"Puttin' on the Ritz" by Taco

Top 10 Alert! 

Gold Record Alert!

One-Hit Wonder Alert!

Song#:  1506
Date:  06/25/1983
Debut:  75
Peak:  4
Weeks:  21
Genre:  Pop, Adult Contemporary, Novelty, Dance



Pop Bits:  Born in Indonesia and living in various cities around the world, Taco Ockerse (yes, his real given name) eventually settled in Germany where he started his professional acting career in 1975. While acting, Ockerse formed his own band/act called Taco's Bizz. They would perform updated dance versions of old standards in clubs around Germany. After a couple of failed singles in Germany for Polydor (regular German pop), RCA took on Taco (now minus his last name) and his unique dance standards. This first single started to get attention and it began to climb the charts in several countries including the US. Eventually, the song would reach the Pop Top 10 while hitting #12 AC and #37 Dance. The single would sell well enough to reach gold level and help push his debut album, After Eight, to #23. Unfortunately, the novelty of bridging the old and new wore off quickly and Taco's follow-ups would fail to chart. This lone entry would get him tagged as a one-hit wonder. Taco's next album, Let's Face the Music, tanked and it basically killed his major label career. He would continue to record in Germany and later return to acting.

ReduxReview:  Yes - I admit it. I was one of the dorks that made this song a hit. I loved it when the song hit the airwaves. The synthpop groove mixed with the old standard was kind of irresistible and something different to hear on pop radio. I ended up getting the album, but by that time the novelty of it all wore off and I think I played it a quick couple of times. It's kind of a fascinating relic of the time now as is this song. When I hear it now, I still kinda like it, but my reaction is one of a chuckle and a "oh, remember this!" and not one of "oh this is a great song!" It's all slightly bizarre and almost otherworldly. I know some folks will absolutely hate this, but it's a novelty song I still kinda like (which is rare for me).

ReduxRating:  7/10

Trivia:  Triple Shot!  1) This is a version of the famous Irving Berlin tune that has since become a popular music standard. Written by Berlin in 1927 and first published in 1929, the song's popularity increased thanks to its inclusion in the 1930 musical film "Puttin' on the Ritz" starring Harry Richman and Joan Bennett. Richman's recorded version of the song would be a big seller, but the song would become more associated with Fred Astaire who danced to the tune in the 1946 film "Blue Skies." The song would be sung and recorded by many artists over the years, but Taco has been the first and only to chart with the song in the rock era.  2) When this song hit the chart, Irving Berlin was still alive. At 95 years old, he became the oldest living songwriter to have a Top 10 hit.  3) The video for this song became controversial. The original version had performers in blackface and many network outlets banned the video. An alternate version was cut that replaced sections where the blackface characters appeared with other images.

_________________________________________________________________________________

"It's Inevitable" by Charlie

Song#:  1505
Date:  06/25/1983
Debut:  76
Peak:  38
Weeks:  11
Genre:  Rock



Pop Bits:  This UK band fronted by Terry Thomas got their start with Decca Records in 1973, which resulted in a lone single release that went nowhere. Three years later, they were signed to Polydor and issued their first LP Fantasy Girls. Nothing much came from it, but Polydor kept with them and a second album was recorded. No Second Chance was a blip in the UK and the band almost folded. However, news came that the Janus label in the US picked up the LP and radio support was positive. Their song "Turning to You" reached #96 and the album charted as well. Their next two albums did even better with two singles almost cracking the Top 50. Two follow-up LPs ended up tanking, but 1983's self-titled disc got the band some much needed attention thanks to this single that reached #13 Rock and just got into the Pop Top 40. It would be their biggest hit, but it just wasn't enough to keep the band going and they would split the following year.

ReduxReview:  This was a blip on the Top 40, but I do remember the song. I haven't heard it in mega years. I'm surprised it hasn't shown up on some 80s collection. It's a good tune with a solid arrangement and hooky chorus. It doesn't make me want to explore the band much further, but I wouldn't mind adding this into my iTunes.

ReduxRating:  6/10

Trivia:  The band originally got its name from a racehorse. Apparently there was one called Charlie Cuckoo and the group adopted that name. However, by the time it came to record and issue records, they decided to shorten their name to just Charlie.

_________________________________________________________________________________

"The Safety Dance" by Men Without Hats

Top 10 Alert!

Song#:  1504
Date:  06/25/1983
Debut:  90
Peak:  3
Weeks:  24
Genre:  Synthpop, New Wave



Pop Bits:   This Quebec band formed in 1977 and over the next few years it was a revolving door for musicians. Through it all, the one main constant was lead singer Ivan Doroschuk. Following a 1980 indie EP called Folk of the 80s, the band signed on with Warner Canada and recorded their full-length debut Rhythm of Youth. An initial single titled "I Like" didn't get anywhere, but this second single gained a following and the song reached #11 on the Canadian Pop chart. It finally bled over into the US where Backstreet Records picked it up. The song was a slow climber, but it eventually picked up speed thanks to its English folk revival themed video. It reached #3 and stayed there for four weeks. It would also reach #1 on the Dance chart.

ReduxReview:  Besides the infectious synth groove, the other draw here is Doroschuk's voice. It's not one that you'd typically hear on the radio and it stood out. Combined with the video, it was all so odd and foreign. In fact, at the time I had no idea they were from Canada. I thought for sure they were from some small European country. I totally fell for this song and played it constantly for a while. I got the album and didn't much care for it, but later on I hooked into it and now I enjoy tossing the disc on. It has great songs like "Living in China" and "Antarctica." Many folks kind of chuckle with happy nostalgia when they hear this song, but I think it's a bit more than an 80s relic. It's a great pop song.

ReduxRating:  9/10

Trivia:  The inspiration for the song came from a real life encounter Doroschuk had with a club bouncer. As disco faded and new wave began to take over the dance clubs, disco dancing was out and new forms of dance were showing up. One style was the pogo. It was simple. Just stay in one place or move around jumping up and down like a pogo stick. Sometimes when groups of people all pogo, they may bump or crash into each other. Some clubs considered this unsafe and the bouncers would eject people for pogoing. This happened to Doroschuk and he used the incident as a basis for "The Safety Dance," which is basically about freedom of expression. Pogoing did lead the way to other more aggressive forms of dance such as slam dancing and moshing.

_________________________________________________________________________________

"Dead Giveaway" by Shalamar

Song#:  1503
Date:  06/25/1983
Debut:  93
Peak:  22
Weeks:  20
Genre:  R&B, Synthpop



Pop Bits:  In 1982, Shalamar grabbed a gold album with Friends. It was a #1 R&B hit thanks in part to the #8 single "A Night to Remember" (#44 Pop/#15 Dance). For their next LP, The Look, the trio (Jody Watley, Howard Hewitt and Jeffery Daniel) began to incorporate more synthpop, which is apparent on this first single. The song did well at R&B reaching #10 while almost getting into the Pop Top 20. Dance was also receptive where the tune peaked at #18. However, this new direction did not sit well with Watley and that along with other band and label issues led to her departure after the album's release. Daniel followed suit and separately left the trio as well. It would be up to Hewitt to carry on, which he did with two new members.

ReduxReview:  It was a real bummer when this failed to reach the Top 10. I thought this was a cool and catchy tune and it sounded great on the radio. It's still a great song and I love when it comes up on one of my playlists. I especially like the repetitive keyboard lick, the vocals, and the guitar solo. People missed out on this tasty track.

ReduxRating:  8/10

Trivia:  At the time, the trio was actually more popular on the UK Pop chart than in the US. Their pop/R&B sound hit audiences just right and they were rewarded with four Top 10 hits and two Top 10 albums. This song would end up at #8 and become their final UK Top 10 hit.

_________________________________________________________________________________

"Take Me to Heart" by Quarterflash

Song#:  1502
Date:  06/18/1983
Debut:  59
Peak:  14
Weeks: 16
Genre:  Rock



Pop Bits:  Quarterflash's self-titled debut album was a major success thanks to three charting singles including the #3 Pop/#1 Rock song "Harden My Heart." The time came for a follow-up and the band went into the studio to record Take Another Picture. It didn't stray too far from the sound of their first album and that helped this single get into the Pop Top 20. It became their second Rock Top 10 hit peaking at #6 while also reaching #28 at AC. It was a nice start, but sluggish when compared to their platinum debut.

ReduxReview:  I had forgotten about this song. It's another quality tune from the band that ranks right up their with their other two Top 20 hits. This was definitely a Top 10 contender but it stopped just shy. I'm glad I ran across this song. It shall find a home in one of my playlists for sure.

ReduxRating:  7/10

Trivia:  It's always interesting to see what choices musicians make once their days in the limelight come an end. I've seen several continue on playing locally or touring with other bands. Some end up building and running their own recording studios. Oddly, quite a few turn into real estate agents. Some turn to religious work while many others just choose regular corporate jobs. There are also those that end up teaching. For Quarterflash's keyboardist Rick DiGiallonardo, that was the path he took. He first started as a music industry program director at Virginia's James Madison University. He then moved on to Ball State University in Muncie, Indiana, where he became Director of Music Technology. While there, he developed a Music Business program for the School of Music. He left Ball State and appears to now be operating a music artist development company called SEED Music Group.

