Song#: 1649
Date: 10/15/1983
Debut: 89
Peak: 30
Weeks: 21
Genre: R&B
Pop Bits: Osborne's second solo LP, Stay with Me Tonight, got off to a great start with "Don't You Get So Mad" hitting #3 at R&B. The song also became his best Pop chart showing thus far reaching #25. This second title-track single, written by Chic's keyboardist Raymond Jones, continued Osborne's hot streak by topping out at #4 R&B. It also became this third Pop Top 30 entry. The album would be his second to hit #3 at R&B (#25 Pop) and his first to be certified at gold level.
ReduxReview: Osborne was beginning to grab some good material for his albums and this song is one of his best. I'm actually surprised this stalled on the Pop chart at #30. It's a terrific pop/R&B tune with an excellent 80s arrangement. With Lionel Richie and Michael Jackson clearing the way for more R&B to do well on the Pop chart, I thought this would surely be Osborne's breakthrough Top 10 hit. Alas, it was not. Nice guitar work from Paul Jackson, Jr. as well. Very tasty.
ReduxRating: 8/10
Trivia: The Stay with Me Tonight LP would contain a third R&B Top 10 hit. "Plane Love" would get enough airplay to reach #10 on the chart. Unfortunately, it did not make it to the Pop chart. The song was written by Hawk Wolinski, a member of the famous R&B band Rufus. At the time, another one of his songs was riding high on the charts. "Ain't Nobody," by Rufus featuring Chaka Khan made it to the top of the R&B chart while reaching #22 at Pop.
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Saturday, May 14, 2016
Friday, May 13, 2016
"Is This the End" by New Edition
Song#: 1648
Date: 10/15/1983
Debut: 90
Peak: 85
Weeks: 4
Genre: R&B
Pop Bits: This vocal group of teenagers had a hit right out of the gate with their debut single "Candy Girl." The bubble gummy tune would go to #1 at R&B while topping out at #17 on the Dance chart. Surprisingly, the Jackson 5-ish tune didn't impress Pop listeners and it peaked outside of the Top 40 at #45. For their second single, this ballad was issued. R&B listeners dug the tune and sent it to #7, but once again Pop wasn't that thrilled with the group and the song spend a month near the bottom of the chart.
ReduxReview: I think this was producer/co-writer Maurice Starr's attempt to rewrite the Jackson 5's "I'll Be There" (#1 Pop and R&B, 1970). It's not a bad imitation, but it is nowhere near the quality of the original. The youngsters do a good job with the tune, but Ralph Tresvant's high-pitched, unrefined voice gets a bit grating near the end. They would all mature into great singers, but at this time they were still kids learning their voices and were just not as polished as the brothers they were basically imitating - the Jackson 5.
ReduxRating: 5/10
Trivia: Producer and co-songwriter of this song, Maurice Starr (real name Larry Johnson), attempted a solo career in 1980 with his debut album Flaming Starr. The album went nowhere and its follow-up Spacey Lady met the same fate. With the solo career not taking flight, Starr began looking around for group that he could develop and produce using his own songs. His chance came along when he heard these teenagers perform at a talent show. Starr and his brother Michael Jonzun (real name Michael Johnson) co-wrote the majority of the songs on New Edition's debut album. The two brothers would recruit one other brother to help form the band the Jonzun Crew. They had some limited success over the course of three albums. Their best single effort was when "Space Cowboy" reached #12 on the R&B chart in 1983.
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Date: 10/15/1983
Debut: 90
Peak: 85
Weeks: 4
Genre: R&B
Pop Bits: This vocal group of teenagers had a hit right out of the gate with their debut single "Candy Girl." The bubble gummy tune would go to #1 at R&B while topping out at #17 on the Dance chart. Surprisingly, the Jackson 5-ish tune didn't impress Pop listeners and it peaked outside of the Top 40 at #45. For their second single, this ballad was issued. R&B listeners dug the tune and sent it to #7, but once again Pop wasn't that thrilled with the group and the song spend a month near the bottom of the chart.
ReduxReview: I think this was producer/co-writer Maurice Starr's attempt to rewrite the Jackson 5's "I'll Be There" (#1 Pop and R&B, 1970). It's not a bad imitation, but it is nowhere near the quality of the original. The youngsters do a good job with the tune, but Ralph Tresvant's high-pitched, unrefined voice gets a bit grating near the end. They would all mature into great singers, but at this time they were still kids learning their voices and were just not as polished as the brothers they were basically imitating - the Jackson 5.
