Song#: 1977
Date: 07/14/1984
Debut: 87
Peak: 76
Weeks: 5
Genre: Blue-Eyed Soul, Pop
Pop Bits: The UK duo's "My Ever Changing Moods" would be their first single to get on the US Pop chart. It got to #29 and was also able to cross over to three other charts. It was a good introduction to their smooth soul/pop sound and they decided to follow it up with this track. Unfortunately, the song wouldn't catch on as well and the only thing it could do was circle the bottom quarter of the Pop chart for a few weeks while getting to #31 at AC. In the UK, it would be their fourth Top 10 hit getting to #5. It would be their last single to reach the US Pop chart. The duo would put out three more hit albums in the UK before breaking up in 1989.
ReduxReview: This smooth soul/pop/jazz mash-up is certainly lovely to listen too, but I wouldn't call it Pop chart fare. Actually, if Boy George hasn't covered this, he should. It does bring to mind a lost Culture Club track. If you like this song and "My Ever Changing Moods," you really should seek out the duo's Cafe Bleu album. It's full of tasty blue-eyed soul like this.
ReduxRating: 7/10
Trivia: After the duo split, Paul Weller embarked on a solo career. As with the Style Council and his previous band, The Jam, Weller would be highly successful. All twelve of his solo studio albums since his 1992 debut have reached the UK Top 10 with four hitting #1 and six getting to #2. These were helped along by nineteen Top 20 singles that included five Top 10s. Sadly, he was never able to transfer that success to the US. Of his entire solo output, his only US chart appearances were the #10 Alternative track "Uh Huh, Oh Yeah" (1992) and the #166 album Sonik Kicks (2012). His work with The Style Council remains his only success in the US.
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Saturday, March 18, 2017
Friday, March 17, 2017
"Happy Ending" by Joe Jackson
Song#: 1976
Date: 07/14/1984
Debut: 89
Peak: 57
Weeks: 8
Genre: Pop, Adult Contemporary
Pop Bits: Jackson's more jazz-flavored album Body and Soul got off to a good start with the #15 single "You Can't Get What You Want (Till You Know What You Want)." This follow-up tune wouldn't be able to get that far. It stalled before it could get into the top half of the Pop chart. Without a solid second hit, the album ended up peaking at #20 and missed the gold mark. This song would also be Jackson's last to reach the Pop chart, however he'd remain a bit active on the Rock chart and later in the decade he would score a couple of Top 10's. Jackson would also dabble in classical music and in 1999 he composed his Symphony No. 1. Although it was more of a jazz-leaning classical work, it would win Jackson the Grammy for Best Pop Instrumental Album.
ReduxReview: Body and Soul was a terrific album, but it wasn't loaded with single candidates to follow-up "You Can't Get." This one probably had the best shot, but it still wasn't something that was going to click at Pop. The Motown-ish workout "Go for It" might have had a little more potential, but I don't think it would have hit big either. Still, this is a solid tune with a lovely vocal turn by Elaine Caswell (see below). Sadly, Jackson would not hit the Pop chart again. However, he had a pair of really good albums at the end of the decade that got him a few Rock hits.
ReduxRating: 7/10
Trivia: Double Shot! 1) Jackson's next album, 1986's Big World, was an unusual recording. It featured Jackson and his band playing a set of brand new songs in front of a live audience. However, the audience was directed to not make any noise during the songs and refrain from applause until the song was fully finished. The elimination of this noise made the live performances nearly sound like studio recordings. Jackson said he wanted to try and capture the feel of a live performance without all the distracting crowd noise. Also odd was that it got issued as a double-album, but with only three sides of music. The fourth side had "there is no music on this side" printed on it and just a lone groove of silence that quickly moved the needle across the LP. This came about due to this album being Jackson's first to be released on CD. CDs had longer running times, so Jackson could include more songs. However, there would be too many song for an LP version. Jackson didn't want to cut any tunes so he asked the record company to release them all on a double LP, but keep it at the same price as a single LP. They did and Big World became a three-sided double disc. 2) Jackson's duet partner on this song is Elaine Caswell. Caswell was an in-demand session and tour singer who supported many headliners. She also worked quite a bit with songwriter/producer Jim Steinman. In 1989, Steinman created a female vocal group called Pandora's Box, which included Caswell. The group recorded one album titled Original Sin. While it wasn't a hit, the album did feature songs that others would later record. The most famous one would be "It's All Coming Back to Me Now," which became a #2 hit for Celine Dion in 1996. Caswell supplied the lead vocals for the original Pandora's Box version.
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Date: 07/14/1984
Debut: 89
Peak: 57
Weeks: 8
Genre: Pop, Adult Contemporary
Pop Bits: Jackson's more jazz-flavored album Body and Soul got off to a good start with the #15 single "You Can't Get What You Want (Till You Know What You Want)." This follow-up tune wouldn't be able to get that far. It stalled before it could get into the top half of the Pop chart. Without a solid second hit, the album ended up peaking at #20 and missed the gold mark. This song would also be Jackson's last to reach the Pop chart, however he'd remain a bit active on the Rock chart and later in the decade he would score a couple of Top 10's. Jackson would also dabble in classical music and in 1999 he composed his Symphony No. 1. Although it was more of a jazz-leaning classical work, it would win Jackson the Grammy for Best Pop Instrumental Album.
ReduxReview: Body and Soul was a terrific album, but it wasn't loaded with single candidates to follow-up "You Can't Get." This one probably had the best shot, but it still wasn't something that was going to click at Pop. The Motown-ish workout "Go for It" might have had a little more potential, but I don't think it would have hit big either. Still, this is a solid tune with a lovely vocal turn by Elaine Caswell (see below). Sadly, Jackson would not hit the Pop chart again. However, he had a pair of really good albums at the end of the decade that got him a few Rock hits.