_________________________________________________________________________________

"Midnight Blue" by Louise Tucker

Song#:  1501
Date:  06/18/1983
Debut:  78
Peak:  46
Weeks:  13
Genre:  Adult Contemporary, Classical Crossover



Pop Bits:  As a mezzo-soprano, Tucker studied voice with the intent of performing in operas. It seemed like a clear-cut path for the British singer, but then she met record producers Charlie Skarbeck and Tim Smit. They had an idea for a project and asked Tucker to join. Their intent was to merge elements of classical music (including Tucker's voice) with synthpop. The resulting album was titled Midnight Blue and it contained original works along with adaptations like this first title-track single, which uses the melody from Beethoven's Sonata Pathétique. The song didn't do all that well in the UK where it hit #59. However, it was embraced by AC in the US and it reached #10. It crossed over to the Pop chart where it came close to the Top 40. The album did well enough on a worldwide basis to call for another one. After the Storm got issued late in the year, but it failed to capitalize on the success of the first album and disappeared quickly. This song would be Tucker's only one to chart in the US. Following the second album, Tucker decided to drop pop music and went back into the classical realm performing in operas.

ReduxReview:  Of course I see the title and I think this is a cover version of Melissa Manchester's #6 hit from 1975. And with a name like Louise Tucker, I thought she might be a country crossover artist. Not...even...close. I played the song without having any background knowledge and right from the start I knew something weird was up with its "Chariots of Fire"-ish riff. Then a voice comes in and I wasn't sure if Louise wasn't a Lou. After a while, the female voice comes in and I recognize the melody. Oh...dear...god. What fresh hell is this? No. Just...no. I am utterly shocked this went Top 10 AC and almost hit the Pop Top 40. This is not the first time classical and pop have merged, but this possibly ranks among the worst examples to hit the chart. It's a crossover travesty.

ReduxRating:  1/10

Trivia:  Double Shot!  1) Producer Skarbeck provides the male voice on this track.  2) Producer Smit later left the music industry and focused his attention on the Eden Project, a large environmental and garden complex in Cornwall, UK. It consists of several biomes that house plants from various climates. Various forms of art are also featured. The popular attraction opened in 2001. Combining his music past with his present project, Smit also began the Eden Sessions in 2002. The sessions are live performances from popular artists that perform at the complex. Over the years, artists like Amy Winehouse, Brian Wilson, and Elton John have participated. Scenes from the James Bond film Die Another Day were filmed at the site as well.

_________________________________________________________________________________

"Europa and the Pirate Twins" by Thomas Dolby

Song#:  1500
Date:  06/18/1983
Debut:  81
Peak:  67
Weeks:  5
Genre:  New Wave, Synthpop



Pop Bits:  Dolby scored a left-field hit with his video-centric song "She Blinded Me with Science" (#5). For his follow-up single, the label reached back to this song that was initially released in the UK in 1981. It was Dolby's first major label release and it reached #45 on the UK singles chart. After the success of "Science," the label brought this song back around for a US release. It stayed in the bottom third of the chart for a few weeks while getting to #37 at Rock. Andy Partridge from the band XTC lends a hand on the harmonica.

ReduxReview:  As much as I liked the wacky "Science," I fell in love with this song. I've played this tune and the album track "Flying North" far more than "Science." I love the story, which brings to mind the WWII era, and the jittery arrangement is terrific. I was really bummed when this song didn't catch on at radio. I thought for sure it would be a hit. Unfortunately it kind of tanked. It was gonna be hard for Dolby to follow-up the novelty-esque of "Science" and I think this song most likely had the best shot. Sadly, folks were not interested. I was though - and still am. I'm probably overrating this, but I don't care as I find it awesome.

ReduxRating:  9/10

Trivia:  The UK version of Dolby's The Golden Age of Wireless LP contained the instrumental song "The Wreck of the Fairchild." Dolby loosely based the song around the famous 1972 plane crash that took place in the Andes mountains. The plane was carrying members, family and friends of the Uruguayan rugby team when it crashed. A total of 16 people survived out of the original 45 passengers. The survivors were stuck on the mountain for 72 days. They were rescued after two survivors finally made their way through the mountains and found help. The survivors famously resorted to cannibalism in order to survive. Their story was told in the 1993 film Alive starring Ethan Hawke. A retired Argentinian pilot supplied the voice for the radio transmissions on the song. After the success of Dolby's "Science," the US version of the album saw "Fairchild" cut from the lineup in favor of two other tracks, "Leipzig" and "Urges."

_________________________________________________________________________________

"The Border" by America

Song#:  1499
Date:  06/18/1983
Debut: 82
Peak:  33
Weeks: 12
Genre:  Soft Rock, Adult Contemporary



Pop Bits:  It seemed America's hit days ended in the mid-70's, but the now-duo of Gerry Beckley and Dewey Bunnell rallied for an unexpected hit with 1982's "You Can Do Magic" (#6 Pop/#5 AC). Written and produced by Russ Ballard, the duo decided to retain his services for their next LP Your Move. Ballard took on the project, but to an extent that didn't really please the duo. By the time Beckley and Bunnell got involved in the recording sessions, Ballard and already written and recorded most all of the songs playing the instruments himself. Basically all the guys had to do was add their vocals. The duo did get some of their co-writes included, but Ballard's song would take up seven of the eleven tracks. With Ballard in charge, the duo had little input and they struggled through the sessions. The one bright spot for them was this tune. Originally written only by Ballard, Bunnell was dissatisfied with the lyrics. He asked to take a crack at them and Ballard obliged. The new lyrics worked well and the song became the first single from the album. It was able to crack the Pop Top 40 while hitting #4 at AC. It would end up being the duo's final Pop chart entry. They would record one more album in 1984 before focusing on their live shows. It would be a decade before they would return to the studio.

ReduxReview:  This has a certain "Ride Like the Wind" feel to it. I like the arrangement and it's a good song, but it doesn't quite reach the pop heights of "You Can Do Magic." Still, it probably could have done a little better on the chart. Maybe Top 20 at most. AC loved the song and I think it lives on in that format, but this has sort of become a lost track over the years.

ReduxRating:  7/10

Trivia:  This song features strings by the Royal Philharmonic Orchestra. The sax solo was performed by Raphael Ravenscroft. You may not know his name, but most everyone knows his most famous solo. Ravenscroft did the unforgettable sax line from the 1978 hit by Gerry Rafferty, "Baker Street" (#2). It is arguably one of the most recognizable sax melodies in rock music.

_________________________________________________________________________________

"Don't Make Me Do It" by Patrick Simmons

Song#:  1498
Date:  06/18/1983
Debut:  84
Peak:  75
Weeks:  5
Genre:  Rock



Pop Bits:  Ex-Doobie Brother Simmons issued his debut solo album Arcade in 1983. It didn't make a huge splash, but it did contain the #30 single "So Wrong" (#8 Dance/#18 Rock/#77 R&B). This second single couldn't muster up much support and it flamed out rather quickly after a few weeks. It would be Simmons' final Pop chart entry as a solo artist.  Simmons later joined a reformed Doobie Brothers in 1987 and he has remained with them ever since. He would issue another solo recording in 1995 titled Take Me to the Highway, but it didn't make any waves.

ReduxReview:  Excepted for the updated production, there is not much difference between this version and the original (see below). Neither are major winners, but Simmons' is a good listen with its Springsteen-ish vibe. The problem I had with Simmons' album was that the songs were inconsistent. Just compare "So Wrong" with this song. There is nothing remotely in common. If I didn't know any better, I'd swear they were done by two separate artists. The album also features Doobie-ish funk and even a remake of The Chi-Lites R&B classic "Have You Seen Her" (1971, #3 Pop/#1 R&B). It just lacked any focus, which is too bad because I think he was on to something with "So Wrong." He had my attention - aaannndd now its gone.

ReduxRating:  5/10

Trivia:  This is a remake of a song done by Huey Lewis & the News. Written by the band, the song appeared on their 1980 self-titled debut. It was not issued as a single. That debut album didn't even crack the Album chart, but its success around the band's San Francisco home base led to Chrysalis flipping the bill for another album. It would pay off when their second album, Picture This, would go gold. It featured their first Top 10 hit "Do You Believe in Love?" (#7 Pop/#12 Rock).

_________________________________________________________________________________

"Boogie Down" by Jarreau

Song#:  1497
Date:  06/18/1983
Debut:  86
Peak:  77
Weeks:  6
Genre:  R&B



Pop Bits:  Jarreau's self-titled album (now minus the "Al") started off well with the #21 single "Mornin'" (#2 AC/#6 R&B). This second single would score again at R&B reaching #9, but failed to make any inroads elsewhere. At Pop, the song would spend a minor few weeks in the bottom quarter of the chart while missing at AC completely. It didn't matter too much because the LP would end up being another platinum success for him.

