Song#: 2499
Date: 10/19/1985
Debut: 89
Peak: 85
Weeks: 4
Genre: Rock
Pop Bits: Waite was having a tough time following up his iconic #1 song "Missing You." He'd get four singles on the Pop chart after that hit, but none of them could even get close to the Top 10. This second single from his album Mask of Smiles didn't do anything to turn the tides. It spent a month at the bottom of the Pop chart while completely missing the Rock chart. The album made it to #36, but failed to go gold like his previous effort No Brakes.
ReduxReview: Is it me or does a good chunk of the verse sound a bit like "Purple Rain?" It has that same feel and small parts even seem to almost replicate the Prince track. The rest of the tune is unremarkable and I'm a bit surprised this was selected to be a single. There is little here that would draw in a pop radio listener. It's pretty forgettable. As an album track it worked fine, but it had no business being a single.
ReduxRating: 3/10
Trivia: For his 2011 album Rough & Tumble, Waite's manager kept bugging him to record a song that had been making the rounds in Nashville. Waite wasn't all that thrilled with the song, titled "If You Ever Get Lonely," and kept turning it down. He like the chorus but felt the balance of it wasn't as good. Later on in the studio with his producer Kyle Cook (a member of Matchbox 20), the pair revisited the song and decided to see if they could adjust it to their liking. After making changes (and getting songwriting credit along the way), they recorded the song and it not only made it on the album, but was also released as a single. Neither the album nor single charted, but that version found its way to the up-n-coming country duo Love and Theft. They recorded it for their self-title 2012 album. The track was then selected to be the third single released from the album in 2013. It was able to reach #43 on the Country chart. The Love and Theft album would reach #4 on the chart mainly thanks to the #1 Country single, "Angel Eyes."
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Saturday, August 18, 2018
Friday, August 17, 2018
"Talk to Me" by Quarterflash
Song#: 2498
Date: 10/19/1985
Debut: 90
Peak: 83
Weeks: 6
Genre: Rock
Pop Bits: After three Top 20 hits, a Top 10 debut album, and a lesser-selling follow-up, this Portland, Oregon, band was ready to take on the charts again with their third effort Back into Blue. This first single would set the tone for the album and unfortunately it wasn't a good one. The tune could only manage a few weeks at the bottom of the Pop chart while completely missing the Rock chart. A second single, "Walking on Ice," failed to do anything and with that the album stopped at very minor #150 and quickly disappeared. The results didn't sit well with Geffen and the band was dropped from the label. They broke up soon after. The band's leaders Marv and Rindy Ross would later push out three indie albums under the Quarterflash name, but none charted.
ReduxReview: What made Quarterflash stand out was their hooky, Benatar-ish rock tracks that featured Rindy Ross' solid vocals and sax playing. Yet somewhere on the way to their third album they traded their solid rock for a more MOR pop style and as a result they lost what made them good. This synth-led track has none of the spark of their hit singles. Even Ross sounds a bit sleepy and uninterested. It's like something came along and sucked the life out of the band. The song itself is not too bad, but it would have greatly benefited from a much stronger rock production. A disappointment from a terrific band that pretty much killed their career.
ReduxRating: 3/10
Trivia: Years after their Quarterflash hits, Marv and Rindy Ross developed an interest in Native American music and culture, particularly around their hometown area of Portland, Oregon. One famous story regarding the relationship between Native Americans and the government got Marv Ross' attention. In 1957, the new Dalles dam was built along the Columbia River and as a result the Celilo Falls area that had been the home to Native Americans for thousands of years was to be flooded and submerged. Ross thought the story was still impactful and relevant and set out to write a musical about the event. In 2007, The Ghosts of Celilo debuted in Portland. It was well-received in its initial run as was a 2011 revival of the show.
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Date: 10/19/1985
Debut: 90
Peak: 83
Weeks: 6
Genre: Rock
Pop Bits: After three Top 20 hits, a Top 10 debut album, and a lesser-selling follow-up, this Portland, Oregon, band was ready to take on the charts again with their third effort Back into Blue. This first single would set the tone for the album and unfortunately it wasn't a good one. The tune could only manage a few weeks at the bottom of the Pop chart while completely missing the Rock chart. A second single, "Walking on Ice," failed to do anything and with that the album stopped at very minor #150 and quickly disappeared. The results didn't sit well with Geffen and the band was dropped from the label. They broke up soon after. The band's leaders Marv and Rindy Ross would later push out three indie albums under the Quarterflash name, but none charted.
