ReduxReview: Whoa! This just screams 80s funk with the chintzy keyboard sound, the horns, the "whooshing" sound, the falsetto, etc. It's pretty hilarious. I know I've never heard this song because I'm 100% sure I'd remember this. It all sounds as if O'Bryan was the result of a Prince-Rick James gene splicing. It's all a little crazy but kind of fun.
ReduxRating: 7/10
Trivia: O'Bryan co-wrote many of his songs with Don Cornelius. The connection to Cornelius was a benefit in many ways including having an O'Bryan song serve as the theme to Cornelius' show "Soul Train" for four years. "Soul Train's A' Comin'" was co-written by the pair and it appeared on O'Bryan's second album, "You and I."
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Thursday, August 28, 2014
"I'll Drink to You" by Duke Jupiter
Song#: 0965
Date: 03/27/1982
Debut: 83
Peak: 58
Weeks: 7
Genre: Rock
Pop Bits: This Rochester, New York, outfit began as an instrumental group in 1973. As they gained regional popularity, the band was signed to Mercury and issued a debut album in 1978 called "Sweet Cheeks." They headed out on tour with major acts and their popularity seemed to be enough to get Mercury to fund two more albums. Nothing really came from their three LPs and their Mercury days came to an end. Signing to the CBS affiliated label Coast to Coast, they issued the album "Duke Jupiter 1," which featured this single. It came close to reaching the halfway point on the chart becoming their best showing.
ReduxReview: I like the charging opening of this tune and the band holds it up throughout the song. It reminds me of a more rocking version of "Sausalito Summernight" by the Dutch group Diesel mixed with a little Southern rock. I think it may have needed a little more oomph to the chorus to take it further, but as-is this is an unexpectedly nice slice of early-80s rock.
ReduxRating: 7/10
Trivia: It was around this time that the band reached their peak of popularity in their hometown. They were set to played a Memorial Day concert in 1982 at a local beach park and it was estimated that 5,000 people would attend. However, around 25,000 showed up causing major traffic problems and other issues. The band was scheduled to do a 4th of July concert at a city festival, but the city cancelled their appearance fearing too many people would show up again causing further issues.
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Date: 03/27/1982
Debut: 83
Peak: 58
Weeks: 7
Genre: Rock
Pop Bits: This Rochester, New York, outfit began as an instrumental group in 1973. As they gained regional popularity, the band was signed to Mercury and issued a debut album in 1978 called "Sweet Cheeks." They headed out on tour with major acts and their popularity seemed to be enough to get Mercury to fund two more albums. Nothing really came from their three LPs and their Mercury days came to an end. Signing to the CBS affiliated label Coast to Coast, they issued the album "Duke Jupiter 1," which featured this single. It came close to reaching the halfway point on the chart becoming their best showing.
ReduxReview: I like the charging opening of this tune and the band holds it up throughout the song. It reminds me of a more rocking version of "Sausalito Summernight" by the Dutch group Diesel mixed with a little Southern rock. I think it may have needed a little more oomph to the chorus to take it further, but as-is this is an unexpectedly nice slice of early-80s rock.
ReduxRating: 7/10
Trivia: It was around this time that the band reached their peak of popularity in their hometown. They were set to played a Memorial Day concert in 1982 at a local beach park and it was estimated that 5,000 people would attend. However, around 25,000 showed up causing major traffic problems and other issues. The band was scheduled to do a 4th of July concert at a city festival, but the city cancelled their appearance fearing too many people would show up again causing further issues.
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"Hollywood" by Shooting Star
Song#: 0964
Date: 03/27/1982
Debut: 84
Peak: 70
Weeks: 5
Genre: Rock
Pop Bits: This band was always on the edge of breaking through but they didn't have the best of luck and in the end they got lumped in the "shoulda made it" pile. Their debut album got a little attention thanks to the #76 "You've Got What I Needed" and it was expected that their second disc would push them much further. The LP "Hang On for Your Life" did do better and sold quite well staying on the album chart for 30 weeks, but it still wasn't enough to push them over the top. The lack of a solid hit certainly didn't help. This first single clung to the chart for a few weeks and then disappeared. Their steady touring with A-list bands helped keep their name alive, but it would not be enough to get the group into the limelight. After three more albums and more tough breaks, the group went on hiatus in 1986.