ReduxReview:  I'd probably call this Stevie Wonder-lite. It seems to channel some of Wonder's late 70s jams, especially when the horns join in. It's just okay for me, but the highlight of the song is Jarreau's scat solo. No matter what the material is, Jarreau is going to sing the crap out of it (pun intended).

ReduxRating:  5/10

Trivia:  The Jarreau album would end up receiving four Grammy nominations. Although it walked away empty handed, it did get nods for Best Engineered Recording and Producer of the Year (for Jay Graydon), as well as two noms in the Best Instrumental Arrangement Accompanying Vocal(s) for "Mornin'" and "Step by Step."

_________________________________________________________________________________

"You Are in My System" by Robert Palmer

Song#:  1496
Date:  06/18/1983
Debut:  88
Peak:  78
Weeks:  6
Genre:  Rock, Dance



Pop Bits:  British singer/songwriter Palmer had been a member of several bands before going the solo route in 1974. Signed to Island Records, he issued three albums that got some attention before really breaking through with his fourth one, Double Fun. That 1978 LP featured his first major hit, the #16 "Every Kinda People." He got another hit in 1979 with his rock radio classic "Bad Case of Loving You (Doctor, Doctor)," which reached #14. After that, his chart fortunes dwindled. By 1983, he hadn't had a chart entry for four years. He caught a bit of a break when this single from his album Pride reached the lower levels of the Pop chart for a few weeks (#33 Rock/#4 Dance). It wasn't a major breakthrough, but it was enough to keep him signed to the label. A big career boost would come his way the following year when he would join up with some Duran Duran members to form the side group The Power Station.

ReduxReview:  I have to say that I like this version better than the original (see below). It just seems meatier. The groove and other elements are pretty similar, but Palmer has a way of really bring out the best in these slight songs. I'm still not a big fan of the song, but given the choice I'd easily want to hear Palmer's take over the original.

ReduxRating:  6/10

Trivia:  If you have been following this blog recently, this title may seem familiar. It was originally a chart entry for The System just a few months earlier in March of '83. The #10 R&B hit reached #64 on the Pop chart and got the attention of Palmer. He did his own version of the song, which featured The System's David Frank on keyboards. Although Palmer's version couldn't do better on the Pop chart than The System's original, it did reach at #4 on the Dance chart besting The System's #14 peak.

_________________________________________________________________________________

"Never Tell an Angel (When Your Hearts on Fire)" by The Stompers

Song#:  1495
Date:  06/18/1983
Debut:  88
Peak:  88
Weeks:  4
Genre:  Rock



Pop Bits:  Boston's The Stompers were another up-and-coming band with unfortunate luck and timing. They became a popular fixture in the local clubs gathering a sizable following along the way. They got the opportunity to participate in the "Rock to Riches" contest and ended up winning. The prize was a contract with Atlantic Records for a single. However, reps from Boardwalk Record were in the audience and they offered the band a full-album deal. They took it and began to record their debut album. Their first spat of bad luck came when label head Neal Bogart died and the company went into Chapter 11. This delayed the release of their album by a year. It finally got released in the summer of '83 and this first single led the way. It was able to get on the Pop chart for a month. After Boardwalk's bankruptcy, the band was acquired by Polygram Records and work began on their second album. Their second stroke of bad luck came when Polygram fired all of their promotions staff right as the album was being released. It ended up being a big mess that left The Stompers without any support. As a result, the album tanked and they lost their record deal. The band would stay together and continue to perform in the New England area, which they still do.

ReduxReview:  This is almost a mash up of Hall & Oates' "Maneater" mixed in with some Supremes and J. Geils. I like the band's retro rock sound and I think they were on to something. However, even with the best promotion in the world, this type of music can be a hard sell to the masses. You gotta have a fantastic song to make it work. This one almost gets there and it should have done a lot better than its #88 peak, but with Boardwalk closing up shop, just getting on the chart was a major accomplishment.

ReduxRating:  7/10

Trivia:  Before getting a major label deal, The Stompers recorded a couple of singles for the indie label Double Eagle. Their 1978 single featured the song "Coast to Coast." The tune would end up getting used in the 1980 John Sayles movie "Return of the Secaucus 7," an indie film that would influence such movies as "The Big Chill." Their second single featured the song "American Fun." This one would get used many years later as the closing credits song for the 2010 Adam Sandler comedy "Grown Ups."

_________________________________________________________________________________

"Hold Me 'Til the Mornin' Comes" by Paul Anka

Song#:  1494
Date:  06/18/1983
Debut:  90
Peak:  40
Weeks:  16
Genre:  Pop, Adult Contemporary



Pop Bits:  Anka's first album of the 80s, Both Sides of Love, yielded the minor Pop chart entry "I've Been Waiting for You All of My Life" (#48). RCA didn't seem that thrilled with the results and Anka moved over to Columbia for a new venture. Teaming up with superstar songwriters David Foster and Michael McDonald (The Doobie Brothers), Anka recorded the LP Walk a Fine Line. This first single was issued and it became a hit at AC reaching the #2 spot. The ballad crossed over to the Pop chart and just barely reached the Top 40. The album would produce one more AC chart entry with "Second Chance" (#14), but this song would be the legendary performer's final Pop chart entry.

ReduxReview:  Yeah, this has Foster's hand all over it. I'm surprised he didn't produce the recording as it sounds quite similar to what he was doing for Chicago at the time, especially with Peter Cetera's voice on board (see below). In this case, it is a good thing as it's arguably the best song Anka had done since his 70s comeback period. It should have done a bit better, but I'm sure Pop radio wasn't all that interested in promoting an old guard artist. If this had been given a full Foster production and done as a "duet" with Chicago, this would have done a lot better. Regardless, it was a solid song to end Anka's Pop chart career.

ReduxRating:  7/10

Trivia:  Double Shot!  1) David Foster co-wrote this song with Anka. But even though Foster did not produce the tune, his connections came in handy. Peter Cetera, the lead singer of Chicago, dropped in to sing the vocals on this track. Foster had helped to revitalize Chicago recently guiding them to their first #1 hit in six years, "Hard to Say I'm Sorry." Michael McDonald also lent his pipes to three of the songs he co-wrote with Anka for the album.  2) During the sessions for this album, Anka co-wrote a song with Michael Jackson. Intended as a duet, "I Never Heard" was recorded in a demo version by the pair. Issues arose (a long story about Jackson allegedly stealing the master tapes from Anka's studio) and the project was shelved. In 1991, the song did see the light of day when Puerto Rican singer Sa-Fire recorded it for her album I Wasn't Born Yesterday. Then in 2009, to help promote his upcoming tour Jackson recorded a song titled "This Is It." Unfortunately, his death put a halt to everything and the song was not released. Later, Sony revived the song to help promote the film "Michael Jackson's This Is It." With Jackson's brothers adding vocals, the song was issued to radio stations for airplay. Very quickly, listeners recognized the song as being the same as the one Sa-Fire recorded. The unfortunate thing is that Anka was not given credit. Apparently, no one on Jackson's estate team realized that the song was originally written and recorded by the pair since the title had been changed and only Jackson's name appeared on the recording. Anka called foul and the estate recognized the mistake and fixed it. In 2013, Anka released his duet version with Jackson keeping the "This Is It" title. It appeared on Anka's Duets LP.  Another song the pair wrote was later uncovered called "Love Never Felt So Good." It was reworked for the 2014 posthumous Jackson album Xscape and got issued as a single. It reached #9 on the Pop chart.

_________________________________________________________________________________

"Juicy Fruit" by Mtume

Gold Record Alert!

Song#:  1493
Date:  06/18/1983
Debut:  92
Peak:  45
Weeks:  12
Genre:  Funk, R&B



Pop Bits:  Percussionist James Mtume's career got a major boost when he began recording and performing with jazz great Miles Davis in 1972. After his association with Davis ended, Mtume set out to record with his own group. After a couple indie jazz releases, Mtume developed a funk/soul band that featured an old pal from the Davis days, guitarist Reggie Lucas, and vocalist Tawatha Agee. They signed to Epic records and issued their debut LP, Kiss This World Goodbye, in 1978. It didn't set the world on fire, but its follow-up, In Search of the Rainbow Seekers, got enough attention at R&B and Dance to call for a third album. Juicy Fruit would prove to be the band's breakthrough when this title track single would hit #1 at R&B. The song would stay at the top of that chart for eight weeks. Although it would end up being shut out of the Pop Top 40, the song would be popular enough to be certified gold.

ReduxReview:  I remember this being a huge R&B hit back then, but sadly I never got to hear it. Being from a small town where R&B was not one of the local radio formats, chances were slim I was gonna hear this song unless I caught it on TV somewhere or bought it. The group name and song title intrigued me, but I didn't pursue it. I didn't get to hear the song until years later. By that time it sounded like a lesser effort from Prince so I wasn't that hip on it. I do like the tune and recognize its influence, but it's not one of my favorites.