ReduxReview: What made Quarterflash stand out was their hooky, Benatar-ish rock tracks that featured Rindy Ross' solid vocals and sax playing. Yet somewhere on the way to their third album they traded their solid rock for a more MOR pop style and as a result they lost what made them good. This synth-led track has none of the spark of their hit singles. Even Ross sounds a bit sleepy and uninterested. It's like something came along and sucked the life out of the band. The song itself is not too bad, but it would have greatly benefited from a much stronger rock production. A disappointment from a terrific band that pretty much killed their career.
ReduxRating: 3/10
Trivia: Years after their Quarterflash hits, Marv and Rindy Ross developed an interest in Native American music and culture, particularly around their hometown area of Portland, Oregon. One famous story regarding the relationship between Native Americans and the government got Marv Ross' attention. In 1957, the new Dalles dam was built along the Columbia River and as a result the Celilo Falls area that had been the home to Native Americans for thousands of years was to be flooded and submerged. Ross thought the story was still impactful and relevant and set out to write a musical about the event. In 2007, The Ghosts of Celilo debuted in Portland. It was well-received in its initial run as was a 2011 revival of the show.
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Thursday, August 16, 2018
"Conga" by Miami Sound Machine
Top 10 Alert!
Gold Record Alert!
Song#: 2497 Date: 10/19/1985
Debut: 95
Peak: 10
Weeks: 27
Genre: Latin Pop, Dance
Pop Bits: This Latin pop band was formed as the Miami Latin Boys in 1975 by Emilio Estefan, Jr. Two years later, Gloria Fajarda Garcia (soon to be Gloria Estefan) and her cousin were hired to help out the band on a gig. The pair ended up becoming members soon after and Miami Sound Machine was born. The band began recording Spanish language albums in 1977. They did two for the Audiofon label before moving over to CBS International. They released seven albums between 1977 and 1984. Their popularity had been increasing, but mainly in the Latin music market. Wanting to expand their horizons, the band signed on with Columbia to record their first English language album. Eyes of Innocence would be released in 1984 with the first single being "Dr. Beat." While the track could only get on the US Dance chart (#17), the tune broke in several European countries including the UK where it got to #6. Encouraged by the results, the band worked up their next LP, Primitive Love. This Latin-tinged song was selected to be the first single and it's exciting beat pushed it to #6 on the Dance chart. At Pop, the song slowly grew into a hit and after many weeks climbing the chart, it finally cracked the Top 10. The single would also be certified a gold seller. A decade after forming, the band had finally broken through to the masses.
ReduxReview: This is one of those ridiculously catchy, fun tunes that you just can't help but like. It was the right song at the right time for the band and it not only made them famous, but also introduced many people to Latin rhythms. I've always described this song in one word - inescapable - because once this tune gets hold of you, it will not let you go. And in this case, that is a good thing. The Estefan's would go on to have other terrific hits, but none would be as career defining and influential as this one.
ReduxRating: 9/10
Trivia: Initially, the band had a hard time getting airplay for the song. Many DJs and radio execs just didn't think the Latin-esque tune was right for pop radio. Yet once a station began playing the tune, phones would light up. It took a while, but thanks to audience response, the song got the airplay it needed to be a hit. The popularity of this song stretched across all cultures and various radio formats. In addition to being a hit at Pop and Dance, the song also made it to #60 at R&B. In 1986, the band would perform the tune at the famous Tokyo Music Festival. Their performance would win them the top prize at the festival.
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Wednesday, August 15, 2018
"To Live and Die in L.A." by Wang Chung
Song#: 2496
Date: 10/12/1985
Debut: 84
Peak: 41
Weeks: 18
Genre: Synthpop, Soundtrack
Pop Bits: Following the success of their second album Points on the Curve, Wang Chung received an unusual offer. Oscar-winning Director William Friedkin (The Exorcist, The French Connection) was a big fan of the band and personally sought them out to see if they would write the score to his upcoming film To Live and Die in L.A. The band was up for the challenge and proceeded to write songs and instrumental tracks for the movie. The soundtrack would then become the band's third album. It consisted of three newly written tracks, a song from the Points album ("Wait"), and four instrumentals. To help promote the soundtrack and film, this title-track song was issued out as a single. It made some inroads at Rock getting to #21. At Pop, the song just missed out on the Top 40 peaking at the dreaded #41. However, it was a long-lasting chart entry spending 18 weeks on the chart, which was unusual for a single that didn't even come close to the Top 10.