ReduxRating: 7/10
Trivia: Double Shot! 1) Jackson's next album, 1986's Big World, was an unusual recording. It featured Jackson and his band playing a set of brand new songs in front of a live audience. However, the audience was directed to not make any noise during the songs and refrain from applause until the song was fully finished. The elimination of this noise made the live performances nearly sound like studio recordings. Jackson said he wanted to try and capture the feel of a live performance without all the distracting crowd noise. Also odd was that it got issued as a double-album, but with only three sides of music. The fourth side had "there is no music on this side" printed on it and just a lone groove of silence that quickly moved the needle across the LP. This came about due to this album being Jackson's first to be released on CD. CDs had longer running times, so Jackson could include more songs. However, there would be too many song for an LP version. Jackson didn't want to cut any tunes so he asked the record company to release them all on a double LP, but keep it at the same price as a single LP. They did and Big World became a three-sided double disc. 2) Jackson's duet partner on this song is Elaine Caswell. Caswell was an in-demand session and tour singer who supported many headliners. She also worked quite a bit with songwriter/producer Jim Steinman. In 1989, Steinman created a female vocal group called Pandora's Box, which included Caswell. The group recorded one album titled Original Sin. While it wasn't a hit, the album did feature songs that others would later record. The most famous one would be "It's All Coming Back to Me Now," which became a #2 hit for Celine Dion in 1996. Caswell supplied the lead vocals for the original Pandora's Box version.
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Thursday, March 16, 2017
"Rock Me Tonite" by Billy Squier
Song#: 1975
Date: 07/07/1984
Debut: 51
Peak: 15
Weeks: 16
Genre: Rock
Pop Bits: Coming off of two major multi-platinum albums, Squier was sure that his next LP would be his biggest yet. Unfortunately, his grand ambitions cascaded into a debacle that he was never able to fully overcome. There were problems right off the bat when Squier's choice for producer, Mutt Lange (Def Leppard, The Cars), became unavailable. Squier had to scramble for a new producer and somehow the job landed in the hands of Jim Steinman, who had become more known for his big, bombastic songs and productions rather than straight-ahead rock. Steinman would serve strictly as producer, which was a bit unusual since Steinman would typically contribute his own songs. Squier would write all songs for the album. The pair entered the studio and came out with Signs of Life, an album that took Squier in a more contemporary direction with synths and sound layers. This first single was greeted warmly by Rock radio and it became Squier's second #1 on that chart. Although it stopped short of the Pop Top 10, its #15 showing would end up making it Squier's best charting single. The results were leaning towards the positive, but two things happened. When the LP came out, critics were not all that kind. It was generally panned. But what made things worse was the video for this song. Whether really true or not, the video gained the reputation of being a career killer for Squier (see below) and this hit would end up being Squier's last song to get into the Pop Top 50.
ReduxReview: First off, this is a pretty terrific song. I liked it when it came out and I still do. Although many critics didn't like Steinman adding his flourishes to Squier's rock tunes, I rather liked it. However, I think the album suffered from a lack of solid songs. The first three tracks were all good, but the album lagged after them. I do think that if he had gotten Mutt Lange to produce, the album would have been a lot better. As for the video...well...it's sumthin'. I think it became more of a big deal as time went on than at the very moment it was released, but folks are right; it did not put Squier in the best light. It is pretty cringe-worthy. It's hard to believe that one video totally killed his career, but it certainly didn't help. A rocker prancing around in pink and satin just wasn't gonna fly. Plus, the handling of it all after was bad. He should have just played it up and laughed about it all. But he didn't and it became a cautionary tale to those making videos.
ReduxRating: 7/10
Trivia: Could an MTV video really ruin an artist's career? It could certainly provide a controversial moment, but could one shoot a star down? Music videos were highly influential at the time and many say the one for this song derailed Squier's career. It all started out fine. Squier and his team secured a world premier video time slot on MTV for the song. Squier already had a concept in mind for the video which was to show both him and a fan separately getting ready for his concert and then meeting there. At first, Squier wanted Bob Giraldi to direct (he was famous for Michael Jackson's "Beat It" and others), however Giraldi's price tag ended up being too high for Capitol Records. Next selection was David Mallet (Billy Idol's "White Wedding"), but his vision did not coincide with Squier's and he was sent packing. With a looming MTV deadline that could not be changed, Squier brought in Kenny Ortega based on a recommendation. Ortega was a choreographer who had recently done video shoots for The Pointer Sisters and The Tubes. Just a few days prior to the MTV date, the video was shot. Each party involved seemed to think they were all on the same page, but when the video was completed, it was not what Squier had wanted. Despite any hesitations, the video went to MTV and got played. Featuring Squier in a pink t-shirt and oddly dancing around a bed with pastel silk sheets, many people began to think it was a statement that Squier was gay. Of course that was not the case, but the video certainly rang wrong for many folks and Squier's image took a direct hit. It was just not something a rocker would do. Blame was passed around (Squier blamed Ortega, Ortega said Squier was in control of it all), but in the end Squier most likely had final say in it all and it changed his career forever. The hits stopped and he was never able to recover.
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Date: 07/07/1984
Debut: 51
Peak: 15
Weeks: 16
Genre: Rock
Pop Bits: Coming off of two major multi-platinum albums, Squier was sure that his next LP would be his biggest yet. Unfortunately, his grand ambitions cascaded into a debacle that he was never able to fully overcome. There were problems right off the bat when Squier's choice for producer, Mutt Lange (Def Leppard, The Cars), became unavailable. Squier had to scramble for a new producer and somehow the job landed in the hands of Jim Steinman, who had become more known for his big, bombastic songs and productions rather than straight-ahead rock. Steinman would serve strictly as producer, which was a bit unusual since Steinman would typically contribute his own songs. Squier would write all songs for the album. The pair entered the studio and came out with Signs of Life, an album that took Squier in a more contemporary direction with synths and sound layers. This first single was greeted warmly by Rock radio and it became Squier's second #1 on that chart. Although it stopped short of the Pop Top 10, its #15 showing would end up making it Squier's best charting single. The results were leaning towards the positive, but two things happened. When the LP came out, critics were not all that kind. It was generally panned. But what made things worse was the video for this song. Whether really true or not, the video gained the reputation of being a career killer for Squier (see below) and this hit would end up being Squier's last song to get into the Pop Top 50.
ReduxReview: First off, this is a pretty terrific song. I liked it when it came out and I still do. Although many critics didn't like Steinman adding his flourishes to Squier's rock tunes, I rather liked it. However, I think the album suffered from a lack of solid songs. The first three tracks were all good, but the album lagged after them. I do think that if he had gotten Mutt Lange to produce, the album would have been a lot better. As for the video...well...it's sumthin'. I think it became more of a big deal as time went on than at the very moment it was released, but folks are right; it did not put Squier in the best light. It is pretty cringe-worthy. It's hard to believe that one video totally killed his career, but it certainly didn't help. A rocker prancing around in pink and satin just wasn't gonna fly. Plus, the handling of it all after was bad. He should have just played it up and laughed about it all. But he didn't and it became a cautionary tale to those making videos.