ReduxRating:  6/10

Trivia:  Triple Shot!  1) Before they hit big with this song, Mtume and Lucas were already Grammy winners. The pair wrote and produced the 1980 Stephanie Mills hit "I Never Knew Love Like This Before" (#6 Pop, #3 R&B). The song would win the Grammy for Best R&B Song.  2) While this song was riding high on the charts, Lucas was busy co-writing and co-producing an album for a new artist by the name of Madonna. He would have a hand in the hits "Lucky Star" and "Borderline," as well as four other tracks on Madonna's hit debut LP.  3) This song has been highly sampled over the years and was used in two other R&B #1 hits. The Notorious B.I.G. used the song in his debut single "Juicy" in 1994 and singer Keyshia Cole used it in her 2007 #1 hit "Let It Go."

_________________________________________________________________________________

"Stand By" by Roman Holliday

Song#:  1492
Date:  06/18/1983
Debut:  95
Peak:  54
Weeks:  9
Genre:  Swing, New Wave



Pop Bits:  The swing revival sound of this seven-man British band got the attention of Arista Records who signed the band to their offshoot Jive label. They prepared a self-titled debut EP that featured this first single. With lots of interest in retro styles (thanks to the rockabilly revival of The Stray Cats), the song got some attention at radio and on MTV. It was enough to get the single near the top half of the Pop chart. The song would stall at #61 in their UK homeland.

ReduxReview:  I don't mind me some good revival of a style once in a while, but I'm not real crazy about this one. I have a feeling that this band was probably far better in concert than on record where their energy couldn't be fully captured. The song is just okay. It's one that doesn't stick in my head for very long. I know I've got this on an 80s comp that I've played several times, but I couldn't remember a thing about it. Even after hearing it again, it still didn't ring a bell. That's usually not a good sign.

ReduxRating:  4/10

Trivia:  There were rumors that this band was initially a vehicle for singer Peter Noone of Herman's Hermits, who scored 11 Top 10 hits from '64 to '67. Unfortunately, the rumor is not true. When the band began to form in 1980, they did have a bassist named Peter Noone, but it was not the famous singer. In their heyday, Herman's Hermits rivaled the Beatles in popularity and sold out venues all over the place. There is also a famous story that when The Who did their very first US tour in 1967, they were the opening act for Herman's Hermits. This one is true. Hard to believe now.

_________________________________________________________________________________

"Hot Girls in Love" by Loverboy

Song#:  1491
Date:  06/11/1983
Debut:  60
Peak:  11
Weeks:  16
Genre:  Rock



Pop Bits:  With two successful multi-platinum albums under their belt, Loverboy set out to record their third. Keep It Up would be another hit for them reaching #7. It would eventually go double platinum thanks in part to this first single that just barely missed out on the Top 10. It would be their second #2 Rock hit ("Working for the Weekend" was their first).

ReduxReview:  I thought this was a dumb song. I liked Loverboy's previous singles, but this one was completely lost on me. I considered it insipid horny teenage boy fodder, which it was. And still is. Fortunately it's not as horrible as I remember. It's a solid rock song with a slight blues boogie that did its job in expanding Loverboy's fan base. However, I'd rather listen to their other hits.

ReduxRating:  5/10

Trivia:  This song was covered by the glam rock band The Cherry Bombz in 1985. The band was made up of members of the Finnish rock bank Hanoi Rocks and singer Anita Chellemah. Chellemah, previously known as Anita Mahaderlan, sang in the British new wave vocal group Toto Coelo (aka Total Coelo in the US). The group had a hit with the oddball tune "I Eat Cannibals" in 1983. The Cherry Bombz released several singles including a remake of this Loverboy song, but nothing caught on and the band broke up the following year. Hanoi Rocks were known in the US, but had not yet broke through on the charts. They issued five albums between 1982 and 1985 before breaking up after their drummer, Razzle, died in a car accident. Mötley Crüe's Vince Neil was driving the car that struck another vehicle. Razzle died at the scene while the two people in the other car suffered major injuries. Neil was charged vehicular manslaughter and DUI.
_________________________________________________________________________________

"Cuts Like a Knife" by Bryan Adams

Song#:  1490
Date:  06/11/1983
Debut:  69
Peak:  15
Weeks:  14
Genre:  Rock



Pop Bits:  Adams broke through on the Pop chart with the single "Straight from the Heart," taken from his third LP Cuts Like a Knife. The song would become his first Top 10 hit reaching #10. This second title-track single did almost as well, but fell just short of the Top 10. It would reach #6 at Rock. In his home country of Canada, the rocker still hadn't scored a Top 10 hit, but this one got close reaching #12.

ReduxReview:  I wasn't really diggin' Adams when "Straight from the Heart" came out and this one didn't do much to change my mind. I do think this is a better song though. I admit I'm a sucker for most any tune that does a good "na na na" section and it's the best part of the song for me. Beyond that, it's a good rock tune that shows Adams' potential.

ReduxRating:  6/10

Trivia:  Adams and his writing partner Jim Vallance wrote songs not only for Adams, but other artists as well. Sometimes it works out, sometimes it doesn't. Earlier in the 80s, Adams and Vallance collaborated with Kiss member Eric Carr on a song titled "Don't Leave Me Lonely." Carr ended up recording a demo of the song for possible inclusion on the 1982 Kiss LP Creatures of the Night. Unfortunately, the style of the song didn't fit with the others selected for the album and it ended up not getting recorded by the band. Adams revived the song and recorded it for Cuts Like a Knife.

_________________________________________________________________________________

"Rock of Ages" by Def Leppard

Song#:  1489
Date:  06/11/1983
Debut:  75
Peak:  16
Weeks:  15
Genre:  Hard Rock



Pop Bits:  With the help of producer Robert "Mutt" Lange, Def Leppard refined their metal sound and scored a #1 Rock hit (#12 Pop) with "Photograph," the lead single from their third album Pyromania. This next single supplied similar results reaching #1 at Rock and hitting the Pop Top 20. It was a one-two punch that made them worldwide stars and put pop-metal on the map.

ReduxReview:  This was a terrific follow-up song to "Photograph" and another classic in their catalog. Back in the day I actually kind of got sick of these singles from the group as they were so popular in my area and on MTV. The songs just got played to death. So for a long while after I didn't have much interest in listening to Pyromania. Enough time has past that now I can hear these once again and totally love them.

ReduxRating:  8/10

Trivia:  Double Shot!  1) Mutt Lange is one of the great rock producers, but he is very precise. His want for perfection typically leads to numerous takes of a song. During the recording sessions he would typically begin each take with a count off like "one...two...three...four" and the band would start. While recording "Rock of Ages," there were so many takes that soon Lange was just using nonsensical words for the count off. On one specific take he channeled the German language and said something like "gunter glieben glauchen globen." Again, the words were meaningless, but the band liked it so much that they decided to not edit it out and left Lange's mutterings at the beginning of the song.  2) Apparently, Joe Elliott came up with the song title thanks to a hymn book left by a member of a children's choir that had just used the studio. He saw the hymn titled "Rock of Ages" and though it would fit with a song they had been working up.

_________________________________________________________________________________

"Solid Rock" by Goanna

Song#:  1488
Date:  06/11/1983
Debut:  87
Peak:  71
Weeks:  7
Genre:  Rock



Pop Bits:  This Australian band led by Shane Howard made a big statement with this politically charged single. Kicking around since 1977, the group gained a following and even did an Australian tour supporting James Taylor. Warner Bros. took notice and signed the band. Initially, the label was a bit gun shy in releasing this song as Goanna's first single, fearing that its serious topic and tone was too heavy for pop radio. But Howard convinced them to release it and the tune struck a nerve. It would end up reaching #2 on the Australian chart. Its success prompted Warner to release the single in other countries including the US. Hopes were not high that the very Australian tune would catch on, but it did better than expected with Rock radio supporting the tune (#31). The exposure there helped the song get on the Pop chart for a few weeks. It would be their lone chart entry. Goanna would have a few more chart entries in Australia, but it was this song that would make them a part of their home country's cultural history.

ReduxReview:  I had never heard of this song and I wasn't sure what to expect. An Australian political rock song with didgeridoo wasn't really enticing to me. I was kind of expecting something akin to "Tie Me Kangaroo Down Sport" (Rolf Harris, #3, 1963) crossed with "Blowin' in the Wind" (Bob Dylan, 1963), but what I heard was a terrific song that had more in common with U2 or Midnight Oil. The driving beat, anthematic chorus, and potent lyrics make this a winner.

ReduxRating:  8/10

Trivia:  Double Shot!  1) Howard's inspiration for the song came from a camping trip he took to Uluru (aka Ayers Rock) near Alice Springs. He was shocked at how the indigenous people there were treated and the inequality between them and the main population that had funneled in from Europe. In many ways, it was similar to what happened with the American Indians in North America. Being from a port city near Melbourne, Howard had little first-hand experience with the plight of the Aborigines, but his trip provided a lot of insight. He put it all to song and "Solid Rock" became one of Australia's most famous political rock songs.  2) From what I can tell, this is the first rock tune on the US charts to feature a didgeridoo. The Australian wind instrument can be heard at the very beginning. Although the didgeridoo has been included in other songs (such as Kate Bush's 1982 song "The Dreaming," which hit #48 UK/#91 AU), it seems to have made its US chart debut with "Solid Rock."