ReduxRating: 5/10
Trivia: Producer and co-songwriter of this song, Maurice Starr (real name Larry Johnson), attempted a solo career in 1980 with his debut album Flaming Starr. The album went nowhere and its follow-up Spacey Lady met the same fate. With the solo career not taking flight, Starr began looking around for group that he could develop and produce using his own songs. His chance came along when he heard these teenagers perform at a talent show. Starr and his brother Michael Jonzun (real name Michael Johnson) co-wrote the majority of the songs on New Edition's debut album. The two brothers would recruit one other brother to help form the band the Jonzun Crew. They had some limited success over the course of three albums. Their best single effort was when "Space Cowboy" reached #12 on the R&B chart in 1983.
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Thursday, May 12, 2016
"P.Y.T. (Pretty Young Thing)" by Michael Jackson
Top 10 Alert!
Song#: 1647 Date: 10/08/1983
Debut: 75
Peak: 10
Weeks: 16
Genre: R&B
Pop Bits: After setting a chart record by getting five Top 10 singles from one album, Jackson released this sixth single from his mega-hit LP Thriller. Amazingly, the song extended the record, but just barely. Topping out at #10 on the Pop chart, the single wasn't as popular on other formats. It peaked at a weak #46 at R&B while only getting to #37 at AC. Many folks thought this had to be the end of the singles from Thriller, but Jackson had one more trick up his sleeve that would close out a thrilling run of singles.
ReduxReview: I think Quincy Jones' call on Jackson's own version of this song (see below) was correct. Jackson's original was a little weak and played like a lesser Stevie Wonder tune. Jones' version is more upbeat and fit in with the direction of the album. However, I do have to say it still is one of my least favorite tracks from Thriller. I don't dislike it as much as I did back then, but it just pales in comparison to absolute classics like "Billie Jean" or "Beat It."
ReduxRating: 6/10
Trivia: This song is completely different from what Jackson had initially intended. Jackson and songwriter/keyboardist Greg Phillenganes first wrote a song under this title and recorded a demo. It was passed on to producer Quincy Jones for Thriller consideration, but Jones didn't really like the song and nixed it. However, Jones did like the title and he used it for the basis of a brand new song that he wrote with singer James Ingram. This one hit the right notes and made it to the album. Jackson's original demo for his version of the song saw the light of day on the 2004 Jackson box set The Ultimate Collection.
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"How Many Times Can We Say Goodbye" by Dionne Warwick and Luther Vandross
Song#: 1646
Date: 10/08/1983
Debut: 79
Peak: 27
Weeks: 13
Genre: Pop, Adult Contemporary, R&B
Pop Bits: With the help of songwriter/producer Barry Gibb, Warwick had one of her biggest later-career albums with 1982's Heartbreaker. It went gold thanks to the #10 showing of the title track (#1 AC/#14 R&B). For her follow-up, Warwick chose to work with another artist who kept busy writing and producing for others. Luther Vandross' career was on the rise and while he was working on his third solo album, he also contributed material and produced Warwick's LP How Many Times Can We Say Goodbye. This first title-track single (which was not written by Vandross) was issued and became a hit at AC (#4) and R&B (#7). Pop radio was not quite as receptive to the mature ballad and it stalled just inside the Top 30. Despite solid reviews, the lack of a major crossover hit left the album flailing on the chart topping out at #57.
ReduxReview: I always thought this was a lovely ballad and that the Warwick/Vandross combo worked so well. Both put in some terrific vocal work and took the tune to another level. It may have just been a bit too AC-leaning to really capture the fickle 80s Pop audience. I'm glad R&B and AC gave the song some love. I think it is probably Warwick's best 80s ballad that got pushed out as a single.
ReduxRating: 8/10
Trivia: Double Shot! 1) In addition to appearing on Warwick's album, the duet was included on Vandross' Busy Body LP that was release a couple months later. That album would go platinum on the strength of two Top 10 R&B hits - "I'll Let You Slide" (#9) and the medley "Superstar/Until You Come Back to Me (That's What I'm Gonna Do)" (#5). 2) One song that Vandross wrote for Warwick's album was titled "So Amazing." He would end up recording his own version of the song for his 1986 double-platinum album Give Me the Reason. The song would be issued as the LP's fifth single, but it could only manage a #94 showing on the R&B chart. It did better in the UK where it got to #33.
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Date: 10/08/1983
Debut: 79
Peak: 27
Weeks: 13
Genre: Pop, Adult Contemporary, R&B
Pop Bits: With the help of songwriter/producer Barry Gibb, Warwick had one of her biggest later-career albums with 1982's Heartbreaker. It went gold thanks to the #10 showing of the title track (#1 AC/#14 R&B). For her follow-up, Warwick chose to work with another artist who kept busy writing and producing for others. Luther Vandross' career was on the rise and while he was working on his third solo album, he also contributed material and produced Warwick's LP How Many Times Can We Say Goodbye. This first title-track single (which was not written by Vandross) was issued and became a hit at AC (#4) and R&B (#7). Pop radio was not quite as receptive to the mature ballad and it stalled just inside the Top 30. Despite solid reviews, the lack of a major crossover hit left the album flailing on the chart topping out at #57.