ReduxRating: 7/10
Trivia: Could an MTV video really ruin an artist's career? It could certainly provide a controversial moment, but could one shoot a star down? Music videos were highly influential at the time and many say the one for this song derailed Squier's career. It all started out fine. Squier and his team secured a world premier video time slot on MTV for the song. Squier already had a concept in mind for the video which was to show both him and a fan separately getting ready for his concert and then meeting there. At first, Squier wanted Bob Giraldi to direct (he was famous for Michael Jackson's "Beat It" and others), however Giraldi's price tag ended up being too high for Capitol Records. Next selection was David Mallet (Billy Idol's "White Wedding"), but his vision did not coincide with Squier's and he was sent packing. With a looming MTV deadline that could not be changed, Squier brought in Kenny Ortega based on a recommendation. Ortega was a choreographer who had recently done video shoots for The Pointer Sisters and The Tubes. Just a few days prior to the MTV date, the video was shot. Each party involved seemed to think they were all on the same page, but when the video was completed, it was not what Squier had wanted. Despite any hesitations, the video went to MTV and got played. Featuring Squier in a pink t-shirt and oddly dancing around a bed with pastel silk sheets, many people began to think it was a statement that Squier was gay. Of course that was not the case, but the video certainly rang wrong for many folks and Squier's image took a direct hit. It was just not something a rocker would do. Blame was passed around (Squier blamed Ortega, Ortega said Squier was in control of it all), but in the end Squier most likely had final say in it all and it changed his career forever. The hits stopped and he was never able to recover.
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"Leave a Tender Moment Alone" by Billy Joel
Song#: 1974
Date: 07/07/1984
Debut: 72
Peak: 27
Weeks: 15
Genre: Pop
Pop Bits: By this time in '84, Joel's album An Innocent Man had already spawned four hit singles, which including three Top 10's. The label decided to keep the singles rolling out and this fifth one was released. On the AC chart it did very well becoming the LP's fourth single to reach the #1 spot. However, the subdued ballad didn't play as well at Pop and it stopped just inside the Top 30.
ReduxReview: The beginning of this song has always sounded to me like a theme song from some late-70s/early-80s TV sitcom. Something along the lines of "Family Ties" or "Chico and the Man." One of those sitcoms-with-heart. Even though the tune played well at AC, I don't think it made for a very good Pop single. It's just a little to subtle. It has a lovely, warm feeling to it, but it was just a bit too adult to hit at Pop. Perhaps if he had issued this back in the 70s, it might have gone Top 10, but for the synthpop/hair metal 80s, it wasn't gonna make it.
ReduxRating: 6/10
Trivia: Double Shot! 1) Like the other songs on the album, Joel wrote this one in the style of a legendary artist that influenced him in his teen years. The tune is basically an homage to The Miracles, led by superstar Smokey Robinson. 2) The harmonica on the song was performed by the legendary jazz artist Toots Thielmans. The Belgian-born artist was proficient on guitar, but was more well-known for playing the harmonica. He worked with all the top jazz musicians while also fronting his own band. This song was not Thielmans first time recording with a pop star. He had previously worked with John Denver, Paul Simon, and Brook Benton (Thielmans played harmonica on Benton's 1971 #4 hit "Rainy Night in Georgia"). Later in '84, Thielmans harmonica would be heard on the #5 Julian Lennon hit "Too Late for Goodbyes."
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Date: 07/07/1984
Debut: 72
Peak: 27
Weeks: 15
Genre: Pop
Pop Bits: By this time in '84, Joel's album An Innocent Man had already spawned four hit singles, which including three Top 10's. The label decided to keep the singles rolling out and this fifth one was released. On the AC chart it did very well becoming the LP's fourth single to reach the #1 spot. However, the subdued ballad didn't play as well at Pop and it stopped just inside the Top 30.
ReduxReview: The beginning of this song has always sounded to me like a theme song from some late-70s/early-80s TV sitcom. Something along the lines of "Family Ties" or "Chico and the Man." One of those sitcoms-with-heart. Even though the tune played well at AC, I don't think it made for a very good Pop single. It's just a little to subtle. It has a lovely, warm feeling to it, but it was just a bit too adult to hit at Pop. Perhaps if he had issued this back in the 70s, it might have gone Top 10, but for the synthpop/hair metal 80s, it wasn't gonna make it.
ReduxRating: 6/10
Trivia: Double Shot! 1) Like the other songs on the album, Joel wrote this one in the style of a legendary artist that influenced him in his teen years. The tune is basically an homage to The Miracles, led by superstar Smokey Robinson. 2) The harmonica on the song was performed by the legendary jazz artist Toots Thielmans. The Belgian-born artist was proficient on guitar, but was more well-known for playing the harmonica. He worked with all the top jazz musicians while also fronting his own band. This song was not Thielmans first time recording with a pop star. He had previously worked with John Denver, Paul Simon, and Brook Benton (Thielmans played harmonica on Benton's 1971 #4 hit "Rainy Night in Georgia"). Later in '84, Thielmans harmonica would be heard on the #5 Julian Lennon hit "Too Late for Goodbyes."
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Wednesday, March 15, 2017
"My Oh My" by Slade
Song#: 1973
Date: 07/07/1984
Debut: 80
Peak: 37
Weeks: 11
Genre: Rock
Pop Bits: After nearly fifteen years of being stars in their native UK, Slade finally got a hit in the US with their song "Run Runaway" (#1 Rock, #20 Pop). They followed it up with this power ballad that was a big #2 hit in the UK. It couldn't reach those heights in the US, but it was able to hang on and become their second Pop Top 40 entry (#32 Rock). The two songs would help the associated LP, Keep Your Hands off My Power Supply, sell well enough to reach #33. It would end up being their best charting album in the US.