ReduxReview: This is a song that kinda breaks a cardinal rule of pop songwriting. It has an exciting, upbeat verse, but the feel and tone of the bridge and chorus doesn't match or exceed that intensity, which is really should. However, in rare cases this can actually work and I think it does in this song. After the jittery verse, the song opens up into something more mysterious and atmospheric. It's like the bustle of the city during the day followed by the more relaxed evening. I loved this song from first listen and I still incorporate it into several playlists. The writing and production are excellent and still hold up. I was hoping it would do better on the Pop chart, but I knew all along that it wasn't a big, hooky contender.
ReduxRating: 9/10
Trivia: Double Shot! 1) Originally Friedkin didn't want an actual theme song for the film and rejected the idea of one. However, after the band saw the rough cut of the film they wrote this song and presented to a dismayed Friedkin. Yet after hearing the track, Friedkin change his mind and wanted the song for the film. Although it wasn't a huge success at the box office, the film did well enough to cover the budget twice over. 2) For this song, Wang Chung hooked up with up-n-coming producers Tony Swain and Steve Jolley. The pair were making a name for themselves producing hit albums by artists like Alison Moyet, Spandau Ballet, and Bananarama, who had just reached the US Top 10 with "Cruel Summer."
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Date: 10/12/1985
Debut: 84
Peak: 41
Weeks: 18
Genre: Synthpop, Soundtrack
Pop Bits: Following the success of their second album Points on the Curve, Wang Chung received an unusual offer. Oscar-winning Director William Friedkin (The Exorcist, The French Connection) was a big fan of the band and personally sought them out to see if they would write the score to his upcoming film To Live and Die in L.A. The band was up for the challenge and proceeded to write songs and instrumental tracks for the movie. The soundtrack would then become the band's third album. It consisted of three newly written tracks, a song from the Points album ("Wait"), and four instrumentals. To help promote the soundtrack and film, this title-track song was issued out as a single. It made some inroads at Rock getting to #21. At Pop, the song just missed out on the Top 40 peaking at the dreaded #41. However, it was a long-lasting chart entry spending 18 weeks on the chart, which was unusual for a single that didn't even come close to the Top 10.
ReduxReview: This is a song that kinda breaks a cardinal rule of pop songwriting. It has an exciting, upbeat verse, but the feel and tone of the bridge and chorus doesn't match or exceed that intensity, which is really should. However, in rare cases this can actually work and I think it does in this song. After the jittery verse, the song opens up into something more mysterious and atmospheric. It's like the bustle of the city during the day followed by the more relaxed evening. I loved this song from first listen and I still incorporate it into several playlists. The writing and production are excellent and still hold up. I was hoping it would do better on the Pop chart, but I knew all along that it wasn't a big, hooky contender.
ReduxRating: 9/10
Trivia: Double Shot! 1) Originally Friedkin didn't want an actual theme song for the film and rejected the idea of one. However, after the band saw the rough cut of the film they wrote this song and presented to a dismayed Friedkin. Yet after hearing the track, Friedkin change his mind and wanted the song for the film. Although it wasn't a huge success at the box office, the film did well enough to cover the budget twice over. 2) For this song, Wang Chung hooked up with up-n-coming producers Tony Swain and Steve Jolley. The pair were making a name for themselves producing hit albums by artists like Alison Moyet, Spandau Ballet, and Bananarama, who had just reached the US Top 10 with "Cruel Summer."
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Tuesday, August 14, 2018
"Que Te Quiero" by Katrina and the Waves
Song#: 2495
Date: 10/12/1985
Debut: 85
Peak: 71
Weeks: 6
Genre: Rock
Pop Bits: Katrina and the Waves were riding a wave to stardom thanks to their ever bright #9 hit "Walking on Sunshine." Their associated self-titled album made it to #25 on the strength of that song and the Top 40 follow-up "Do You Want Crying." They tried for a third solid charter with this track from the album. Unfortunately, it didn't catch on as well and it spent only a few short weeks near the bottom quarter of the chart.
ReduxReview: This tune is a bit more subdued than their first two singles. I like the retro rock feel of the song along with the castanets and Spanish chorus. Paired with lyrics about heading to Mexico to meet up with a guy, the whole song has kind of a vacation vibe - like something you'd hear playing at a Jimmy Buffett Magaritaville bar. It's a fun tune, but perhaps not the strongest single contender.