ReduxReview: I always thought this was a lovely ballad and that the Warwick/Vandross combo worked so well. Both put in some terrific vocal work and took the tune to another level. It may have just been a bit too AC-leaning to really capture the fickle 80s Pop audience. I'm glad R&B and AC gave the song some love. I think it is probably Warwick's best 80s ballad that got pushed out as a single.
ReduxRating: 8/10
Trivia: Double Shot! 1) In addition to appearing on Warwick's album, the duet was included on Vandross' Busy Body LP that was release a couple months later. That album would go platinum on the strength of two Top 10 R&B hits - "I'll Let You Slide" (#9) and the medley "Superstar/Until You Come Back to Me (That's What I'm Gonna Do)" (#5). 2) One song that Vandross wrote for Warwick's album was titled "So Amazing." He would end up recording his own version of the song for his 1986 double-platinum album Give Me the Reason. The song would be issued as the LP's fifth single, but it could only manage a #94 showing on the R&B chart. It did better in the UK where it got to #33.
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Wednesday, May 11, 2016
"Stop Doggin' Me Around" by Klique
Song#: 1645
Date: 10/08/1983
Debut: 84
Peak: 50
Weeks: 9
Genre: R&B
Pop Bits: This R&B trio came about when siblings Isaac and Deborah Suthers decided to start a group. They held auditions for the third spot and it was won by singer Howard Huntsberry. Klique signed on with MCA and in 1981 issued their debut album It's Winning Time. It netted a couple singles that were middling entries on the R&B chart and that seemed to be enough for MCA to keep investing in the group. Their second album had similar results, but it was their third disc, Try It Out, that finally got them a big hit. This first single from the album vaulted to #2 at R&B while just making the top half of the Pop chart (their only single to reach that chart). Two more minor R&B singles would follow, but they rallied for a #15 R&B hit in 1985 titled "A Woman, A Lover, A Friend." It would be their final charting single. The group disbanded after their fourth album. The Suthers' would issue a single as a duo under the Klique name in 1986 title "Waiting for Ya Genie," but it did not chart. Huntsberry would continue with MCA as a solo act and in 1988 he had a #11 R&B hit with his song "Sleepless Weekend."
ReduxReview: This one was a bit of a surprise. Updating this old R&B chestnut wasn't a bad idea, but releasing it as a single seemed iffy at best. At a time when this older style of pop/R&B was a bit out of place on the charts, I wouldn't have placed any bets on this song to succeed. But it bucked the odds and deservedly came close to topping the R&B chart. The trio does a great job with the song. It has a solid (if a bit 80s-ish now) arrangement and Huntsberry's voice sells the crap out of it. It's a little lost gem from the decade.
ReduxRating: 7/10
Trivia: This is a remake of a song originally done by soul legend Jackie Wilson. Titled "Doggin' Around," the single hit #1 at R&B and #15 at Pop in 1960. Huntsberry's voice was quite similar to Wilson's, so Klique came up with the idea that they should cover a Wilson song for their third LP. They selected this tune and, with a slight title change, it became the trio's biggest hit. Their 1985 hit "A Woman, A Lover, A Friend" was also a Wilson cover. That 1960 single was another R&B #1 (#15 Pop). Other folks took notice of the vocal similarities between Huntsberry and Wilson, and that led to Huntsberry snaring a part in the 1987's La Bamba, the biographical film about singer Ritchie Valens. Huntsberry played the part of Jackie Wilson and sang Wilson's 1958 #1 R&B/#7 Pop hit "Lonely Teardrops" in the movie. Two years later, Huntsberry would cover another Wilson hit for the soundtrack to the film Ghostbusters II. He remade Wilson's 1967 #1 R&B/#6 Pop smash "(You're Love Keeps Lifting Me) Higher and Higher."
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Date: 10/08/1983
Debut: 84
Peak: 50
Weeks: 9
Genre: R&B
Pop Bits: This R&B trio came about when siblings Isaac and Deborah Suthers decided to start a group. They held auditions for the third spot and it was won by singer Howard Huntsberry. Klique signed on with MCA and in 1981 issued their debut album It's Winning Time. It netted a couple singles that were middling entries on the R&B chart and that seemed to be enough for MCA to keep investing in the group. Their second album had similar results, but it was their third disc, Try It Out, that finally got them a big hit. This first single from the album vaulted to #2 at R&B while just making the top half of the Pop chart (their only single to reach that chart). Two more minor R&B singles would follow, but they rallied for a #15 R&B hit in 1985 titled "A Woman, A Lover, A Friend." It would be their final charting single. The group disbanded after their fourth album. The Suthers' would issue a single as a duo under the Klique name in 1986 title "Waiting for Ya Genie," but it did not chart. Huntsberry would continue with MCA as a solo act and in 1988 he had a #11 R&B hit with his song "Sleepless Weekend."