ReduxReview: This song nearly sounds like an update of an old Scottish folk tune. It kind of has the same feel as the Paul McCartney & Wings 1977 hit "Mull of Kintyre," except rocked up and minus the bagpipes. "Mull" was #1 in the UK for nine weeks and became the best selling single there at the time. The Brits love tunes like that and when "My Oh My" was released they responded well taking it to #2. "Mull" was a stand-alone single that didn't get released in the US, so no one knows what its chart fortunes might have been. However, "My Oh My" got issued in the US and it did rather well. I think it should have done a bit better. It's one of those rousing sing-a-long songs that plays well on record and makes for a great concert finale. It's great as-is, but I also wouldn't have minded a bit o' bagpipe somewhere in there; or at least a Big Country-ish imitation one.
ReduxRating: 7/10
Trivia: A swing version of this actually exists that features Slade's lead singer, Noddy Holder, on vocals. Apparently, after this song became a hit, several artists expressed interest in recording the song and/or others from the band. Requests were made for demos, however many of the artists that wanted to cover the tune were more in the MOR vein rather than rock. Therefore, what Slade may come up with in the studio may not exactly highlight the song correctly for those artists. It was suggested that perhaps a swing version of this song might work. Slade wasn't reluctant to the idea, but they didn't want to record it themselves. So they got a friend of theirs, Monty Babson, to record the tune with his big band. It worked well, but then folks thought that Holder should still be the one to sing it. A date was set for Holder to record his vocals in the studio and after an evening at the pub, Holder went in and did his vocals on one take. That swing version ended up on the b-side to their 1985 single "Do You Believe in Miracles."
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Date: 07/07/1984
Debut: 80
Peak: 37
Weeks: 11
Genre: Rock
Pop Bits: After nearly fifteen years of being stars in their native UK, Slade finally got a hit in the US with their song "Run Runaway" (#1 Rock, #20 Pop). They followed it up with this power ballad that was a big #2 hit in the UK. It couldn't reach those heights in the US, but it was able to hang on and become their second Pop Top 40 entry (#32 Rock). The two songs would help the associated LP, Keep Your Hands off My Power Supply, sell well enough to reach #33. It would end up being their best charting album in the US.
ReduxReview: This song nearly sounds like an update of an old Scottish folk tune. It kind of has the same feel as the Paul McCartney & Wings 1977 hit "Mull of Kintyre," except rocked up and minus the bagpipes. "Mull" was #1 in the UK for nine weeks and became the best selling single there at the time. The Brits love tunes like that and when "My Oh My" was released they responded well taking it to #2. "Mull" was a stand-alone single that didn't get released in the US, so no one knows what its chart fortunes might have been. However, "My Oh My" got issued in the US and it did rather well. I think it should have done a bit better. It's one of those rousing sing-a-long songs that plays well on record and makes for a great concert finale. It's great as-is, but I also wouldn't have minded a bit o' bagpipe somewhere in there; or at least a Big Country-ish imitation one.
ReduxRating: 7/10
Trivia: A swing version of this actually exists that features Slade's lead singer, Noddy Holder, on vocals. Apparently, after this song became a hit, several artists expressed interest in recording the song and/or others from the band. Requests were made for demos, however many of the artists that wanted to cover the tune were more in the MOR vein rather than rock. Therefore, what Slade may come up with in the studio may not exactly highlight the song correctly for those artists. It was suggested that perhaps a swing version of this song might work. Slade wasn't reluctant to the idea, but they didn't want to record it themselves. So they got a friend of theirs, Monty Babson, to record the tune with his big band. It worked well, but then folks thought that Holder should still be the one to sing it. A date was set for Holder to record his vocals in the studio and after an evening at the pub, Holder went in and did his vocals on one take. That swing version ended up on the b-side to their 1985 single "Do You Believe in Miracles."
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"All of You" by Julio Iglesias & Diana Ross
Song#: 1972
Date: 07/07/1984
Debut: 85
Peak: 19
Weeks: 16
Genre: Pop, Adult Contemporary
Pop Bits: Latin superstar Iglesias broke through to the English US market with "To All the Girls I've Loved Before," his #5 Pop/#3 AC/#1 Country duet with Willie Nelson. It was the first single from his sleek, Richard Perry-produced album 1100 Bel Air Place. For the follow-up single, another duet was chosen. This time around, Iglesias teamed up with the legendary Diana Ross for this AC-leaning ballad. It was a hit at AC getting to #2, but at Pop it didn't do quite as well and could only manage a brief Top 20 showing. Still, it helped sell the album, which over time would be certified quad-platinum. The song would also be included on Ross' album Swept Away, which would be released later in the year.
ReduxReview: I found "To All the Girls" abysmal and grating. I didn't like the song and really hated the pairing of Iglesias and Nelson. This duet is far better. Ross is a perfect duet partner and the song, with music co-written by Iglesias and Tony Renis and lyrics by Cynthia Weil, is steps ahead of "To All the Girls." The sophisticated song is more in line with what I expected from Iglesias and the cinematic production by Perry fit it well. It was a bit too AC-leaning to really click at Pop, but the Top 20 showing was pretty good. I bought the single and it remains the only thing I own from Iglesias.
ReduxRating: 7/10
Trivia: Iglesias' album featured one more duet of sorts. The Beach Boys would provide the background vocals on "The Air That I Breathe," a remake of the 1974 #6 hit by The Hollies. The song was originally recorded in 1972 by Albert Hammond, who co-wrote it with Mike Hazelwood. It appeared on Hammond's album It Never Rains in Southern California, which featured the #5 Pop title-track. Hammond's version of "Air" was not released as a single. The Hollies picked it up and made a hit out of it two years later. The UK band Simply Red covered the song in 1998 and took it to #6 on the AC chart (it did not chart at Pop). The song was the subject of news stories in 1992 when Hammond and Hazelwood noticed that the breakthrough song, "Creep" (#34 Pop/#2 US Alternative), from the UK band Radiohead sounded familiar. They realized that the chord structure of the song was very similar to that found in "Air." Hammond and Hazelwood sued for plagiarism and won. The pair are now listed as co-writers of "Creep" along with Radiohead leader Thom Yorke.