_________________________________________________________________________________

"Space Age Whiz Kids" by Joe Walsh

Song#:  1487
Date:  06/11/1983
Debut:  89
Peak:  52
Weeks:  8
Genre:  Rock



Pop Bits:  Walsh grabbed his last Pop Top 40 hit (#1 Rock) in 1981 with "Life of Illusion" from his LP There Goes the Neighborhood. It was his fifth solo album and his fifth to hit the Top 20. Two years later, Walsh issued the follow-up You Bought It - You Name It and this first single led the way. Unfortunately, it didn't get very far. The song stopped halfway up the Pop chart while only getting to #21 at Rock. It would end up being his last song to hit the Pop chart. The lack of interest affected the album becoming his first to miss the Top 20 (#48). Walsh would go on to record several more albums and grab four more Rock Top 10 songs, but nothing would do as well as his earlier releases.

ReduxReview:  Walsh's ode to his pinball generation vs. the new arcade gamers is kind of a fun tune with some studio trickery helping it along. It's not a great song and the lyrics are more comedic than serious commentary, but that's basically what I'd expect from Walsh anyway. I was kind of bummed when his 1991 song "Ordinary Average Guy" didn't crack the chart. I thought it was his best effort since his heyday and a good candidate for the Top 40 (at least it hit #3 at Rock).

ReduxRating:  5/10

Trivia:  Beginning in 1997, Walsh made guest appearances on TV sitcom "The Drew Carey Show." Walsh first appeared on an episode as himself then later became a recurring character named Ed. He appeared in six episodes between 1998 and 2001.

_________________________________________________________________________________

"Every Breath You Take" by The Police

#1 Alert!

Gold Record Alert!

Grammy Alert!

Rated 10 Alert!

Song#:  1486
Date:  06/04/1983
Debut:  36
Peak:  1 (8 weeks)
Weeks:  22
Genre:  Rock



Pop Bits:  This trio had their biggest hit to-date when "Every Little Thing She Does Is Magic" hit #3 in 1981. It helped to make their album Ghost in the Machine their best showing as well (#2, multi-platinum). After a brief respite, the band got back together to record what would end up being their final LP, Synchronicity. By this point they were already worldwide stars, but the new album would take them to a whole new level of stardom. It all began with this biting first single that debuted within the Top 40. With the help of a heavily rotated MTV video, the song skyrocketed to #1 (#1 Rock, #5 AC) and stayed there for a solid eight weeks. It would become the #1 chart single of the year and the best-selling single of the year. The album was hugely successful peaking at #1 for seventeen weeks. It would receive a Grammy nod for Album of the Year, but it happened to be the same year as Michael Jackson's Thriller sweep. This song would be nominated for Record of the Year and Song of the Year with Sting taking home the trophy for Song of the Year. The band would also walk away with one more trophy for Best Pop Vocal Group.

ReduxReview:  I think what made this such a hit was its cross-genre/cross-generation appeal and the fact that it was a simple song. It has an easy chord structure under a great melody that most anyone can sing and remember. It is near perfect pop. The odd thing is how misinterpreted the lyrics are. The tune is about an obsessed stalker, yet many folks hear it as a love song. It has even been played at weddings. If I was getting married and my partner suggested this for a wedding song, I'd probably run away. I was already diggin' The Police at the time, but this song and album made me a big fan (along with millions of others...).

ReduxRating:  10/10

Trivia:  Double Shot!  1) Around this time the band was not getting along and tensions were high. Each member ended up recording their part in separate rooms. Sting and Stewart Copeland were really at odds and their arguments became more intense and started coming to blows. At one point during the recording of this song, the band almost pulled the plug on the whole thing. But their manager (who happened to be Copeland's brother Miles) intervened and the band agreed to move ahead.  2) In 1997, Puff Daddy recorded his tribute song to The Notorious B.I.G. "I'll Be Missing You," which samples this song. It was a case of do now, ask forgiveness later as Puff Daddy released the song without getting permission from Sting to use the sample. Luckily, it worked out fine and Sting got a writing credit. The song would top the chart for 11 weeks. Combine those weeks with the 8 from the song's original release, and at 19 weeks the composition could be considered the longest running #1 in chart history, based on multiple recordings. (By contrast, the single that has spent the most weeks at #1 was the Boyz II Men/Mariah Carey duet "One Sweet Day," which spent 16 weeks at #1 beginning in 1995.)

_________________________________________________________________________________

"Is There Something I Should Know" by Duran Duran

Top 10 Alert!

Song#:  1485
Date:  06/04/1983
Debut:  57
Peak:  4
Weeks:  17
Genre:  New Wave



Pop Bits:  Although it took a while to do, Duran Duran finally broke through to the US market when "Hungry Like the Wolf" made a splash reaching #3. The delayed reaction accompanied with a US remix of their album "Rio" left UK fans in a waiting period. To close the gap between their second and third albums, this stand-alone single was issued. It more than did its job in the UK where it became the band's first #1 single. The US responded well taking the song to #4 (#3 Rock, #34 Dance). In order for the US to catch up on Duran mania, their self-titled debut album was reissued in the US with this track added. The LP would reach #10 two years after its initial release in the UK.

ReduxReview:  It's hard to ignore a song that has such a big opening blast. Luckily, the rest of the song supported it and the band ended up with another major hit. I'm sure it was a lack of money that kept me from purchasing their first two albums, but I had the singles and loved them. They certainly knew how to toss out some great riffs and memorable choruses. "Hungry" was their classic and "Rio" was a quality follow-up, but if I had to choose one of their songs to listen to, I'd probably pick this one.

ReduxRating:  9/10

Trivia:  If you are both a "Star Wars" and Duran Duran fan, you are in luck! For the b-side to this song the band recorded an instrumental titled "Faith in This Colour." On the initial 7-inch pressings of the single, this song included unauthorized sound samples from the film "Star Wars." Of course, it immediately got pulled and a non-sample version was issued. However, the Alternative Slow Mix of the song, which can be found on their "Singles Box Set 1981-1985," seems to contain some modified sounds from the film in the final minute.

_________________________________________________________________________________

"Stand Back" by Stevie Nicks

Top 10 Alert!

Song#:  1484
Date:  06/04/1983
Debut:  60
Peak:  5
Weeks:  19
Genre:  Rock



Pop Bits:  Nicks' debut solo album, Bella Donna, reached #1 and would be a multi-platinum seller thanks to four Top 40 hits including the #3 "Stop Draggin' My Heart Around." After Fleetwood Mac got off the road from their Mirage tour, Nicks headed back into the studio to record her follow-up. The Wild Heart would be another multi-platinum success for her reaching #5. This first single peaked at the same position to become her third Top 10 solo hit. It was also a smash at rock radio reaching #2.

ReduxReview:  Oh man I loved this song. This was the first track on side 2 of the album and I think I wore out the groove. There was also something really great about that album mix that sounded fantastic through my stereo. The synths were really meaty and it all had some extra reverb that made it sound like you were in an arena. It's one of a few recordings that to me never translated well to CD/digital. I still absolutely love it, but I'll never forget this song blasting through my Pioneer speakers and shaking the floor.

ReduxRating:  9/10

Trivia:  Nicks' inspiration for this song actually came on her wedding day. She and her new husband were driving when Prince's "Little Red Corvette" played on the radio. She got an idea for a song immediately and that evening recorded a quick demo. When it came time to record the song, she called Prince and told him the story. He then came to the studio and played the synth part for the recording. Nicks has said that Prince arrived, put down the synth track, and then just quickly left. She said it was like being in a dream. He would end up with a writing credit on the song thanks to its similarity to his "Little Red Corvette."

_________________________________________________________________________________

"1999" by Prince

Song#:  1483
Date:  06/04/1983
Debut:  70
Peak:  12
Weeks:  15
Genre:  R&B, Funk



Pop Bits:  This song was initially the first single released from Prince's album of the same name. First impressions at pop left it locked out of the Top 40 while Dance (#1) and R&B (#4) loved it. But then along came "Little Red Corvette" (#6 Pop, #15 R&B, #17 Rock) and things changed. Prince's star rose quite a bit after that hit and pop stations started to re-spin "1999." This time the song clicked at Pop and on its second chart go-around it just missed out on the Top 10.

ReduxReview:  There is not much more I can add to what I wrote in the earlier post for this song. However, since that original post, Prince has gotten stingy with his music on streaming services. All of his stuff has been removed from Spotify and even YouTube has been cleared. So I guess unless you already have a copy or wanna buy one (or join whatever freakin' service he's deemed worthy of his music), you won't be partying here like it's 1999.

ReduxRating:  9/10

Trivia:  The b-side of "1999" was the non-album track "How Come U Don't Call Me Anymore?" The ballad quickly became a fan fave and it ended up being covered by several artists including Alicia Keys. Keys recorded the song for her 2001 debut album Songs in A Minor. She adjusted the title to "How Come You Don't Call" and the tune was issued as the third single from the album. It would reach #59 Pop and #30 R&B.

_________________________________________________________________________________

"China Girl" by David Bowie

Top 10 Alert!