ReduxRating: 6/10
Trivia: In 2000, lead singer Katrina Leskanich decided to add acting to her resume and took on the lead role in the stage musical Leader of the Pack. The show toured around the UK in 2000 and 2001. The show was based on the life of famous songwriter Ellie Greenwich, who co-starred in the original 1985 Broadway production. Also among the Broadway cast was Dinah Manoff (Empty Nest) as the young Ellie, Darlene Love (as herself), and Jasmine Guy, who would soon have her own hit TV series A Different World. The show wasn't received all that well and only ran for 120 performances. It did get a Tony nomination for Best Musical, but it was in a year where there was a derth of new musicals. In fact, for the first time in the history of the Tonys, the Lead Actor and Actress in a Musical categories were eliminated due to the lack of candidates. Apparently, there was only one person eligible for the Best Actress award and the nomination committee decided there wasn't enough worthy Actor performances to nominate. The Choreography category was also scrapped that year. It was a low point for Broadway musicals, but two years later they came roaring back with two shows that would last for years - Les Miserables and The Phantom of the Opera.
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Date: 10/12/1985
Debut: 85
Peak: 71
Weeks: 6
Genre: Rock
Pop Bits: Katrina and the Waves were riding a wave to stardom thanks to their ever bright #9 hit "Walking on Sunshine." Their associated self-titled album made it to #25 on the strength of that song and the Top 40 follow-up "Do You Want Crying." They tried for a third solid charter with this track from the album. Unfortunately, it didn't catch on as well and it spent only a few short weeks near the bottom quarter of the chart.
ReduxReview: This tune is a bit more subdued than their first two singles. I like the retro rock feel of the song along with the castanets and Spanish chorus. Paired with lyrics about heading to Mexico to meet up with a guy, the whole song has kind of a vacation vibe - like something you'd hear playing at a Jimmy Buffett Magaritaville bar. It's a fun tune, but perhaps not the strongest single contender.
ReduxRating: 6/10
Trivia: In 2000, lead singer Katrina Leskanich decided to add acting to her resume and took on the lead role in the stage musical Leader of the Pack. The show toured around the UK in 2000 and 2001. The show was based on the life of famous songwriter Ellie Greenwich, who co-starred in the original 1985 Broadway production. Also among the Broadway cast was Dinah Manoff (Empty Nest) as the young Ellie, Darlene Love (as herself), and Jasmine Guy, who would soon have her own hit TV series A Different World. The show wasn't received all that well and only ran for 120 performances. It did get a Tony nomination for Best Musical, but it was in a year where there was a derth of new musicals. In fact, for the first time in the history of the Tonys, the Lead Actor and Actress in a Musical categories were eliminated due to the lack of candidates. Apparently, there was only one person eligible for the Best Actress award and the nomination committee decided there wasn't enough worthy Actor performances to nominate. The Choreography category was also scrapped that year. It was a low point for Broadway musicals, but two years later they came roaring back with two shows that would last for years - Les Miserables and The Phantom of the Opera.
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Monday, August 13, 2018
"Everybody Dance" by Ta Mara and the Seen
Song#: 2494
Date: 10/12/1985
Debut: 87
Peak: 24
Weeks: 21
Genre: R&B, Dance, Electro-Funk
Pop Bits: Early in 1985, former member of The Time Jessie Johnson happened to catch a show by a new Minneapolis band called The Seen. He liked what he saw and wanted to take them under his wing. With clout he built up at his label (A&M) thanks to a successful debut solo album, Johnson got them signed. Using a Prince-ly move, Johnson gave lead singer Margie Cox the new name of Ta Mara and adjusted the band's name accordingly. He then set out to produce and co-write a self-titled debut album with the band. This track was selected to be the LP's first single and it did quite well at R&B getting to #3. It also fared well at Dance reaching #9. The song was then able to cross over to the Pop chart where it made it into the Top 30. The album was a modest seller, but the results encouraged A&M to spring for a follow-up album (with Johnson still working with them) in 1988 titled Blueberry Gossip. However, the three-year gap seemed to stop the momentum of the band and the album sank without a trace. They broke up soon after.