ReduxReview: This one was a bit of a surprise. Updating this old R&B chestnut wasn't a bad idea, but releasing it as a single seemed iffy at best. At a time when this older style of pop/R&B was a bit out of place on the charts, I wouldn't have placed any bets on this song to succeed. But it bucked the odds and deservedly came close to topping the R&B chart. The trio does a great job with the song. It has a solid (if a bit 80s-ish now) arrangement and Huntsberry's voice sells the crap out of it. It's a little lost gem from the decade.
ReduxRating: 7/10
Trivia: This is a remake of a song originally done by soul legend Jackie Wilson. Titled "Doggin' Around," the single hit #1 at R&B and #15 at Pop in 1960. Huntsberry's voice was quite similar to Wilson's, so Klique came up with the idea that they should cover a Wilson song for their third LP. They selected this tune and, with a slight title change, it became the trio's biggest hit. Their 1985 hit "A Woman, A Lover, A Friend" was also a Wilson cover. That 1960 single was another R&B #1 (#15 Pop). Other folks took notice of the vocal similarities between Huntsberry and Wilson, and that led to Huntsberry snaring a part in the 1987's La Bamba, the biographical film about singer Ritchie Valens. Huntsberry played the part of Jackie Wilson and sang Wilson's 1958 #1 R&B/#7 Pop hit "Lonely Teardrops" in the movie. Two years later, Huntsberry would cover another Wilson hit for the soundtrack to the film Ghostbusters II. He remade Wilson's 1967 #1 R&B/#6 Pop smash "(You're Love Keeps Lifting Me) Higher and Higher."
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"Talking in Your Sleep" by The Romantics
Top 10 Alert!
Song#: 1644 Date: 10/08/1983
Debut: 90
Peak: 3
Weeks: 26
Genre: Rock, New Wave
Pop Bits: The Romantics seemed like they were poised for stardom after their 1980 self-titled debut album sold well thanks to the single "What I Like About You." The song wasn't a major hit (#49), but in time it became far more popular than what its peak would indicate. Their second LP should have been their breakthrough, but unfortunately none of its singles charted and the album quickly came and went. Their third effort did even worse. Luckily, the last song they recorded for their fourth LP, In Heat, would provide them with the hit they were looking for. This song took a while to catch on, but once it did the single made a beeline for the Top 10 and ended up spending three weeks at #3.
ReduxReview: What a way to revive a career that was on the brink of death. Everything about this single was perfect for taking over the Pop chart. It's got a great new wave-ish groove that supports a memorable verse and chorus. The only thing that has always bugged me about the song is the echo effect when he sings "sleep." The echo doesn't repeat the whole word but just "pleep, pleep, pleep." For some reason, it irritates me. It's a minor quibble that I forget about when the chorus arrives. The band could write some catchy rock tunes, but none were as hit-worthy as this one and "What I Like About You." Unfortunately, they couldn't keep up the momentum set by this single and faded quickly. At least they left us with a couple great 80s tracks that have survived well passed that decade.
ReduxRating: 8/10
Trivia: Over the years, The Romantics had issues with their songs (mainly "What I Like About You") being licensed for other uses, such as commercials and video games, and legal action was pursued. However, a rap remake of this single didn't seem to bother them. Rapper Snoop Dogg used the song as the basis for his 2009 track "Secrets." The song, featuring a guest appearance by Kokane, was a track on Snoop Dogg's LP Malice n Wonderland. It was not issued as a single.
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Tuesday, May 10, 2016
"I Need You" by The Pointer Sisters
Song#: 1643
Date: 10/08/1983
Debut: 91
Peak: 48
Weeks: 15
Genre: R&B, Pop, Adult Contemporary
Pop Bits: Over the years, The Pointer Sisters maintained a solid catalog that flowed easily between R&B, Pop, and AC. However, their 1982 LP So Excited! found the trio losing their R&B audience. The album's first single, "American Music," did fine at Pop reaching #16 (#9 AC), but it could only manage a weak #23 at R&B. Subsequent singles got on the chart, but were minor entries at best. The lack of R&B support affected sales and the album missed going gold - a disappointment after two solid-selling gold LP's. In order to gain back their R&B audience, the trio's producer, Richard Perry, selected this song as the first single from their new album Break Out. Indeed the ploy seemed to work as the song got to #13 at R&B, which was their best showing since 1981's #7 "Slow Hand." AC also enjoyed the song and put it at #15. Unfortunately, the crossover success of their previous hits did not apply to this song and it was pretty much ignored at Pop where it missed getting into the Top 40. It was not the result they were looking for and it seemed to spell doom for the album. However, their next single would turn things around big time and take them into the most successful period of their career.