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Date: 07/07/1984
Debut: 85
Peak: 19
Weeks: 16
Genre: Pop, Adult Contemporary
Pop Bits: Latin superstar Iglesias broke through to the English US market with "To All the Girls I've Loved Before," his #5 Pop/#3 AC/#1 Country duet with Willie Nelson. It was the first single from his sleek, Richard Perry-produced album 1100 Bel Air Place. For the follow-up single, another duet was chosen. This time around, Iglesias teamed up with the legendary Diana Ross for this AC-leaning ballad. It was a hit at AC getting to #2, but at Pop it didn't do quite as well and could only manage a brief Top 20 showing. Still, it helped sell the album, which over time would be certified quad-platinum. The song would also be included on Ross' album Swept Away, which would be released later in the year.
ReduxReview: I found "To All the Girls" abysmal and grating. I didn't like the song and really hated the pairing of Iglesias and Nelson. This duet is far better. Ross is a perfect duet partner and the song, with music co-written by Iglesias and Tony Renis and lyrics by Cynthia Weil, is steps ahead of "To All the Girls." The sophisticated song is more in line with what I expected from Iglesias and the cinematic production by Perry fit it well. It was a bit too AC-leaning to really click at Pop, but the Top 20 showing was pretty good. I bought the single and it remains the only thing I own from Iglesias.
ReduxRating: 7/10
Trivia: Iglesias' album featured one more duet of sorts. The Beach Boys would provide the background vocals on "The Air That I Breathe," a remake of the 1974 #6 hit by The Hollies. The song was originally recorded in 1972 by Albert Hammond, who co-wrote it with Mike Hazelwood. It appeared on Hammond's album It Never Rains in Southern California, which featured the #5 Pop title-track. Hammond's version of "Air" was not released as a single. The Hollies picked it up and made a hit out of it two years later. The UK band Simply Red covered the song in 1998 and took it to #6 on the AC chart (it did not chart at Pop). The song was the subject of news stories in 1992 when Hammond and Hazelwood noticed that the breakthrough song, "Creep" (#34 Pop/#2 US Alternative), from the UK band Radiohead sounded familiar. They realized that the chord structure of the song was very similar to that found in "Air." Hammond and Hazelwood sued for plagiarism and won. The pair are now listed as co-writers of "Creep" along with Radiohead leader Thom Yorke.
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Tuesday, March 14, 2017
"Still Loving You" by Scorpions
Song#: 1971
Date: 07/07/1984
Debut: 86
Peak: 64
Weeks: 6
Genre: Hard Rock
Pop Bits: The Scorpion's ninth album, Love at First Sting, would finally be the one that would break them through to a large audience. This was due in part to the hit single "Rock You Like a Hurricane" (#25 Pop/#5 Rock) and its associated video, which got put into heavy rotation on MTV. For the LP's second single, this album-closing power ballad was selected. Although it didn't seem to do all that well on either chart (#64 Pop/#36 Rock), it would end up being one of their most recognizable songs and would help the album achieve triple-platinum status.
ReduxReview: This is a solid power ballad that has nearly become the band's "Stairway to Heaven" moment. The 6+ minute tune had to be cut down for the single, which is kind of a bummer because this is a song that should be heard in full. I'm a little surprised by the chart peaks for it. I thought it was far more popular than that. Alas, I don't think it really mattered much because it has remained one of the biggest songs in their catalog - deservedly so.
ReduxRating: 8/10
Trivia: This song would be a big hit in several European countries including France where it reached #3 and sold over a million copies. Apparently, the track was considered a catalyst of sorts for a baby boom that happened in France in 1985. In an interview, Scorpion member Rudolf Schenker mentioned that when they were on a prominent TV show in France, the host told them their song was responsible for the baby boom there. The band didn't believe him and laughed about it, but apparently there was some type of government statistic that pointed this out. Whether really true or not is unknown, but it certainly was a good story that made the song even more memorable.
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Date: 07/07/1984
Debut: 86
Peak: 64
Weeks: 6
Genre: Hard Rock
Pop Bits: The Scorpion's ninth album, Love at First Sting, would finally be the one that would break them through to a large audience. This was due in part to the hit single "Rock You Like a Hurricane" (#25 Pop/#5 Rock) and its associated video, which got put into heavy rotation on MTV. For the LP's second single, this album-closing power ballad was selected. Although it didn't seem to do all that well on either chart (#64 Pop/#36 Rock), it would end up being one of their most recognizable songs and would help the album achieve triple-platinum status.
ReduxReview: This is a solid power ballad that has nearly become the band's "Stairway to Heaven" moment. The 6+ minute tune had to be cut down for the single, which is kind of a bummer because this is a song that should be heard in full. I'm a little surprised by the chart peaks for it. I thought it was far more popular than that. Alas, I don't think it really mattered much because it has remained one of the biggest songs in their catalog - deservedly so.
ReduxRating: 8/10
Trivia: This song would be a big hit in several European countries including France where it reached #3 and sold over a million copies. Apparently, the track was considered a catalyst of sorts for a baby boom that happened in France in 1985. In an interview, Scorpion member Rudolf Schenker mentioned that when they were on a prominent TV show in France, the host told them their song was responsible for the baby boom there. The band didn't believe him and laughed about it, but apparently there was some type of government statistic that pointed this out. Whether really true or not is unknown, but it certainly was a good story that made the song even more memorable.
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"Mama Weer All Crazee Now" by Quiet Riot
Song#: 1970
Date: 07/07/1984
Debut: 88
Peak: 51
Weeks: 12
Genre: Heavy Metal
Pop Bits: Quiet Riot made a huge splash with their third album Metal Health. The six-million selling LP is considered the first heavy metal album to reach #1 and it got there thanks to the gold single "Cum on Feel the Noize" (#5 Pop/#7 Rock). Now they had the formidable task of following it up. The band retreated to the studio and when they came out they had Condition Critical. The LP was introduced by this first single, but it seemed that lightning wasn't going to strike twice. The song stalled outside the Rock Top 10 at #13 and then failed to get into the top half of the Pop chart. With those results, the album stopped at #15. It would be certified platinum, but that was a big disappointment following their multi-platinum breakthrough. Tensions then became high in the band due to leader Kevin DuBrow throwing shade at the press and other artists after the failure of the album. It turned many folks against the band and certainly made the road tougher. DuBrow's tirades continued through their next album, which failed to generate any real interest. Fed up, the band fired DuBrow. Yet, they still could not regain their popularity and by 1989 the band was done. There would be various reformations and associated albums that included DuBrow, but the heydays of Metal Health were long gone. DuBrow would die of a cocaine overdose in 2007.