ReduxReview: I remember the name of the band, but I don't remember this song at all. Probably because it's not all that great. Johnson was still wearing his Prince/Time influence on his sleeve and this was just another branch on the Minneapolis sound tree, which was becoming a bit boring by this time. I actually preferred the band's follow-up mid-tempo single "Affection" (#19 R&B), which had a bit more R&B flare to it. The Minneapolis sound was gonna stay around for a while, but unless there was something special about a song, I wasn't all that interested.
ReduxRating: 5/10
Trivia: Double Shot! 1) After the band split, Margie Cox (Ta Mara) began to work with Prince. She was recruited to front a new band he was developing to potentially be called Flash or MC Flash. Cox recorded around 25 songs with Prince, but the project never got launched. None of the songs would see the light of day until 1994 when Prince released a compilation of artists he had signed or worked with over the years titled 1-800-NEW-FUNK (which was an actual number to call for Prince related products). The track "Standing at the Altar" from the sessions was included on the album and credited to Margie Cox. It was released as a single with the flip side being another track they did, "Whistlin' Kenny." It failed to chart. 2) The guitarist for Ta Mara and the Seen was Oliver Leiber. If that last name seems familiar, it is due to his famous songwriting dad Jerry Leiber. Along with his composing partner Mike Stoller, the elder Leiber wrote a string of hits in the 50s and 60s for artists like Elvis Presley ("Jailhouse Rock"), The Drifters ("There Goes My Baby"), Ben E. King ("Stand By Me"), and many others. Oliver continued in the music business writing and producing. He caught a break when a demo of his was played for a choreographer who wanted to make an album. Paula Abdul loved his song "The Way That You Love Me" and Leiber got hired to produce the song for Abdul's debut album. He would also write and produce the hit singles "Forever Your Girl" and "Opposites Attract." It was also the Leiber connection that got Margie Cox and Jessie Johnson involved in the project as well. A song the pair wrote together titled "I Need You" was picked up by Abdul. Johnson produced the track.
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Date: 10/12/1985
Debut: 87
Peak: 24
Weeks: 21
Genre: R&B, Dance, Electro-Funk
Pop Bits: Early in 1985, former member of The Time Jessie Johnson happened to catch a show by a new Minneapolis band called The Seen. He liked what he saw and wanted to take them under his wing. With clout he built up at his label (A&M) thanks to a successful debut solo album, Johnson got them signed. Using a Prince-ly move, Johnson gave lead singer Margie Cox the new name of Ta Mara and adjusted the band's name accordingly. He then set out to produce and co-write a self-titled debut album with the band. This track was selected to be the LP's first single and it did quite well at R&B getting to #3. It also fared well at Dance reaching #9. The song was then able to cross over to the Pop chart where it made it into the Top 30. The album was a modest seller, but the results encouraged A&M to spring for a follow-up album (with Johnson still working with them) in 1988 titled Blueberry Gossip. However, the three-year gap seemed to stop the momentum of the band and the album sank without a trace. They broke up soon after.
ReduxReview: I remember the name of the band, but I don't remember this song at all. Probably because it's not all that great. Johnson was still wearing his Prince/Time influence on his sleeve and this was just another branch on the Minneapolis sound tree, which was becoming a bit boring by this time. I actually preferred the band's follow-up mid-tempo single "Affection" (#19 R&B), which had a bit more R&B flare to it. The Minneapolis sound was gonna stay around for a while, but unless there was something special about a song, I wasn't all that interested.
ReduxRating: 5/10
Trivia: Double Shot! 1) After the band split, Margie Cox (Ta Mara) began to work with Prince. She was recruited to front a new band he was developing to potentially be called Flash or MC Flash. Cox recorded around 25 songs with Prince, but the project never got launched. None of the songs would see the light of day until 1994 when Prince released a compilation of artists he had signed or worked with over the years titled 1-800-NEW-FUNK (which was an actual number to call for Prince related products). The track "Standing at the Altar" from the sessions was included on the album and credited to Margie Cox. It was released as a single with the flip side being another track they did, "Whistlin' Kenny." It failed to chart. 2) The guitarist for Ta Mara and the Seen was Oliver Leiber. If that last name seems familiar, it is due to his famous songwriting dad Jerry Leiber. Along with his composing partner Mike Stoller, the elder Leiber wrote a string of hits in the 50s and 60s for artists like Elvis Presley ("Jailhouse Rock"), The Drifters ("There Goes My Baby"), Ben E. King ("Stand By Me"), and many others. Oliver continued in the music business writing and producing. He caught a break when a demo of his was played for a choreographer who wanted to make an album. Paula Abdul loved his song "The Way That You Love Me" and Leiber got hired to produce the song for Abdul's debut album. He would also write and produce the hit singles "Forever Your Girl" and "Opposites Attract." It was also the Leiber connection that got Margie Cox and Jessie Johnson involved in the project as well. A song the pair wrote together titled "I Need You" was picked up by Abdul. Johnson produced the track.