Song#:  1482
Date:  06/04/1983
Debut:  74
Peak:  10
Weeks:  18
Genre:  Rock, New Wave



Pop Bits:  Bowie's "Let's Dance" was sitting in the #2 spot awaiting its turn at #1 when this follow-up hit the chart. It would slowly make its way to #10 (#3 Rock, #51 Dance) and in doing so became the first time that Bowie scored back-to-back Top 10's from the same album. The success of these singles pushed the Let's Dance album to #4. After securing five gold LPs in the 70s, this one would be Bowie's first platinum certified studio LP.

ReduxReview:  Looking back, it's weird that I didn't fully hook into this song at the time. I kinda liked it, but mainly just shrugged my shoulders at it. As the years past, this song slowly crept up on my radar and has since become one of my favorites in the Bowie catalog. I love the mysterious groove, the sparse arrangement, the Nile Rodgers production, Stevie Ray Vaughan's guitar, and Bowie's vocal. Actually, if given the choice, I'd rather hear this song over "Let's Dance," but whereas "Let's Dance" is a classic of the era, this one falls just slightly short in the world of 80s pop. So I'll rate accordingly. But really, it's a 10+ for me.

ReduxRating:  9/10

Trivia:  This is actually a remake of a song co-written by Bowie and Iggy Pop that first appeared on Pop's 1977 album The Idiot. Apparently, Pop had been fascinated with a Vietnamese woman and she provided the inspiration for the song. This took place during Bowie's "Berlin years," the period he lived in the city ('76-'79) and recorded a trilogy of albums (Low, Heroes, and Lodger). Bowie also co-wrote and produced two albums for Pop including The Idiot and Lust for Life.

_________________________________________________________________________________

"Love Never Fails" by Greg Kihn Band

Song#:  1481
Date:  06/04/1983
Debut:  77
Peak:  59
Weeks:  6
Genre:  Rock



Pop Bits:  Kihn scored the biggest hit of his career when "Jeopardy" made it to #2. In turn, it made the album Kihnspiracy his best showing on the chart reaching #15. A second major hit single might have pushed the LP into the Top 10, but this follow-up tune would end up stalling outside of the Top 50.

ReduxReview:  Kihn's albums are strange. There is typically one hit-worthy song and then the balance is filled with good tunes, but nothing even close to being a chart contender. It's not a bad thing. One pop-oriented song to sell the album and then solid rockers to fill it out. It worked for him, but the lack of a follow-up hit kept him from reaching the upper echelons of rock stars. Here is another example. After the excellent "Jeopardy," this lesser quality tune was released. My guess it was chosen because it has a groove somewhat similar to "Jeopardy," but that doesn't translate into a hit. I think he would have had a better chance if the lovely pop track "Someday" was chosen instead. Other than that, there wasn't a good single contender on the LP to follow up the hit. Regardless, we were fed this weak one-chorded jam and it unsurprisingly failed.

ReduxRating:  4/10

Trivia:  Double Shot!  1) Thanks to "Jeopardy" hitting #1 on the Dance chart, this song got some spins as well. It wouldn't do great, but it did manage a #30 showing on the chart.  2) This song was the basis of a parody done by "Weird Al" Yankovic. "I Lost on Jeopardy" appeared on Yankovic's second album and it was issued as the LP's third single in 1984. It peaked at #81. By this time, the TV game show "Jeopardy!" had been off the air since 1979. However, four months after the release of Yankovic's song, the syndicated version of the show hosted by Alex Trebek premiered. It is still on the air and remains hugely popular. It is now the second longest running game show in history, right behind "Wheel of Fortune."

_________________________________________________________________________________

"Stop in the Name of Love" by The Hollies

Song#:  1480
Date:  06/04/1983
Debut:  79
Peak:  29
Weeks:  12
Genre:  Pop



Pop Bits:  This British Invasion group initially formed by schoolmates Allan Clarke and Graham Nash, scored seventeen Top 10 hits in the UK beginning in 1963. Although it took them a few more years to break in the US, eventually they did score six Top 10's Stateside. Their prime years were when Nash was with the band, but after he left in 1968 their fortunes dwindled. They were able to score a few hits like 1974's "The Air That I Breathe" (#2 UK, #6 US), but their heyday was long gone. As the 80s started, Nash got back together with the band to record a new song. That led to a full-on reunion and new album titled What Goes Around... This first single was issued and it became their first US Top 40 entry since 1974. It would also prove to be their last one as well. Nash stayed on for a tour and a live album, but departed once again. They would have more personnel changes over the years, but the band has never once split up. They continue to perform and occasionally record with original members Tony Hicks and Bobby Elliott leading the way.

ReduxReview:  I have loved The Hollies ever since I was a kid. I remember getting to play my brother's 45s and I was obsessed with "On a Carousel" (#11, 1967). He also had "Jennifer Eccles" (#40, 1968), which was pretty great too. Years later I bought a hits album by the group and played it to death. Since then I've gotten all of their Nash-years recordings and quite a few of their post-Nash outings. They didn't hit the mark all the time (their very early years were mostly meh remakes and the later years only had a few highlights), but when their formula added up, they were hard to beat. Their vocals and harmonies were awesome and many times (as on "Carousel") they sang with reckless abandon. It was magical and exciting. So when Nash rejoined the band, of course I was having fits! This is going to be so great! Well, some things are better left alone. Although not a total disaster, the album was not good. It was overproduced with screeching synths and included zero originals from the band. Even this first single just did not recapture the magic of days gone by. It's okay and there are certain passages different from the original that I like, but even their harmonies seem a little plastic and studio-ized. I was highly disappointed, but I took solace in listening to their prime era classics.

ReduxRating:  5/10

Trivia:  Double Shot!  1) Unless you've spent the last 50 years living in the backwoods with Nell, then you obviously know this is a remake of the 1965 Supremes hit. Their original version was the trio's fourth #1 in a consecutive string of five. Although the song has been covered by many artists, only The Hollies and soul singer Margie Joseph have charted with versions of the song (I'm discounting the song's appearance in a medley by the cast of "Glee" in 2010 - in fact, I discount most everything the "Glee" cast did). Joseph barely got on the chart with her single in 1971. It peaked at #96.  2) When Graham Nash was still with The Hollies, they experimented with their sound and issued the psychedelic album Butterfly. It was a failure. Undeterred, Nash wanted the group to record his new song "Marrakesh Express." The band didn't want to do it and preferred going back in a more pop-oriented direction and set out to record an album of Bob Dylan covers. Nash recorded one song with them, "Blowin' in the Wind," and then left the group. He then got together with Stephen Still and David Crosby and the trio recorded "Marrakesh Express." It would serve as Crosby, Stills & Nash's debut single. It reached #28 in 1969.

_________________________________________________________________________________

"Maniac" by Michael Sembello

#1 Alert!

One-Hit Wonder Alert!

Song#:  1479
Date:  06/04/1983
Debut:  89
Peak:  1 (2 week)
Weeks:  22
Genre:  Synthpop, Soundtrack, Dance



Pop Bits:  Philly musician/guitarist Sembello was quickly becoming a seasoned session player in his late teens. His work led to being the lead guitarist on the majority of tracks for Stevie Wonder's seminal 1976 album "Songs in the Key of Life." He also began to write songs that got picked up by several high-profile artists included Diana Ross and Donna Summer. As the 80s got underway, Paramount Pictures began searching for songs that would be included in their upcoming film "Flashdance." Sembello's wife gathered some of his demos and sent them to the studio. However, she mistakenly included a song called "Maniac," a crazy tune that Sembello had written with Dennis Matkosky. The studio loved the song and after a change in lyrics, it got included in the film and on the soundtrack. Featured in a famous montage scene in the movie, the song became popular enough to serve as the soundtrack's second single. The tune made a slow climb until it finally reached the top spot of the Pop chart (#6 Dance, #34 Rock, #34 AC). It would also be nominated for an Oscar for Best Original Song (it would be beaten out by Irene Cara's title-track). It made Sembello a star, but only briefly. Although he would grab a slight Top 40 follow-up, this lone hit got him labeled a one-hit wonder (#22 on VH1's list of Greatest One-Hit Wonders of the 80s).

ReduxReview:  Yeah, I loved this song back then. It wasn't as good as the title song, but the production was great and it zipped right along at a frantic pace. I loved the background "crazy crazy crazy" after the first chorus and the guitar solo was a highlight. I find it more of a relic of the times than something I'd really choose to listen to now, but the song was great for the movie and the era.

ReduxRating:  8/10

Trivia:  The original inspiration for this song came from the 1980 slasher film "Maniac." The low-budget thriller set the wheels in motion for co-writer Matkosky and with Sembello the song took form and was completed. The original lyrics pertained to a serial killer, but Flashdance album producer Phil Ramone asked if the song could be about a woman who is manic about dancing (i.e., kind of what the film was about). The lyrics were updated and eventually the song became an 80s #1 classic.