ReduxReview: For a rock group trying to break through, it's a bit confusing why they (or more likely the label) would choose this song. While interesting, this theatrical, tempo-shifting tune is missing a key ingredient: a memorable hook that is truly needed to reach the upper levels of the pop chart. They were probably going for originality since they were getting compared to Journey, REO and Kansas at the time, but this may be a bit too album-oriented to make an impact.
ReduxRating: 5/10
Trivia: Initially, this band got signed by Clive Davis for the Arista label in 1975. The song that got them the deal was one called "Take the Money and Run." In the first of many unfortunate breaks, after they recorded the song, Steve Miller issued his classic rock single that happened to shared the same title. The Miller hit quashed any hopes of the Shooting Star song getting a release and that ended their short career with Arista.
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Date: 03/27/1982
Debut: 84
Peak: 70
Weeks: 5
Genre: Rock
Pop Bits: This band was always on the edge of breaking through but they didn't have the best of luck and in the end they got lumped in the "shoulda made it" pile. Their debut album got a little attention thanks to the #76 "You've Got What I Needed" and it was expected that their second disc would push them much further. The LP "Hang On for Your Life" did do better and sold quite well staying on the album chart for 30 weeks, but it still wasn't enough to push them over the top. The lack of a solid hit certainly didn't help. This first single clung to the chart for a few weeks and then disappeared. Their steady touring with A-list bands helped keep their name alive, but it would not be enough to get the group into the limelight. After three more albums and more tough breaks, the group went on hiatus in 1986.
ReduxReview: For a rock group trying to break through, it's a bit confusing why they (or more likely the label) would choose this song. While interesting, this theatrical, tempo-shifting tune is missing a key ingredient: a memorable hook that is truly needed to reach the upper levels of the pop chart. They were probably going for originality since they were getting compared to Journey, REO and Kansas at the time, but this may be a bit too album-oriented to make an impact.
ReduxRating: 5/10
Trivia: Initially, this band got signed by Clive Davis for the Arista label in 1975. The song that got them the deal was one called "Take the Money and Run." In the first of many unfortunate breaks, after they recorded the song, Steve Miller issued his classic rock single that happened to shared the same title. The Miller hit quashed any hopes of the Shooting Star song getting a release and that ended their short career with Arista.
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Wednesday, August 27, 2014
"Stars on 45 III (A Tribute to Stevie Wonder)" by Stars On
Song#: 0963
Date: 03/27/1982
Debut: 85
Peak: 28
Weeks: 10
Genre: Pop
Pop Bits: From the "if it ain't broke" files, Jaap Eggermont's Stars On project pushed out a third album of danceable hits medleys. This time around the LP focused on medleys from two superstars - Stevie Wonder and The Rolling Stones. After missing the Top 40 with their previous two medley singles, Stars On makes it into the Top 30 with an edited version of the Stevie Wonder medley. Due to its crossover appeal, the single also got on the R&B chart where it peaked at #44. In most of the world the single would be titled "Stars on Stevie," but in the US it was issued as "Stars on 45 III." It would be the project's final pop chart song in the US.
ReduxReview: Just when you thought the medley craze was over, here comes another one! And surprisingly it did pretty well and became Stars On's second Top 30 single. Among the medleys, this one is not too bad. The singer, Tony Sherman (see below), does a really great job imitating Stevie Wonder and the songs are stitched together well. Still, I only needed to hear this once. I'd rather listen to the real deal. (On a side note, whoever did the choreography in the attached video should be charged with crimes against dance...)
ReduxRating: 4/10
Trivia: The singers on most of these medleys are usually studio musicians that end up getting very little credit or attention. For this particular medley, Eggermont tapped an established Dutch artist to mimic Stevie Wonder. Tony Sherman had a few hits on the Dutch charts in the 70s as a solo artist and with his group The Sherman Brothers. Although the song would be credited to Stars on 45 in the Netherlands, it's #6 showing would be one of Sherman's best chart appearances.