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Sunday, August 12, 2018
"I'll Be There" by Kenny Loggins
Song#: 2493
Date: 10/12/1985
Debut: 88
Peak: 88
Weeks: 2
Genre: Pop, Adult Contemporary
Pop Bits: Loggin's fifth solo album, Vox Humana, just wasn't meeting expectations. With the title-track first single halting at a low #29 and a follow-up single barely making the Top 40, the album stalled early at #41, which made it his lowest peaking album to-date. Luckily, his popularity at the time carried the album to gold-level sales, but coming on the heels of his biggest hit (the #1 "Footloose"), it was a disappointment. This third single from the album didn't do much to turn things around. It peaked where it debuted on the Pop chart and fell off after two short weeks. It was also a non-starter at AC getting to #33.
ReduxReview: Nope - this is not a remake of the famous 1970 #1 song by The Jackson 5. However, that would have been much better. This song evokes the feel of Loggins' 70s tunes, but that is about all it does. It actually sounds more like an outtake from an old Doobie Brothers session. The song was not a bad one; it just wasn't good enough to be a single. In fact, it's pretty forgettable. I'm not sure if Loggins was rushed to get the album out or not, but it features a lot of weak songs like this. Luckily, movie songs would keep him afloat for a few more years, but he was just never able to capitalize on them with his own solo albums.
ReduxRating: 4/10
Trivia: Sometimes songs not intended as Christmas fare end up being associated with the holiday years later, such as Joni Mitchell's classic tune "River." Loggins has a song in his catalog that has gained favor on radio stations during the holiday season. The title track to his 1977 debut album Celebrate Me Home has slowly crept into the Christmas standards territory mostly due to the song's first line, "home for the holidays." The remainder of the lyrics have nothing to do with Christmas, the holidays, or even winter, but that first line along with thoughts of being home have made it catch on during the season. Other artists such as LeAnn Rimes (with Gavin DeGraw) and Sugarland's Jennifer Nettles have now covered the track and included it on their Christmas albums. Despite never being released as a single, the song has become a popular moneymaker in Loggins' catalog.
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Date: 10/12/1985
Debut: 88
Peak: 88
Weeks: 2
Genre: Pop, Adult Contemporary
Pop Bits: Loggin's fifth solo album, Vox Humana, just wasn't meeting expectations. With the title-track first single halting at a low #29 and a follow-up single barely making the Top 40, the album stalled early at #41, which made it his lowest peaking album to-date. Luckily, his popularity at the time carried the album to gold-level sales, but coming on the heels of his biggest hit (the #1 "Footloose"), it was a disappointment. This third single from the album didn't do much to turn things around. It peaked where it debuted on the Pop chart and fell off after two short weeks. It was also a non-starter at AC getting to #33.
ReduxReview: Nope - this is not a remake of the famous 1970 #1 song by The Jackson 5. However, that would have been much better. This song evokes the feel of Loggins' 70s tunes, but that is about all it does. It actually sounds more like an outtake from an old Doobie Brothers session. The song was not a bad one; it just wasn't good enough to be a single. In fact, it's pretty forgettable. I'm not sure if Loggins was rushed to get the album out or not, but it features a lot of weak songs like this. Luckily, movie songs would keep him afloat for a few more years, but he was just never able to capitalize on them with his own solo albums.
ReduxRating: 4/10
Trivia: Sometimes songs not intended as Christmas fare end up being associated with the holiday years later, such as Joni Mitchell's classic tune "River." Loggins has a song in his catalog that has gained favor on radio stations during the holiday season. The title track to his 1977 debut album Celebrate Me Home has slowly crept into the Christmas standards territory mostly due to the song's first line, "home for the holidays." The remainder of the lyrics have nothing to do with Christmas, the holidays, or even winter, but that first line along with thoughts of being home have made it catch on during the season. Other artists such as LeAnn Rimes (with Gavin DeGraw) and Sugarland's Jennifer Nettles have now covered the track and included it on their Christmas albums. Despite never being released as a single, the song has become a popular moneymaker in Loggins' catalog.
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