_________________________________________________________________________________

"Love Is the Key" by Maze featuring Frankie Beverly

Song#:  1478
Date:  06/04/1983
Debut:  90
Peak:  80
Weeks:  5
Genre:  Soul, R&B



Pop Bits:  This California soul outfit, founded by lead singer Frankie Beverly, began as Raw Soul in the early 70s. The band recorded some singles at the time, but nothing panned out. Meanwhile, their reputation as a live act grew and eventually caught the attention of superstar Marvin Gaye. He took the band on the road with him and also suggested they make a name change to Maze. The newly christened group signed with Capitol Records and issued their debut album in 1977. It was a gold-level success and they were on their way. Although they continually scored gold albums and Top 10 R&B singles, they were never very successful at crossing over to the Pop chart. Their biggest success would be 1979's "Feel That You're Feelin'," which would reach #67. Their fifth studio album, "We Are One," would be their best charting Pop album hitting #25 (#5 R&B) thanks in part to this single that spent a few weeks on the Pop chart. It would be their fifth R&B Top 10 and their biggest hit to-date getting to #5.

ReduxReview:  The party noises seem to be a nod to Gaye's "Got to Give It Up" (#1, 1977), but it's not nearly as classic or fun as that single. However, it is another quality entry from the band who, although highly successful, never got the crossover recognition that other R&B bands of the time did (i.e., The Gap Band, The Commodores, etc.). They may have been a little bit too soul-heavy for pop and that didn't necessarily fit well with the pop/new wave of the time. I read somewhere that they were once called "the best kept secret in R&B" and I can believe that. They stealthily grabbed hits and gold albums for more than a decade without really reaching superstar status (outside of the R&B market).

ReduxRating:  6/10

Trivia:  Between 1977 and 1993, Maze released eight studio album. All made it into the R&B Top 10 with two of them hitting #1. All of the albums reached gold level. Since they did not record any further studio album past 1993, that means all of their studio output sold at gold level. They also had a live album and a compilation hit gold as well.

_________________________________________________________________________________

"China" by Red Rockers

Song#:  1477
Date:  06/04/1983
Debut:  92
Peak:  53
Weeks:  10
Genre:  Rock



Pop Bits:  This New Orleans band began in 1979 and immersed themselves in the sounds of the new punk scene. Their first two indie releases, an EP and a full-length, were critical successes and they found themselves touring with the likes of The Clash. Their second full album, "Good As Gold," brought about an affiliation with Columbia Records and a change in sound. They toned down the punk and moved into a more polished new wave style that caught critics and fans off guard. However, MTV and radio approved of the change and this first single reached #19 at Rock while almost hitting the Pop Top 50. It would end up being their only Pop chart entry. The band's sound continued to evolve on their next album, but it failed to do any real business and soon after they called it a day.

ReduxReview:  Listening to this I'd never suspect these guys were initially a Clash-lite punk group. They sound very Euro-new wave here with more in common with The Psychedelic Furs. (To hear the difference, check out "Teenage Underground" from their first album on YouTube.) Hardcore fans most likely hated the change to a more mainstream sound, but I think it suits them just fine. I like the song and the ringing, almost epic production. While they probably lost fans due to the change, they may have picked up more thanks to this song. Yeah, it may not be as intense, political or pointed as their earlier punk outings, but there is a lot here to like as well.

ReduxRating:  6/10

Trivia:  How drastically had the Red Rockers' sound changed? So much so that one track from "Good As Gold" wound up on the Dance chart. "'Til It All Falls Down" would be a blip on the chart reaching #45.

_________________________________________________________________________________

"Fade Away" by Loz Netto

Song#:  1476
Date:  06/04/1983
Debut:  92
Peak:  82
Weeks:  6
Genre:  Rock, Synthpop



Pop Bits:  Netto initially found a bit of fame with the band Sniff 'n' the Tears. The London band had a hit 1979 with "Driver's Seat," which reached #15 in the US. It was their only chart entry. Netto left the band after their second album to pursue a solo career. He got signed to Polydor and recorded his debut LP "Loz Netto's Bzar." This first single got some notice and made it to the Pop chart for a few weeks. It was enough to call for a second album, but it failed to generate any interest. Netto issued a couple more albums on other labels such as Atlantic, but nothing really came from them. This song would be his only solo chart entry.

ReduxReview:  I guess the best thing I can say about this tune is that it is interesting. I like the production and the guitar hook in the latter half, but as a whole it's not strong enough to be a chart contender. It chugs along just fine, but there is little here that remains memorable. A nice effort and pleasant listen, but that's about it.

ReduxRating:  5/10

Trivia:  Double Shot!  1) The Sniff 'n' the Tears hit "Driver's Seat" was a hit in several countries but could only muster a mild #42 in their UK homeland. It seems that the plant making the vinyl singles of the song had issues and could not press them. So after the band appeared on "Top of the Pops," there were no singles to be sold. The lack of product helped cause the song to fade out early on the chart. Fortunately, the single reached the Top 20 in several countries including the US. In the Netherlands the song reaching #8. It got a second life there in 1991 when it was featured on a TV commercial. The tune became popular all over again and a single was issued. This time it reached #1 on that country's chart.  2) Netto's debut album included the song "Slow Dancing." The song ended up getting recorded by Chaka Khan in a duet with Rick James. It was included on Khan's 1982 self-titled album. It was not issued as a single. Former Eagles member Joe Walsh also recorded the song for his 1985 album "The Confessor."

_________________________________________________________________________________

"Keep It Confidential" by Nona Hendryx

Song#:  1475
Date:  06/04/1983
Debut:  95
Peak:  91
Weeks:  3
Genre:  R&B



Pop Bits:  Hendryx began her career in the early 60s as a member of The Blue Bells with Patti Labelle and Sarah Dash (and for a short time Cindy Birdsong). The trio hit it big as Labelle in 1974 with their #1 hit "Lady Marmalade," but tensions in the group led to their breakup in 1976. Each member set out on a solo career with Labelle having the most success. Hendryx, known for her wild style and music experimentation released her first solo album in 1977. Although it got good notices thanks to her mix of soul and hard rock, the album tanked and she was let go from her label. After that, she started doing a lot of session work for major artists and toured with bands like Talking Heads. She wouldn't record another solo album until 1982's "Nona." Cutting back on the rock and taking a more traditional dance/R&B approach proved to be a better commercial fit for her as this single demonstrated by its #22 R&B/#25 Dance results showed. Pop wasn't all that interested and the song floundered at the bottom of the chart for a few weeks.

ReduxReview:  Hendryx certainly changed up her sound since her debut five years earlier. (That self-titled LP is a pretty great rock album, so check it out.)  This song certainly ditches the rock in favor of mainstream pop/R&B and it works well for her. She is a solid writer and a vocal powerhouse. I don't think I'd call this one a chart topper, but it certainly should have done better than scraping the bottom few notches. I prefer her more rock-oriented tunes, but this is a nice departure.

ReduxRating:  7/10

Trivia:  Although her next two albums wouldn't generate any hits, her 1985 album "The Heat" contained the song "Rock This House," which featured Keith Richards. The recording got her a Grammy nod for Best Rock Female Vocal.

_________________________________________________________________________________

"Wanna Be Startin' Somethin'" by Michael Jackson

Top 10 Alert!

Song#:  1474
Date:  05/28/1983
Debut:  41
Peak:  5
Weeks:  15
Genre:  R&B



Pop Bits:  After the back-to-back #1's of "Billie Jean" and "Beat It," Jackson issued this fourth single from his mega-hit album "Thriller." Although it didn't have a video like the previous two hits to help it along, the song easily went to #5 at both Pop and R&B. Jackson originally wrote the song for his sister La Toya, but then decided to record the tune himself. It was initially recorded in his "Off the Wall" sessions, but was not chosen to be on the album. He then rerecorded the tune for "Thriller" and this time it made the cut serving as the album's lead cut. The song was nominated for a Grammy for Best R&B Song, but it lost to another "Thriller" track "Billie Jean."

ReduxReview:  Ah, the genius of Michael Jackson. I mean, there are very few people who could write an entire song around two chords and make it into something exciting and awesome. This thing has hooks all over the place, and not just in the melody - the bass line, the horns, etc. I played this song quite a bit back in the day. I thought it was, well...thrilling. It's definitely not as classic as "Billie Jean" or "Beat It," but it comes pretty close.

ReduxRating:  8/10

Trivia:  It seems the famous phrase used in this song, "mama say mama sa mama ko-sa," was an adaptation of a phrase used in the song "Soul Makossa" by Manu Dibango. That song reached #35 on the Pop chart in 1973. It was Dibango's only chart entry. The similarity between the phrases was not lost on Dibango who sued Jackson. Jackson freely admitted he did borrow from Dibango's song and settled out of court with Dibango. Unfortunately, in 2007 when Jackson and his label gave approval for Rihanna to use samples of "Wanna Be" in her song "Don't Stop the Music" (#3), they forgot about getting permission from Dibango as well because the samples Rihanna used contained the disputed phrase. Dibango balked again and while awaiting resolution on credits and royalties, Dibango sued both artists for damages stemming from the incident. That case was thrown out, but the matter of credit and royalties worked itself out.