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Date: 03/27/1982
Debut: 85
Peak: 28
Weeks: 10
Genre: Pop
Pop Bits: From the "if it ain't broke" files, Jaap Eggermont's Stars On project pushed out a third album of danceable hits medleys. This time around the LP focused on medleys from two superstars - Stevie Wonder and The Rolling Stones. After missing the Top 40 with their previous two medley singles, Stars On makes it into the Top 30 with an edited version of the Stevie Wonder medley. Due to its crossover appeal, the single also got on the R&B chart where it peaked at #44. In most of the world the single would be titled "Stars on Stevie," but in the US it was issued as "Stars on 45 III." It would be the project's final pop chart song in the US.
ReduxReview: Just when you thought the medley craze was over, here comes another one! And surprisingly it did pretty well and became Stars On's second Top 30 single. Among the medleys, this one is not too bad. The singer, Tony Sherman (see below), does a really great job imitating Stevie Wonder and the songs are stitched together well. Still, I only needed to hear this once. I'd rather listen to the real deal. (On a side note, whoever did the choreography in the attached video should be charged with crimes against dance...)
ReduxRating: 4/10
Trivia: The singers on most of these medleys are usually studio musicians that end up getting very little credit or attention. For this particular medley, Eggermont tapped an established Dutch artist to mimic Stevie Wonder. Tony Sherman had a few hits on the Dutch charts in the 70s as a solo artist and with his group The Sherman Brothers. Although the song would be credited to Stars on 45 in the Netherlands, it's #6 showing would be one of Sherman's best chart appearances.
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"One to One" by Carole King
Song#: 0962
Date: 03/27/1982
Debut: 86
Peak: 45
Weeks: 10
Genre: Pop
Pop Bits: By this time, King's solo work was being met with a more nostalgic ear than as something current and hip, as demonstrated by her 1980 reworking of "One Fine Day" which reached #12. Getting back to her singer/songwriter "Tapestry" roots, King moved to the Atlantic label for her "One to One" LP. This title track got her on the pop chart, but it couldn't get into the Top 40. It fared better at AC reaching #20. The single didn't do much to promote the album and at that time it became the lowest peaking one of her solo career. Although this single would be her last to reach the pop chart, King would go on to write songs that would appear on albums by major artists like Mariah Carey and Celine Dion.
ReduxReview: King revives her early 70s singer/songwriter sound and adds elements of her 60s pop for this tune. The overall sound is nice, but it was so far away (pun intended) from what was happening in pop music at the time. For long-standing artists like King, it's not easy to try and keep up with current musical sounds and trends. And sometimes you don't want to. As an artist, you are who you are. Very few can adapt over decades and remain relevant. Plus, it's not for everyone. King didn't really need to update/change her sound as she will always have fans, but there is usually a time when the hits stop and an artist has to transition to late-career projects and appearances. This single marked the beginning of that transition for King. It's far from being among her best, but it's not a bad song to go out on.
ReduxRating: 5/10
Trivia: King met Gerry Goffin while in college and they married when she was 17. They left college for regular jobs and wrote songs in the evenings. One of their co-written tunes, "Will You Love Me Tomorrow" got recorded by The Shirelles and in 1960 it became Goffin and King's first #1 as writers. The success allowed them to quit their day jobs and focus on writing music full-time. Many hits followed with King's solo career blossoming with 1971's classic "Tapestry" album.
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Date: 03/27/1982
Debut: 86
Peak: 45
Weeks: 10
Genre: Pop
Pop Bits: By this time, King's solo work was being met with a more nostalgic ear than as something current and hip, as demonstrated by her 1980 reworking of "One Fine Day" which reached #12. Getting back to her singer/songwriter "Tapestry" roots, King moved to the Atlantic label for her "One to One" LP. This title track got her on the pop chart, but it couldn't get into the Top 40. It fared better at AC reaching #20. The single didn't do much to promote the album and at that time it became the lowest peaking one of her solo career. Although this single would be her last to reach the pop chart, King would go on to write songs that would appear on albums by major artists like Mariah Carey and Celine Dion.