ReduxReview: Quiet Riot basically rehashed Metal Health down to recording and releasing this Slade cover (see below). It falls under the - if it ain't broke, don't fix it - adage. Unfortunately, it was broken and they did need to fix it. These guys were really thrust in the limelight quickly, which adds pressure from various sources (fans, labels, etc.) and I don't think they handled it well. Instead of advancing their music, they basically just trod out a similar album that just wasn't as good. This first single was probably the best thing on the album, but was still weak in comparison to the catchy "Cum on Feel the Noize." It made matters worse when DuBrow ended up being a PR nightmare. When it was all said and done, the band made a big, significant mark on the musical landscape and opened the door for other metal bands, but they were a bit of a one-trick pony.
ReduxRating: 5/10
Trivia: The band's hit "Cum on Feel the Noize" was a remake of a song originally done by the UK rock band Slade. So if it worked once, why not try it again. This song was also a remake of a Slade tune. Written and recorded by the band in 1972, it was included on their third album Slayed?, which became their first #1 LP in the UK. The song was released as a single and it became their third to top the UK chart. The song would also be issued in the US where it got to #76 on the Pop chart. Unfortunately, Quiet Riot's remake didn't connect with listeners like "Cum on Feel" did.
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Date: 07/07/1984
Debut: 88
Peak: 51
Weeks: 12
Genre: Heavy Metal
Pop Bits: Quiet Riot made a huge splash with their third album Metal Health. The six-million selling LP is considered the first heavy metal album to reach #1 and it got there thanks to the gold single "Cum on Feel the Noize" (#5 Pop/#7 Rock). Now they had the formidable task of following it up. The band retreated to the studio and when they came out they had Condition Critical. The LP was introduced by this first single, but it seemed that lightning wasn't going to strike twice. The song stalled outside the Rock Top 10 at #13 and then failed to get into the top half of the Pop chart. With those results, the album stopped at #15. It would be certified platinum, but that was a big disappointment following their multi-platinum breakthrough. Tensions then became high in the band due to leader Kevin DuBrow throwing shade at the press and other artists after the failure of the album. It turned many folks against the band and certainly made the road tougher. DuBrow's tirades continued through their next album, which failed to generate any real interest. Fed up, the band fired DuBrow. Yet, they still could not regain their popularity and by 1989 the band was done. There would be various reformations and associated albums that included DuBrow, but the heydays of Metal Health were long gone. DuBrow would die of a cocaine overdose in 2007.
ReduxReview: Quiet Riot basically rehashed Metal Health down to recording and releasing this Slade cover (see below). It falls under the - if it ain't broke, don't fix it - adage. Unfortunately, it was broken and they did need to fix it. These guys were really thrust in the limelight quickly, which adds pressure from various sources (fans, labels, etc.) and I don't think they handled it well. Instead of advancing their music, they basically just trod out a similar album that just wasn't as good. This first single was probably the best thing on the album, but was still weak in comparison to the catchy "Cum on Feel the Noize." It made matters worse when DuBrow ended up being a PR nightmare. When it was all said and done, the band made a big, significant mark on the musical landscape and opened the door for other metal bands, but they were a bit of a one-trick pony.
ReduxRating: 5/10
Trivia: The band's hit "Cum on Feel the Noize" was a remake of a song originally done by the UK rock band Slade. So if it worked once, why not try it again. This song was also a remake of a Slade tune. Written and recorded by the band in 1972, it was included on their third album Slayed?, which became their first #1 LP in the UK. The song was released as a single and it became their third to top the UK chart. The song would also be issued in the US where it got to #76 on the Pop chart. Unfortunately, Quiet Riot's remake didn't connect with listeners like "Cum on Feel" did.
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Monday, March 13, 2017
"I Didn't Mean to Turn You On" by Cherrelle
Song#: 1969
Date: 07/07/1984
Debut: 90
Peak: 79
Weeks: 9
Genre: R&B, Dance
Pop Bits: Cheryl Anne Norton gained experience touring with a few jazz and R&B artists. She recorded a demo along the way that got the attention of Tabu Records. She signed a deal with them, changed her name to Cherrelle, and work commenced on her debut album. Five of the eight songs for the album were written and produced by the increasingly in-demand team of Jimmy Jam and Terry Lewis, including this first single. The song caught on at both R&B and Dance where it peaked at #8 and #6, respectively. The hit then leaked over to the Pop chart where it circled around the bottom quarter for a couple of months. It was a solid hit, but the following year the song would gain a wider audience via rocker Robert Palmer's remake and the associated video.
ReduxReview: Jam and Lewis were doing quite well getting established as go-to songwriting/production team, but they were still a ways from their peak period. The songs they provided for Cherrelle showed that they still had some growing to do. Three of their contributions, including this song, were very (unnecessarily) lengthy jams that seemed to have roots in Prince's music. They're not bad, but they are a bit forgettable. This one was the best of the bunch and in the edited single version, it's pretty tasty and it's Top 10 R&B/Dance placement was deserved. I think it played a bit too urban for Pop radio at the time, so it kind of got ignored. That may have ended up being a good thing because it then sounded fresh (and more pop-friendly) when Robert Palmer covered it. But before his hit came this jammin' original.
ReduxRating: 7/10
Trivia: Apparently, Cherrelle was very good friends with Whitney Houston. They ended up living in Atlanta at the same time. Cherrelle was even seen during parts of the reality TV series Being Bobby Brown hanging out with Houston. The night before Houston's overdose death, Cherrelle had a nightmare that they pair were in a hotel room and someone broke in and tried to kill them. She later saw it as a sort of sign or omen about Houston's death. It seems that Cherrelle may have had her own experiences in the drug world. In the early 90s, she was married to Dana Gold, who was a notorious drug kingpin.
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Date: 07/07/1984
Debut: 90
Peak: 79
Weeks: 9
Genre: R&B, Dance
Pop Bits: Cheryl Anne Norton gained experience touring with a few jazz and R&B artists. She recorded a demo along the way that got the attention of Tabu Records. She signed a deal with them, changed her name to Cherrelle, and work commenced on her debut album. Five of the eight songs for the album were written and produced by the increasingly in-demand team of Jimmy Jam and Terry Lewis, including this first single. The song caught on at both R&B and Dance where it peaked at #8 and #6, respectively. The hit then leaked over to the Pop chart where it circled around the bottom quarter for a couple of months. It was a solid hit, but the following year the song would gain a wider audience via rocker Robert Palmer's remake and the associated video.