ReduxReview: With at least three surefire crossover hits on the album, the fact that Perry thought this sluggish track should be the lead single just boggles my mind. It almost sunk the whole project. Luckily, radio support was already mounting for "Automatic" and that song would save the album. I mean, this is a nice tune and makes for a good album track, but I wouldn't consider this single-worthy. At best, maybe the third or fourth single. Definitely not the first one from a dance-oriented project. I dunno. In the long run it didn't really matter as things worked out. It was just a bummer that we had to endure this lackluster single before getting to the good stuff.
ReduxRating: 5/10
Trivia: On their Richard Perry produced albums, the lead vocal duties were typically assigned by Perry with each sister getting a chance up front. With the exception of June heading up their #3 hit "He's So Shy," the balance of their major hits were handled by Anita. What's unique about this single is that the lead vocal part is shared by all three. With each sister taking a solo turn, audiences really got a chance to compare and contrast the tones of their voices.
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Date: 10/08/1983
Debut: 91
Peak: 48
Weeks: 15
Genre: R&B, Pop, Adult Contemporary
Pop Bits: Over the years, The Pointer Sisters maintained a solid catalog that flowed easily between R&B, Pop, and AC. However, their 1982 LP So Excited! found the trio losing their R&B audience. The album's first single, "American Music," did fine at Pop reaching #16 (#9 AC), but it could only manage a weak #23 at R&B. Subsequent singles got on the chart, but were minor entries at best. The lack of R&B support affected sales and the album missed going gold - a disappointment after two solid-selling gold LP's. In order to gain back their R&B audience, the trio's producer, Richard Perry, selected this song as the first single from their new album Break Out. Indeed the ploy seemed to work as the song got to #13 at R&B, which was their best showing since 1981's #7 "Slow Hand." AC also enjoyed the song and put it at #15. Unfortunately, the crossover success of their previous hits did not apply to this song and it was pretty much ignored at Pop where it missed getting into the Top 40. It was not the result they were looking for and it seemed to spell doom for the album. However, their next single would turn things around big time and take them into the most successful period of their career.
ReduxReview: With at least three surefire crossover hits on the album, the fact that Perry thought this sluggish track should be the lead single just boggles my mind. It almost sunk the whole project. Luckily, radio support was already mounting for "Automatic" and that song would save the album. I mean, this is a nice tune and makes for a good album track, but I wouldn't consider this single-worthy. At best, maybe the third or fourth single. Definitely not the first one from a dance-oriented project. I dunno. In the long run it didn't really matter as things worked out. It was just a bummer that we had to endure this lackluster single before getting to the good stuff.
ReduxRating: 5/10
Trivia: On their Richard Perry produced albums, the lead vocal duties were typically assigned by Perry with each sister getting a chance up front. With the exception of June heading up their #3 hit "He's So Shy," the balance of their major hits were handled by Anita. What's unique about this single is that the lead vocal part is shared by all three. With each sister taking a solo turn, audiences really got a chance to compare and contrast the tones of their voices.
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"On the Dark Side" by Eddie and the Cruisers
Song#: 1642
Date: 10/08/1983
Debut: 94
Peak: 64
Weeks: 9
Genre: Rock, Soundtrack
Pop Bits: Director Martin Davidson optioned P.F. Kluge's book Eddie and the Cruisers and in 1983 production began on his film adaptation. The plot centered around a mythic bar band and Davidson wanted to find a real band to do the music for the film. He was looking for a band that had elements of doo-wop, The Doors, and Springsteen. It all was found in the Rhode Island group Beaver Brown. Led by John Cafferty, the band were east coast favorites who released a single that sold well in the region. However, it wasn't enough to attract major label attention. Then along came the opportunity to do music for the film. Cafferty was hired on to write songs for the film and he and Beaver Brown recorded those originals plus some covers for the soundtrack. With Michael Paré performing as Eddie, the film was released in September 1983. It was not well-received by critics and audiences ignored it too. It was a box office dud. The soundtrack was released and this first single, credited to the fictional Eddie and the Cruisers, got issued to promote the album and the movie. It didn't do all that well the whole project dropped out of sight quickly. However, that would not be the end of the story. Eddie and the Cruisers would experience a revival in 1984 that would lead to this song becoming a hit.
ReduxReview: I remember when the film came out. I was interested at first, but after a critical drubbing, I ignored it. I also remember that the soundtrack was getting beaten down too because Cafferty and his band came off like cheap Springsteen/E-Street clones. Although I think the comparisons to Springsteen were not too far off the mark, they didn't deserve to be dismissed as unremarkable knock-offs. They were a solid band and this song, written specifically for the film, was their peak moment. I didn't catch it the first time around, but I did enjoy the tune when it got revived the next year. The opening of the song really grabbed my attention and it made me stay for the John Mellencamp/Mitch Ryder-ish rock out.