ReduxReview: King revives her early 70s singer/songwriter sound and adds elements of her 60s pop for this tune. The overall sound is nice, but it was so far away (pun intended) from what was happening in pop music at the time. For long-standing artists like King, it's not easy to try and keep up with current musical sounds and trends. And sometimes you don't want to. As an artist, you are who you are. Very few can adapt over decades and remain relevant. Plus, it's not for everyone. King didn't really need to update/change her sound as she will always have fans, but there is usually a time when the hits stop and an artist has to transition to late-career projects and appearances. This single marked the beginning of that transition for King. It's far from being among her best, but it's not a bad song to go out on.
ReduxRating: 5/10
Trivia: King met Gerry Goffin while in college and they married when she was 17. They left college for regular jobs and wrote songs in the evenings. One of their co-written tunes, "Will You Love Me Tomorrow" got recorded by The Shirelles and in 1960 it became Goffin and King's first #1 as writers. The success allowed them to quit their day jobs and focus on writing music full-time. Many hits followed with King's solo career blossoming with 1971's classic "Tapestry" album.
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Tuesday, August 26, 2014
"I'm in Love Again" by Pia Zadora
Song#: 0961
Date: 03/27/1982
Debut: 87
Peak: 45
Weeks: 9
Genre: Pop, Adult Contemporary
Pop Bits: Zadora started in entertainment at an early age performing in the original Broadway production of "Fiddler on the Roof" in 1964. She moved on to film, modeling work, and then music. Initially working with country material, she released several singles in the late 70s that did hit the lower reaches of the country chart. Then after winning a controversial Golden Globe as Best New Star for her role in the film "Butterfly," Zadora switched over to pop music and released her debut album "Pia." This first single performed better than any of her country singles, but it still could not manager a Top 40 showing.
ReduxReview: I actually have a 2nd degree connection to Pia Zadora. My former boss used to manage her tours and lighting later in the 80s and his wife played violin in her band. Regardless of her rep in the business, they loved her and thought highly of her. I never got to meet her but I did briefly speak with her on the phone. At my former job you never knew who was going to show up in the office or be on the other end of the phone line. Anyway, the switch to pop may have been a better fit for her but this Dionne Warwick-lite tune was not a good choice. It's a dated song that's about five years too late. Zadora can carry a tune, but there is something odd about her voice that I've never really liked. I think it just may be too theatrical for basic pop music.
ReduxRating: 2/10
Trivia: In 1977, Zadora married wealthy businessman Meshumla Riklis, who was 31-years her senior. Zadora was trying to kick-start her acting career with the 1982 film "Butterfly." The notorious bomb was savaged by critics yet somehow Zadora nabbed that Golden Globe. Many attributed the win to her husband spending scads of money on ads and flying GG members to a Vegas show starring Pia. She may have won the Globe, but that year she also won two Golden Raspberry awards for Worst Actress and Worst New Star. Zadora starred in a few more films but none could establish her as a credible movie star.
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Date: 03/27/1982
Debut: 87
Peak: 45
Weeks: 9
Genre: Pop, Adult Contemporary
Pop Bits: Zadora started in entertainment at an early age performing in the original Broadway production of "Fiddler on the Roof" in 1964. She moved on to film, modeling work, and then music. Initially working with country material, she released several singles in the late 70s that did hit the lower reaches of the country chart. Then after winning a controversial Golden Globe as Best New Star for her role in the film "Butterfly," Zadora switched over to pop music and released her debut album "Pia." This first single performed better than any of her country singles, but it still could not manager a Top 40 showing.
ReduxReview: I actually have a 2nd degree connection to Pia Zadora. My former boss used to manage her tours and lighting later in the 80s and his wife played violin in her band. Regardless of her rep in the business, they loved her and thought highly of her. I never got to meet her but I did briefly speak with her on the phone. At my former job you never knew who was going to show up in the office or be on the other end of the phone line. Anyway, the switch to pop may have been a better fit for her but this Dionne Warwick-lite tune was not a good choice. It's a dated song that's about five years too late. Zadora can carry a tune, but there is something odd about her voice that I've never really liked. I think it just may be too theatrical for basic pop music.