ReduxReview: Jam and Lewis were doing quite well getting established as go-to songwriting/production team, but they were still a ways from their peak period. The songs they provided for Cherrelle showed that they still had some growing to do. Three of their contributions, including this song, were very (unnecessarily) lengthy jams that seemed to have roots in Prince's music. They're not bad, but they are a bit forgettable. This one was the best of the bunch and in the edited single version, it's pretty tasty and it's Top 10 R&B/Dance placement was deserved. I think it played a bit too urban for Pop radio at the time, so it kind of got ignored. That may have ended up being a good thing because it then sounded fresh (and more pop-friendly) when Robert Palmer covered it. But before his hit came this jammin' original.
ReduxRating: 7/10
Trivia: Apparently, Cherrelle was very good friends with Whitney Houston. They ended up living in Atlanta at the same time. Cherrelle was even seen during parts of the reality TV series Being Bobby Brown hanging out with Houston. The night before Houston's overdose death, Cherrelle had a nightmare that they pair were in a hotel room and someone broke in and tried to kill them. She later saw it as a sort of sign or omen about Houston's death. It seems that Cherrelle may have had her own experiences in the drug world. In the early 90s, she was married to Dana Gold, who was a notorious drug kingpin.
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"99 1/2" by Carol Lynn Townes
Song#: 1968
Date: 07/07/1984
Debut: 91
Peak: 77
Weeks: 9
Genre: R&B, Dance, Soundtrack
Pop Bits: This singer from North Carolina first got a taste of the music business when she headed up the group Fifth Avenue. They got signed to Buddha Records and issued three singles and a 1976 debut album, but nothing caught fire and the group went their own ways. It would take nearly a decade before Townes found herself in a recording studio. This time, she was solo and recording this song that was to be used in the 1984 film Breakin'. The film was a hit and the soundtrack was doing very well thanks to it's first single, Ollie & Jerry's #9 Pop/#3 R&B/#1 Dance hit "Breakin'...There's No Stopping Us." This tune from Townes became the LPs second single and it was another success at Dance getting to #9. However, it wasn't quite as successful at R&B (#22) and was relegated to the bottom quarter of the Pop chart. Townes would supply another song for the movie's sequel, Breakin' 2: Electric Boogaloo, that would be issued as a single, but it didn't catch fire and peaked fairly low at R&B and Dance while missing the Pop chart completely. However, the singles got Townes a record deal and her debut LP Satisfaction Guaranteed got issued in 1985. It featured her two previous singles, plus a third minor dance entry. She was afforded a follow-up album, but after it failed to do anything, Townes was dropped from the label.
ReduxReview: Although this song has a great chorus, there just seems to be something missing elsewhere. The verse melody is a bit drawn out and it kind of zaps the energy from the tune. It also could have benefited from a tad more Shannon-esque production, but in general it's a solid jam. It should have done a bit better at R&B and Pop.
ReduxRating: 7/10
Trivia: This is a remake of a song originally recorded by the disco/soul trio Alton McClain & Destiny. The song appeared on their third album More of You, which was released in 1980. Although this particular song was not issued solely as a single, it was part of a trio of songs from the album that got airplay in clubs. The collective songs would get to #47 on the Dance chart. The trio recorded for Polydor Records, the same label that issued the Breakin' soundtrack and Townes' solo works. McClain & Destiny did have one previous hit under their belt. Their 1979 song "It Must Be Love" got to #10 at R&B while going to #25 Dance and #32 Pop. The group would split in 1981. McClain would later move into gospel music while the other two member would go on to form the vocal group Krystol. They would have a little success in the mid-80s getting five singles on the R&B chart. Their best effort was 1986's #18 "Passion from a Woman," which was co-written and produced by future American Idol judge Randy Jackson
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Date: 07/07/1984
Debut: 91
Peak: 77
Weeks: 9
Genre: R&B, Dance, Soundtrack
Pop Bits: This singer from North Carolina first got a taste of the music business when she headed up the group Fifth Avenue. They got signed to Buddha Records and issued three singles and a 1976 debut album, but nothing caught fire and the group went their own ways. It would take nearly a decade before Townes found herself in a recording studio. This time, she was solo and recording this song that was to be used in the 1984 film Breakin'. The film was a hit and the soundtrack was doing very well thanks to it's first single, Ollie & Jerry's #9 Pop/#3 R&B/#1 Dance hit "Breakin'...There's No Stopping Us." This tune from Townes became the LPs second single and it was another success at Dance getting to #9. However, it wasn't quite as successful at R&B (#22) and was relegated to the bottom quarter of the Pop chart. Townes would supply another song for the movie's sequel, Breakin' 2: Electric Boogaloo, that would be issued as a single, but it didn't catch fire and peaked fairly low at R&B and Dance while missing the Pop chart completely. However, the singles got Townes a record deal and her debut LP Satisfaction Guaranteed got issued in 1985. It featured her two previous singles, plus a third minor dance entry. She was afforded a follow-up album, but after it failed to do anything, Townes was dropped from the label.
ReduxReview: Although this song has a great chorus, there just seems to be something missing elsewhere. The verse melody is a bit drawn out and it kind of zaps the energy from the tune. It also could have benefited from a tad more Shannon-esque production, but in general it's a solid jam. It should have done a bit better at R&B and Pop.