ReduxRating: 8/10
Trivia: Beaver Brown's first single was issued in 1980. Released by the indie label Coastline, the single consisted of two songs - "Wild Summer Nights" and "Tender Years." Due to the band's popularity on the east coast, the single did very well in the region and sold around 10k copies. You'd think that would be enough for a major label to sign them, but labels were reluctant because their sound and Cafferty's voice were too often compared to Bruce Springsteen. Luckily, Eddie and the Cruisers came along and gave them a shot. The two songs from their first single were a good fit for the fictional Eddie and the Cruisers, so Cafferty and his band re-recorded them for the film's soundtrack.
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Date: 10/08/1983
Debut: 94
Peak: 64
Weeks: 9
Genre: Rock, Soundtrack
Pop Bits: Director Martin Davidson optioned P.F. Kluge's book Eddie and the Cruisers and in 1983 production began on his film adaptation. The plot centered around a mythic bar band and Davidson wanted to find a real band to do the music for the film. He was looking for a band that had elements of doo-wop, The Doors, and Springsteen. It all was found in the Rhode Island group Beaver Brown. Led by John Cafferty, the band were east coast favorites who released a single that sold well in the region. However, it wasn't enough to attract major label attention. Then along came the opportunity to do music for the film. Cafferty was hired on to write songs for the film and he and Beaver Brown recorded those originals plus some covers for the soundtrack. With Michael Paré performing as Eddie, the film was released in September 1983. It was not well-received by critics and audiences ignored it too. It was a box office dud. The soundtrack was released and this first single, credited to the fictional Eddie and the Cruisers, got issued to promote the album and the movie. It didn't do all that well the whole project dropped out of sight quickly. However, that would not be the end of the story. Eddie and the Cruisers would experience a revival in 1984 that would lead to this song becoming a hit.
ReduxReview: I remember when the film came out. I was interested at first, but after a critical drubbing, I ignored it. I also remember that the soundtrack was getting beaten down too because Cafferty and his band came off like cheap Springsteen/E-Street clones. Although I think the comparisons to Springsteen were not too far off the mark, they didn't deserve to be dismissed as unremarkable knock-offs. They were a solid band and this song, written specifically for the film, was their peak moment. I didn't catch it the first time around, but I did enjoy the tune when it got revived the next year. The opening of the song really grabbed my attention and it made me stay for the John Mellencamp/Mitch Ryder-ish rock out.
ReduxRating: 8/10
Trivia: Beaver Brown's first single was issued in 1980. Released by the indie label Coastline, the single consisted of two songs - "Wild Summer Nights" and "Tender Years." Due to the band's popularity on the east coast, the single did very well in the region and sold around 10k copies. You'd think that would be enough for a major label to sign them, but labels were reluctant because their sound and Cafferty's voice were too often compared to Bruce Springsteen. Luckily, Eddie and the Cruisers came along and gave them a shot. The two songs from their first single were a good fit for the fictional Eddie and the Cruisers, so Cafferty and his band re-recorded them for the film's soundtrack.
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Monday, May 9, 2016
"Never Say Die (Give a Little Bit More)" by Cliff Richard
Song#: 1641
Date: 10/08/1983
Debut: 95
Peak: 73
Weeks: 7
Genre: Pop
Pop Bits: In 1983, Richard was celebrating his 25th year as a recording artist. His very first single, "Move It," credited to Cliff Richard and the Drifters (not the US R&B Drifters), hit the UK chart in 1958 and reached #2. Over the next 25 years, Richard would rack up fifty-four UK Top 10 singles with ten of those going to #1. He was the UK chart king. His career in the US wasn't nearly that prolific, but he did manage to gather three Top 10 hits during a late 70s/early 80s resurgence. To celebrate the anniversary, Richard recorded a new album titled Silver. In addition to the regular LP, a limited edition box set was created with a second album title Rock 'n' Roll Silver that contained new recordings of rock classics like "Tutti Frutti." He also did a new version of his first hit "Move It." To promote Silver, this first single was issued and it did well reaching #15 on the UK chart. A second single, "Please Don't Fall in Love," would become his 55th Top 10 hit peaking at #7. In the US, his anniversary wasn't a big deal and so a modified version of Silver was released and retitled Give a Little Bit More. The title-track song was issued as a single, but disappeared after a few weeks on the Pop chart while going to #23 at AC. It would be Richard's final Pop chart single in the US. A follow-up single, a remake of Richie Valens' 1958 #2 hit "Donna" would get to #17 at AC to become his last AC chart song.