ReduxRating: 2/10
Trivia: In 1977, Zadora married wealthy businessman Meshumla Riklis, who was 31-years her senior. Zadora was trying to kick-start her acting career with the 1982 film "Butterfly." The notorious bomb was savaged by critics yet somehow Zadora nabbed that Golden Globe. Many attributed the win to her husband spending scads of money on ads and flying GG members to a Vegas show starring Pia. She may have won the Globe, but that year she also won two Golden Raspberry awards for Worst Actress and Worst New Star. Zadora starred in a few more films but none could establish her as a credible movie star.
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"My Girl" by Donnie Iris
Song#: 0960
Date: 03/27/1982
Debut: 88
Peak: 25
Weeks: 14
Genre: Rock
Pop Bits: Iris' album "King Cool" was doing well thanks to the LP's second single "Love Is Like a Rock" (#37). This third single did even better getting into the Top 30. It would be his best chart showing as a solo artist and his final appearance in the Top 40. (Note that this song should not be confused with the #1 hit of the same name by the Temptations.)
ReduxReview: This doo-wop-style tune didn't hit my ears well back in the day and I pretty much ignored it. Having become an Iris fan in the past couple years, I can appreciate this song more but it is still not one of my favorites of his. I'm glad it performed well on the chart for him, but he has better songs.
ReduxRating: 5/10
Trivia: Before forming his band The Cruisers, Iris recorded and toured with the group Wild Cherry who had a #1 hit in 1976 with "Play That Funky Music." Iris joined them in 1978 just in time to be on their final LP and tour before the band split. While in Wild Cherry, Iris met band member Mark Avsec. The pair would form The Cruisers and Avsec would go on to write/co-write many of the songs on Iris' albums.
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Date: 03/27/1982
Debut: 88
Peak: 25
Weeks: 14
Genre: Rock
Pop Bits: Iris' album "King Cool" was doing well thanks to the LP's second single "Love Is Like a Rock" (#37). This third single did even better getting into the Top 30. It would be his best chart showing as a solo artist and his final appearance in the Top 40. (Note that this song should not be confused with the #1 hit of the same name by the Temptations.)
ReduxReview: This doo-wop-style tune didn't hit my ears well back in the day and I pretty much ignored it. Having become an Iris fan in the past couple years, I can appreciate this song more but it is still not one of my favorites of his. I'm glad it performed well on the chart for him, but he has better songs.
ReduxRating: 5/10
Trivia: Before forming his band The Cruisers, Iris recorded and toured with the group Wild Cherry who had a #1 hit in 1976 with "Play That Funky Music." Iris joined them in 1978 just in time to be on their final LP and tour before the band split. While in Wild Cherry, Iris met band member Mark Avsec. The pair would form The Cruisers and Avsec would go on to write/co-write many of the songs on Iris' albums.
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Monday, August 25, 2014
"Circles" by Atlantic Starr
Song#: 0959
Date: 03/27/1982
Debut: 90
Peak: 38
Weeks: 11
Genre: R&B
Pop Bits: Consisting of nine (!) members, Atlantic Starr signed with A&M and issued a self-titled debut album in 1978. It was a minor success, as was their next three LPs, thanks to a few Top 20 R&B singles. None of their songs were able to crossover to pop until this first single from their fourth album "Brilliance." It reached the Top 40 (#2 R&B) and it seemed like the group was ready to break through. Eventually they did, but it wouldn't happen for another three years. In the meantime, the LP became their first to reach gold status.
ReduxReview: Before becoming known for their hit AC-ish ballads, the group was pumping out some nice jams like this one. It doesn't really stay in your head for long, but it's a good listen with lead vocalist Sharon Bryant rockin' it out. I prefer this earlier, funkier iteration of Atlantic Starr music to their later saccharine crossover hits.
ReduxRating: 6/10
Trivia: The group originally began as a jazz/funk outfit called Newban (like "new band," get it?). They issued a couple of albums in 1977, but not much came from them. Signing to A&M, the label requested a name change and the band chose to use a previous name idea, Starr, combined with Atlantic, which was the region where the group was founded (New York).