ReduxRating: 7/10
Trivia: This is a remake of a song originally recorded by the disco/soul trio Alton McClain & Destiny. The song appeared on their third album More of You, which was released in 1980. Although this particular song was not issued solely as a single, it was part of a trio of songs from the album that got airplay in clubs. The collective songs would get to #47 on the Dance chart. The trio recorded for Polydor Records, the same label that issued the Breakin' soundtrack and Townes' solo works. McClain & Destiny did have one previous hit under their belt. Their 1979 song "It Must Be Love" got to #10 at R&B while going to #25 Dance and #32 Pop. The group would split in 1981. McClain would later move into gospel music while the other two member would go on to form the vocal group Krystol. They would have a little success in the mid-80s getting five singles on the R&B chart. Their best effort was 1986's #18 "Passion from a Woman," which was co-written and produced by future American Idol judge Randy Jackson
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Sunday, March 12, 2017
"Don't Do Me" by Randy Bell
Song#: 1967
Date: 07/07/1984
Debut: 94
Peak: 90
Weeks: 3
Genre: Rock
Pop Bits: This singer/songwriter from the Denver, Colorado, area started writing and recording his own songs in his late teens. One of his songs, "More Than Alive" (credited to Randy Bell & Vision), was featured on an album put out by the local Denver station (KTLK) in 1980. It was part of a regional talent search contest and the voting public chose Bell as the winner. That contest was affiliated with the Miller High Life Rock to Riches contest, which Bell then became a part of. At that point, Bell went by the name of Randy Rock. He got to the finals in New York in 1982 and ended up placing second. Not long after, Bell returned to his original name and ended up in a contract with Epic Records. After some recording sessions, it was decided that this song would be Bell's first single. Unfortunately, the marketing folks at Epic decided to capitalize on Bell's good looks and tried to turn him into a teenage pin-up idol. It seems that they tried to push his image (via photos in magazines like Teen Beat) instead of his music and it just did not work. The single became a blip on the Pop chart for a few weeks and then disappeared. Along with it went Bell's deal and career. Not much could be found about him after his major label days, but it seems he ended up back in Colorado and later became a real estate agent.
ReduxReview: This appears like a case where a label tries to turn an artist into something they are not and it fails miserably. Bell seemed to have a pretty good knack at writing rock tunes (the balance of his Epic sessions can be found on ReverbNation site), but it's like he and the label tried way to hard to make his songs modern and new wavy cool. And then they try to turn him into a matinee idol, which does not go hand-in-hand with this style of music, which was not charming, teenybopper pop. It was almost like Billy Idol and Aldo Nova had a son while listening to Berlin. Absolutely none of it worked. I've actually been witness to something like this. My college roommate was an aspiring musician and I happened to work at the production company he used. He had some good tunes, but they kind of got hijacked in a similar way and they tried to make him over into this near-goth looking singer with funky hair, black clothes, and dark makeup. It wasn't very good and it didn't get him anywhere. However, the guy had talent and I think Bell had something as well. But when caught up in the "we're gonna make you a star!" thing, it's hard to not go with it. This song is very odd and in the end, not very good. Everyone just tried too hard. Bell even uses some sort of new wave punctuated accent that is pretty bad (and the last falsetto section is awful). That said, there is a weird allure to the song. Kind of like - "I know this is really bad, so why did I just queue it up again?"
ReduxRating: 4/10
Trivia: How serious was Epic in trying to make Bell a pin-up idol? In addition to the marketing in teen magazines, the packaging for Bell's 45-rpm single was made to be a wall poster. The front of the sleeve had the top half of Bell with big hair and an open shirt and the back of the sleeve showed his lower half in tight leather pants. Along the sides were these big yellow dashes. The idea was to cut off the folded sides of the sleeve where the yellow dashes appeared and then the sleeve would unfold into a full-body picture of Bell. Perfect for your bedroom wall! It was an interesting marketing tactic, but with neither the single nor Bell attracting attention, the gimmick didn't pay off.
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Date: 07/07/1984
Debut: 94
Peak: 90
Weeks: 3
Genre: Rock
Pop Bits: This singer/songwriter from the Denver, Colorado, area started writing and recording his own songs in his late teens. One of his songs, "More Than Alive" (credited to Randy Bell & Vision), was featured on an album put out by the local Denver station (KTLK) in 1980. It was part of a regional talent search contest and the voting public chose Bell as the winner. That contest was affiliated with the Miller High Life Rock to Riches contest, which Bell then became a part of. At that point, Bell went by the name of Randy Rock. He got to the finals in New York in 1982 and ended up placing second. Not long after, Bell returned to his original name and ended up in a contract with Epic Records. After some recording sessions, it was decided that this song would be Bell's first single. Unfortunately, the marketing folks at Epic decided to capitalize on Bell's good looks and tried to turn him into a teenage pin-up idol. It seems that they tried to push his image (via photos in magazines like Teen Beat) instead of his music and it just did not work. The single became a blip on the Pop chart for a few weeks and then disappeared. Along with it went Bell's deal and career. Not much could be found about him after his major label days, but it seems he ended up back in Colorado and later became a real estate agent.
ReduxReview: This appears like a case where a label tries to turn an artist into something they are not and it fails miserably. Bell seemed to have a pretty good knack at writing rock tunes (the balance of his Epic sessions can be found on ReverbNation site), but it's like he and the label tried way to hard to make his songs modern and new wavy cool. And then they try to turn him into a matinee idol, which does not go hand-in-hand with this style of music, which was not charming, teenybopper pop. It was almost like Billy Idol and Aldo Nova had a son while listening to Berlin. Absolutely none of it worked. I've actually been witness to something like this. My college roommate was an aspiring musician and I happened to work at the production company he used. He had some good tunes, but they kind of got hijacked in a similar way and they tried to make him over into this near-goth looking singer with funky hair, black clothes, and dark makeup. It wasn't very good and it didn't get him anywhere. However, the guy had talent and I think Bell had something as well. But when caught up in the "we're gonna make you a star!" thing, it's hard to not go with it. This song is very odd and in the end, not very good. Everyone just tried too hard. Bell even uses some sort of new wave punctuated accent that is pretty bad (and the last falsetto section is awful). That said, there is a weird allure to the song. Kind of like - "I know this is really bad, so why did I just queue it up again?"
ReduxRating: 4/10
Trivia: How serious was Epic in trying to make Bell a pin-up idol? In addition to the marketing in teen magazines, the packaging for Bell's 45-rpm single was made to be a wall poster. The front of the sleeve had the top half of Bell with big hair and an open shirt and the back of the sleeve showed his lower half in tight leather pants. Along the sides were these big yellow dashes. The idea was to cut off the folded sides of the sleeve where the yellow dashes appeared and then the sleeve would unfold into a full-body picture of Bell. Perfect for your bedroom wall! It was an interesting marketing tactic, but with neither the single nor Bell attracting attention, the gimmick didn't pay off.
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