ReduxReview: I like this song, but it sounds like it arrived a few years too late. It has a real late-70s Bee Gees/pop-R&B feel to it. Whatever decade it could have been released in, I don't think it was strong enough to really conquer the Pop chart. It's a worthy Top 40 entry, but that's about it. Richard gets a little lost in the production as well. It could have been anyone singing this. A likable song, but nothing outstanding.
ReduxRating: 6/10
Trivia: Double Shot! 1) Despite being shut out of the US charts in the following years, Richard would continue to score hits in the UK. He would gather seventeen more Top 10's there with four of those going to #1. His last UK Top 10 (thus far) came in 2008 when "Thank You for a Lifetime" hit #3. That song and subsequent album celebrated his 50th year in music. 2) This song (and the US album) should not be confused with his 1981 single "Give a Little Bit More." That single just missed out on the US Top 40 reaching #41. It went to #20 in the UK.
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Date: 10/08/1983
Debut: 95
Peak: 73
Weeks: 7
Genre: Pop
Pop Bits: In 1983, Richard was celebrating his 25th year as a recording artist. His very first single, "Move It," credited to Cliff Richard and the Drifters (not the US R&B Drifters), hit the UK chart in 1958 and reached #2. Over the next 25 years, Richard would rack up fifty-four UK Top 10 singles with ten of those going to #1. He was the UK chart king. His career in the US wasn't nearly that prolific, but he did manage to gather three Top 10 hits during a late 70s/early 80s resurgence. To celebrate the anniversary, Richard recorded a new album titled Silver. In addition to the regular LP, a limited edition box set was created with a second album title Rock 'n' Roll Silver that contained new recordings of rock classics like "Tutti Frutti." He also did a new version of his first hit "Move It." To promote Silver, this first single was issued and it did well reaching #15 on the UK chart. A second single, "Please Don't Fall in Love," would become his 55th Top 10 hit peaking at #7. In the US, his anniversary wasn't a big deal and so a modified version of Silver was released and retitled Give a Little Bit More. The title-track song was issued as a single, but disappeared after a few weeks on the Pop chart while going to #23 at AC. It would be Richard's final Pop chart single in the US. A follow-up single, a remake of Richie Valens' 1958 #2 hit "Donna" would get to #17 at AC to become his last AC chart song.
ReduxReview: I like this song, but it sounds like it arrived a few years too late. It has a real late-70s Bee Gees/pop-R&B feel to it. Whatever decade it could have been released in, I don't think it was strong enough to really conquer the Pop chart. It's a worthy Top 40 entry, but that's about it. Richard gets a little lost in the production as well. It could have been anyone singing this. A likable song, but nothing outstanding.
ReduxRating: 6/10
Trivia: Double Shot! 1) Despite being shut out of the US charts in the following years, Richard would continue to score hits in the UK. He would gather seventeen more Top 10's there with four of those going to #1. His last UK Top 10 (thus far) came in 2008 when "Thank You for a Lifetime" hit #3. That song and subsequent album celebrated his 50th year in music. 2) This song (and the US album) should not be confused with his 1981 single "Give a Little Bit More." That single just missed out on the US Top 40 reaching #41. It went to #20 in the UK.
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"My Town" by Michael Stanley Band
Song#: 1640
Date: 10/01/1983
Debut: 72
Peak: 39
Weeks: 10
Genre: Rock
Pop Bits: Although they had yet to breakthrough nationally in a major way, this hugely popular Cleveland band seemed primed to do so at any moment. Their albums were consistent sellers and they got into the Pop Top 40 in 1980 with their single "He Can't Love You." Their fourth album for EMI America, You Can't Fight Fashion, seemed to be another solid set that had a chance to really advance their career. Set in motion by this first single which became their second Top 40 entry (and #11 Rock), the album did well and topped out at #64 - their best showing yet. It was all good, but it still wasn't the one that put them over the top.
ReduxReview: Just my opinion, but this should have been the album that made them national stars. I think most critics think their 1980 Heartland LP was their best and perhaps it was. But Fashion is a meaty album that contained some of the band's best songs and had terrific production by Bob Clearmountain. It just sounded like it should have been a hit. I think they really kicked it up a notch in order to break out of the Midwest, but it still just wasn't quite enough. I think the main problem was that they just didn't have that one specific song that would be a major hit. This song is a worthy single, but rock anthems weren't necessarily burning up the charts at the time. Still, this one could have done a bit better and got them closer to country-wide name recognition.
ReduxRating: 7/10
Trivia: Stanley wrote this anthem as an homage to his hometown of Cleveland, Ohio. Apparently, over 100 versions of this song were edited to be played in different cities around the world. Although the original lyrics didn't mention Cleveland by name, for the other versions the name of the city was inserted into the lyrics. These versions would be used for airplay in the specific cities. However, if you went to buy the single, it would be the original version. The city shout-outs were not available.