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Date: 03/27/1982
Debut: 90
Peak: 38
Weeks: 11
Genre: R&B
Pop Bits: Consisting of nine (!) members, Atlantic Starr signed with A&M and issued a self-titled debut album in 1978. It was a minor success, as was their next three LPs, thanks to a few Top 20 R&B singles. None of their songs were able to crossover to pop until this first single from their fourth album "Brilliance." It reached the Top 40 (#2 R&B) and it seemed like the group was ready to break through. Eventually they did, but it wouldn't happen for another three years. In the meantime, the LP became their first to reach gold status.
ReduxReview: Before becoming known for their hit AC-ish ballads, the group was pumping out some nice jams like this one. It doesn't really stay in your head for long, but it's a good listen with lead vocalist Sharon Bryant rockin' it out. I prefer this earlier, funkier iteration of Atlantic Starr music to their later saccharine crossover hits.
ReduxRating: 6/10
Trivia: The group originally began as a jazz/funk outfit called Newban (like "new band," get it?). They issued a couple of albums in 1977, but not much came from them. Signing to A&M, the label requested a name change and the band chose to use a previous name idea, Starr, combined with Atlantic, which was the region where the group was founded (New York).
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"Did It in a Minute" by Daryl Hall & John Oates
Top 10 Alert!
Song#: 0958 Date: 03/20/1982
Debut: 66
Peak: 9
Weeks: 16
Genre: Pop
Pop Bits: After two major #1 hits from their album "Private Eyes," this third single was issued. While not a significant smash, it performed very well and reached the Top 10. It became the fifth consecutive Top 10 appearance for the duo.
ReduxReview: It's another winner from their "Private Eyes" album. Well-written and catchy, this was destined for the Top 10. By this time, the duo had perfect their sound and it was paying off. Their next album would be an even bigger success but I think "Private Eyes" may have found them at the peak of their powers.
ReduxRating: 7/10
Trivia: By the late 70s the duo had already scored some hits and were quite successful. But Daryl Hall felt he had more to offer beyond the duo's work and wanted to branch out on his own. He recorded a solo album in 1977 that was produced by King Crimson's Robert Fripp. The album "Sacred Songs" was different and not as commercial as the Hall & Oates material and this frightened the record company. RCA ended up shelving the album. After pressure from the artist, other industry people, and fans, the label finally released the LP in 1980. It was a critical success and sales were initially good, but without any hit singles, the album sunk into obscurity and Hall didn't record another solo album until 1986.
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Sunday, August 24, 2014
"The Other Woman" by Ray Parker, Jr.
Top 10 Alert!
Song#: 0957 Date: 03/20/1982
Debut: 77
Peak: 4
Weeks: 21
Genre: R&B
Pop Bits: Since 1978, Parker had been fronting his group Raydio. He formed the group because at the time he didn't possess the confidence to pursue a solo career. After several hits including three pop Top 10's, Parker had gained the experience he needed to strike out on his own. His quest for a solo career and other issues within the group led to the demise of Raydio in 1981. Parker went on to record his first solo album called "The Other Woman" and this title-track single was issued. It became his first pop Top 10 hit (#2 R&B). The song did well enough to push his LP to gold status.
ReduxReview: I think this song has been forgotten about. I haven't heard it in years. I remember liking it back in the day but I never bought it. I'll have to rethink that because this is a pretty tasty jam. Parker amped up the guitars for this song and with the sax lines and background vocals, the song pretty much rocks. Parker does not have the most forceful voice, so his more relaxed vocals could have killed this tune. However, I think his sultry take works just fine. For me, it is easily his best solo outing.
ReduxRating: 7/10
Trivia: Parker was not the only Raydio member to step out solo. Jerry Knight recorded three solo discs and logged a few minor entries on the R&B chart. However, his biggest hit outside of Raydio came when he and Ollie E. Brown formed Ollie & Jerry. The duo recorded "Breakin'...There's No Stopping Us," the theme to the 1984 film "Breakin'." The single was a hit reaching #9 on the pop chart.
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