_________________________________________________________________________________

"Baby Jane" by Rod Stewart

Song#:  1473
Date:  05/28/1983
Debut:  53
Peak:  14
Weeks:  14
Genre:  Rock



Pop Bits:  Although his star was cooling off a bit as the decade started, Stewart still managed to grab a platinum album with 1981's "Tonight I'm Yours," which got a boost thanks to the hit "Young Turks" (#5 Pop). Two years later, Stewart issued his next effort "Body Wishes" and this song became the LP's lead single. Staying in the similar synthpop vein as the previous album's singles, the song would be a major hit for him in the UK where it reached #1 (his sixth and last UK #1 to-date). Stateside, the tune did okay, but it missed out on the Top 10 - his first lead single from an album to miss since 1975. The LP was greeted with poor reviews and although it would still end up reaching platinum status, its #30 peak would be his worst showing studio album since his solo debut in 1969.

ReduxReview:  I really disliked this song when it came out. I thought it was a weak tune that found Stewart kind of whining his way through it. I remember thinking, "wait...this is the same guy who did 'Maggie May' and 'The Killing of Georgie'? Yeesh." His other 80s singles were nothing to write home about, but they were better than this. I don't quite hear it like that anymore, but I still would not consider it anywhere among his best songs. I guess the best thing I can say about the song is that it did it's job and sold some records. Other than that...eh...

ReduxRating:  5/10

Trivia:  The cover of the "Body Wishes" album may look very familiar to Elvis Presley fans. It mimics the cover done for Presley's 1959 album "50,000,000 Elvis Fans Can't Be Wrong." Stewart is not the only artist to pay tribute/parody the album title and cover. Artist like Bon Jovi and The Fall have based their titles/art work on the Presley LP.

_________________________________________________________________________________

"Roll Me Away" by Bob Seger & the Silver Bullet Band

Song#:  1472
Date:  05/28/1983
Debut:  55
Peak:  27
Weeks:  10
Genre:  Rock



Pop Bits:  Seger's album "The Distance" was doing well thanks to the #2 showing of "Shame on the Moon" (#1 AC/#15 Country) and the #12 "Even Now" (#2 Rock). This third single tried to keep things going, but it just wasn't quite as successful. It only managed to get inside the Pop Top 30 while hitting #13 at Rock. Both "Even Now" and this song were far more rock oriented and didn't fully speak to the crossover audience that took his previous studio album, "Against the Wind," to #1. Although "The Distance" would reach #5 and go platinum, it was a steep drop from its multi-platinum predecessors.

ReduxReview:  Heartland rockers like Seger and John Mellencamp were often compared to Bruce Springsteen in an unflattering way. I remember reading several reviews back then that would call either Seger or Mellencamp a "poor-man's Springsteen." That was a pretty shitty statement because basically they were saying that people who love those two artists were not really smart enough to understand Springsteen's music and that even the artists themselves pale in comparison. I don't think either is true. Each artist had fans from all walks of life and each artist had their own unique sound and awesome music. That's been proven out over the years and the crappy comparison eventually stopped, but at a time when Heartland rock was nearing its peak, most reviewers thought Springsteen farted sunshine and any others were cloudy imitators. The weird reason I bring this up is two-fold. First, the whole "Mask" controversy (see below - BTW, Seger's songs were better in the film, especially this song) and second, this is the one time I'd actually compare Seger with Springsteen. The song has that big epic sound and vision that reminds me of a few Springsteen songs. However, this is all Seger to me. It's not a song I can hear Springsteen performing and that's the difference. It's just Seger showing that he can be an epic heartland storyteller and do it just as well as anybody else. I absolutely love it. The song has become my favorite from Seger's catalog.

ReduxRating:  9/10

Trivia:  The 1985 movie "Mask" starring Cher and Eric Stoltz was originally supposed to feature songs from Bruce Springsteen's catalog. Based on the life of Rocky Dennis, director Peter Bogdanovich selected Springsteen songs to be used in the film because Springsteen was Dennis' favorite singer. However, talks between the film company and Springsteen's label for use of the songs broke down. Bogdanovich was forced to get other songs and he chose ones by Seger. This particular song was used at the end of the film while a few other Seger songs like "Katmandu," "Mainstreet," and "Rock 'n' Roll Never Forgets" were featured. Later in 2004, a Director's Cut of the film restored the Springsteen songs as originally intended after rights to use them were secured. So instead of "Roll Me Away" being the final song, Springsteen's "The Promised Land" was used. The other Springsteen songs used in the Director's Cut that replaced the Seger tunes were "Thunder Road," "The River," "Born in the U.S.A." and "Badlands."

_________________________________________________________________________________

"She Works Hard for the Money" by Donna Summer

Top 10 Alert!

Song#:  1471
Date:  05/28/1983
Debut:  67

Peak:  3

Weeks:  21
Genre:  R&B, Dance



Pop Bits:  Summer's self-titled second album for the Geffen label was another gold success thanks to the #10 showing of "Love Is in Control (Finger on the Trigger)" (#3 Dance, #4 R&B). She had moved from her home label of Casablanca to Geffen after issues arose with label head Neil Bogart. But being at Geffen was no picnic either as she found out when her second album for the label got shelved and she was then forced to release one with Quincy Jones at the helm. Meanwhile, lawsuits were still being settled with Polygram (who took over Casablanca) and it was determined that Summer owed her old label one more album. Oddly, this gave her a bit of freedom and she chose to bring in producer Michael Omartian. He and Summer co-wrote most all of the tracks for the album "She Works Hard for the Money." This title track was issued as the first single and it hit pretty big. The song hit #1 at R&B while reaching #3 at both Dance and Pop. It would propel the album to #9 at Pop and #5 R&B. The album and single would be her biggest hits since 1979. The song got Summer a Grammy nod for Best Pop Vocal Performance, Female.

ReduxReview:  With all the label and producer turmoil she had been going through, it was probably a nice relief for Summer to get hooked into the right producer/co-writer and get back to the music. This song is really a return to form and she just sounds inspired and freer that she has in years. It was the perfect vehicle to get her back near the top of the chart. Summer already had a few iconic songs in her catalog and she added another with this stellar outing. Although she would go on to have a late '80s hit (1989's #7 "This Time I Know It's for Real"), this would be the pinnacle of her success in the decade.

ReduxRating:  8/10

Trivia:  Double Shot!  1) Summer based this song on an actual person she encountered at a restaurant. While dining at the famous Chasen's restaurant in L.A., Summer happened upon a restroom attendant who had fallen asleep. Summer startled her and the attendant, Onetta Johnson, apologized and explained that she works a full-time job during they day as well and she was just exhausted. Apparently, Summer thought at the moment "she works hard for the money" and that began the song. In addition to being the inspiration for the tune, Johnson also appears with Summer on the back cover of the album.  2) The memorable video was also very popular at the time and MTV put it into heavy rotation. That made Summer the first African American female to have a video get to that status on the channel. The video also got her two MTV Video Music Awards nominations for Best Female Video and Best Choreography. Again, she was the first African American female artist to receive nominations.

_________________________________________________________________________________

"(Keep Feeling) Fascination" by Human League

Top 10 Alert!

Song#:  1470
Date:  05/28/1983
Debut:  72
Peak:  8
Weeks:  20
Genre:  Synthpop, New Wave



Pop Bits:  The band scored a major #1 hit in the US and UK with "Don't You Want Me" from their album "Dare!" Unfortunately, none of the follow-up singles from the album could get on the US Pop chart. However, in the UK the album spawned two more Top 10's while two new non-album singles, "Mirror Man" and this song, became hits with both reaching #2. While prepping their new album, they needed something to keep their US audience interested, so the two new songs combined with three others formed the EP "Fascination!" This song was issued as the first single and it got them back into the Pop Top 10 (#1 Dance, #14 Rock, #56 R&B). The EP would do well reaching #22.

ReduxReview:  As if the bass line, the synth lick, the hand claps, and the groove weren't enough to sell this song, they then toss in a solid chorus and cool vocal arrangement to cap it all off. It worked perfectly. I think some folks back then were wondering if the band was going to be a US one-hit wonder, but this song certainly put that thought to bed. I remember playing this in the car with friends and we'd sing along with each of us taking a part in the verses - the girls and guys doing their specific parts. I would do my favorite part - the deep "hey, hey-ee-hey, hey!" It's not quite a classic like "Don't You Want Me," but it comes awfully close.

ReduxRating:  9/10

Trivia:  The unexpected success of the "Dare!" album posed a bit of a problem for Human League. The label wanted a follow-up asap, but the band was not prepared to record a new album right away. A stopgap recording was needed in order to maintain their momentum. "Dare!" producer Martin Rushent had done remixes of songs from the album to serve as b-sides. He proceeded to do more and had enough to fill an album. With the remixes being mostly instrumental, the album was assembled and released as by The League Unlimited Orchestra, which was a takeoff on Barry White's disco-era Love Unlimited Orchestra. The LP was a hit in the UK reaching #3 and going platinum. The US didn't bite and it only mustered a #135 showing. However, the US would get "Fascination!" and that kept fans happy.

_________________________________________________________________________________