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Date: 10/01/1983
Debut: 72
Peak: 39
Weeks: 10
Genre: Rock
Pop Bits: Although they had yet to breakthrough nationally in a major way, this hugely popular Cleveland band seemed primed to do so at any moment. Their albums were consistent sellers and they got into the Pop Top 40 in 1980 with their single "He Can't Love You." Their fourth album for EMI America, You Can't Fight Fashion, seemed to be another solid set that had a chance to really advance their career. Set in motion by this first single which became their second Top 40 entry (and #11 Rock), the album did well and topped out at #64 - their best showing yet. It was all good, but it still wasn't the one that put them over the top.
ReduxReview: Just my opinion, but this should have been the album that made them national stars. I think most critics think their 1980 Heartland LP was their best and perhaps it was. But Fashion is a meaty album that contained some of the band's best songs and had terrific production by Bob Clearmountain. It just sounded like it should have been a hit. I think they really kicked it up a notch in order to break out of the Midwest, but it still just wasn't quite enough. I think the main problem was that they just didn't have that one specific song that would be a major hit. This song is a worthy single, but rock anthems weren't necessarily burning up the charts at the time. Still, this one could have done a bit better and got them closer to country-wide name recognition.
ReduxRating: 7/10
Trivia: Stanley wrote this anthem as an homage to his hometown of Cleveland, Ohio. Apparently, over 100 versions of this song were edited to be played in different cities around the world. Although the original lyrics didn't mention Cleveland by name, for the other versions the name of the city was inserted into the lyrics. These versions would be used for airplay in the specific cities. However, if you went to buy the single, it would be the original version. The city shout-outs were not available.
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Sunday, May 8, 2016
"Take Another Picture" by Quarterflash
Song#: 1639
Date: 10/01/1983
Debut: 76
Peak: 58
Weeks: 6
Genre: Rock
Pop Bits: Quarterflash's second LP, Take Another Picture, got them a third Top 20 hit when it's first single, "Take Me to Heart," reached #14 (#6 Rock/#28 AC). They were hoping this next title-track single would keep up the momentum, but it faltered before getting into the top half of the chart. The lack of a significant follow-up slowed the sales of the album, which had peaked at #34 - a significant drop from the #8 platinum showing of their debut album.
ReduxReview: Quarterflash's Marv Ross did have a knack for writing some solid, tight pop/rock tunes. His best efforts were on their debut LP, but he did some good work on their second album including this title track. While it's not as catchy as their previous hits, I think it works well. Rindy Ross sells it with her vocals and sax while the band jams all the way through. While not a fantastic single, it's still a good song that probably should have moved up into the Top 40.
ReduxRating: 6/10
Trivia: The producer of Quarterflash's first two albums was John Boylan. He had been involved in the music business since the late 60s and at one point became Linda Ronstadt's manager early in her career. He was instrumental in getting Don Henley and Glenn Fry to play in Ronstadt's backing band. Soon after, the Eagles were born. Boylan would go on to produce many artists with one of his best successes being the co-producer of Boston's hugely successful 1976 debut album. He would also branch out into children's music and worked on projects by The Chipmunks and the Muppets. He produced the album Elmopalooza in 1998, which netted him a Grammy award for Best Musical Album for Children.
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Date: 10/01/1983
Debut: 76
Peak: 58
Weeks: 6
Genre: Rock
Pop Bits: Quarterflash's second LP, Take Another Picture, got them a third Top 20 hit when it's first single, "Take Me to Heart," reached #14 (#6 Rock/#28 AC). They were hoping this next title-track single would keep up the momentum, but it faltered before getting into the top half of the chart. The lack of a significant follow-up slowed the sales of the album, which had peaked at #34 - a significant drop from the #8 platinum showing of their debut album.
ReduxReview: Quarterflash's Marv Ross did have a knack for writing some solid, tight pop/rock tunes. His best efforts were on their debut LP, but he did some good work on their second album including this title track. While it's not as catchy as their previous hits, I think it works well. Rindy Ross sells it with her vocals and sax while the band jams all the way through. While not a fantastic single, it's still a good song that probably should have moved up into the Top 40.
ReduxRating: 6/10
Trivia: The producer of Quarterflash's first two albums was John Boylan. He had been involved in the music business since the late 60s and at one point became Linda Ronstadt's manager early in her career. He was instrumental in getting Don Henley and Glenn Fry to play in Ronstadt's backing band. Soon after, the Eagles were born. Boylan would go on to produce many artists with one of his best successes being the co-producer of Boston's hugely successful 1976 debut album. He would also branch out into children's music and worked on projects by The Chipmunks and the Muppets. He produced the album Elmopalooza in 1998, which netted him a Grammy award for Best Musical Album for Children.
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