"Dancing in Heaven (Orbital Be-Bop)" by Q-Feel

Spotlight Alert!

Song#:  3932

Date:  06/17/1989

Debut:  96

Peak:  75

Weeks:  7

Genre:  Synthpop

Pop Bits:  Q-Feel was a British synthpop outfit headed up by Martin Page and Brian Fairweather. They caught the ear of Jive Records who signed on the band. An initial single titled "Doctor on the Radio" was issued out in 1981, but it didn't make an impression. Still, this second single with its unusual subtitle would be pushed out in '82. It would end up becoming a major hit around L.A., which helped it get to #18 on the Club Airplay chart. Unfortunately, the song couldn't catch on elsewhere and that left it peaking outside of the Pop Chart at a very minor #110. The band would issued a self-titled album in '82, but it and two more singles failed to chart. Page and Fairweather then put Q-Feel on hiatus and went on to work behind the scenes writing and producing. Still, folks around L.A. remembered the tune and when it came time to assemble songs for the 1985 rom-com Girls Just Wanna Have Fun, the track was revived for the movie and the soundtrack album. It would not be released as a single. The charting song from the soundtrack was "(Come On) Shout" by Alex Brown (#76). Then came the old songs revival period of the late 80s where past singles would find a new audience usually thanks to a DJ who would put the tune back in rotation. It seems like this Q-Feel tune may have gotten caught up in that revival hype and as summer arrived in '89, the track started to get enough attention that the single got reissued. This time it made the Pop chart, but it wouldn't get very far. While Page and Fairweather probably appreciated the additional attention the song got, they were already on their next career paths.

ReduxReview:  This definitely has that early 80s Euro synthpop feel along the lines of Ultravox, Thomas Dolby, etc. The urgent track was hooky and fun and it seemed to catch on out in L.A., but for some reason it just didn't click elsewhere. That was kind of too bad as I probably would have bought this single back in the day. This '89 revival hooked in a few more people and I think its popularity has actually continued to grow over the years. Still, it is more of an 80s cult song. The album was a fun listen as well. Definitely deserving of a Spotlight and hopefully some folks will finally discover this quirky gem.

ReduxRating:  8/10

Trivia:  Double Shot!  1) Thanks to the success of "Dancing in Heaven" in the L.A. area, Martin Page and Brian Fairweather moved to the city and began working with other artists. They had a minor hit right out the gate writing "Invisible Hands" for Kim Carnes (#40, 1983). They would write a few other charting songs for Carnes along with ones by Earth, Wind & Fire. Page would then go off on his own and co-write two major hits with Bernie Taupin, Heart's "These Dreams" and Starship's "We Built This City," both of which reached #1. Page would set out on a solo career in 1994 and score the #14 Pop/#1 AC hit "The House of Stone and Light."  2) Q-Feel got its name via a suggestion from Page's father, who had worked in the aerospace industry. It seems that the force a pilot feels when using the joystick on a jet plane was known as the q-feel. Page's dad seemed to think that would be a cool name for the band and they apparently agreed.

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"Right Next to Me" by Whistle

Spotlight Alert!

Song#:  3922

Date:  06/03/1989

Debut:  89

Peak:  60

Weeks:  13

Genre:  R&B

Pop Bits:  This Brooklyn-based trio of Jazzy Jazz (Brian Faust), Kool Doobie (Garvin Dublin), and DJ Silver Spinner (Rickford Bennett) came together in '85 and got hooked up with writers/producers Howie Tee and the Kangold Kid. Signed to NYC indie label Select, the trio recorded the single "(Nothing Serious) Just Buggin'." It would end up doing fairly well at R&B reaching #17 while also getting to #18 Dance. A self-titled debut album would follow. While the majority of the tracks on the LP were rap-based, there were a few that found the group actually singing including the single "Barbara's Bedroom," which made it to #31 R&B. The LP would get to #24 R&B. After a personnel changed that turned them into a quartet, Whistle returned in '88 with Transformation. For the actual vinyl LP, the group would record contemporary R&B tracks for side one and then do hip-hop tracks for side 2.  The CD added two more hip-hop tracks at the end. The first two singles were from the R&B part of the album. Both were minor entries on the R&B chart. The third single was from the hip-hop batch and it failed to chart. As a last grab for attention, this fourth single from the R&B bunch was pushed out. Although it would be another mid-charter at R&B getting to #52, the tune was able to see some action at pop radio and crossover to the chart where it would top out at #60. Despite that result, the album would fail to reach the Pop chart, however it did get to #42 R&B.

ReduxReview:  This song caught me completely off guard. To get familiar with the group I listed to "Just Buggin'" and a couple tracks from their debut album. While I knew they were moving more toward a New Edition/Boyz II Men vibe, when I put this song on it truly surprised me. For the first twenty seconds I thought I'd stumbled on a lost Commodores/Lionel Richie track. When the vocals started I knew it wasn't, but I really liked what was happening. As the song quietly unfolded I fell deeper and deeper into it. The whole arrangement of the tune was really great, but I especially loved the keyboard fills in the chorus. I liked the lead and background vocals as well. Overall, this was just such a lovely tune and it was a shame it didn't do better. Anyone who liked "Tender Love" should be all over this song. I didn't care much for Whistle's hip-hop tracks, but this song was aces. They had a couple of other nice tunes and the guys were talented. It just seems they never fully found their stride because they kept changing lanes and failed to forge their own path. Still, this song is a true lost gem of the decade. Because of that, I'm putting this in the PopRedux spotlight.

ReduxRating:  8/10

Trivia:  Whistle would return with a follow up album Always and Forever in 1990. For the LP, the quartet would completely leave behind their hip-hop roots and shoot for a full contemporary R&B album. Its first single, a remake of the 1977 #2 R&B/#18 Pop hit "Always and Forever" by Heatwave, would end up becoming their biggest hit reaching #9 R&B and #35 Pop. A follow up, the new jack swing "Bad Habit," would get to #40 R&B and #13 Dance. The album would top out at #34 R&B. A fourth album in 1992 would do far less well and that would be the end of the line for Whistle.

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"She's Only 20" by Tami Show

Spotlight Alert!

Song#:  3440

Date:  03/12/1988

Debut:  92

Peak:  88

Weeks:  4

Genre:  Pop, Rock

Pop Bits:  Three sisters from Chicago, Cathy, Claire, and Kristen Massey, discovered their voices early on and in their teens formed a harmony vocal group called Sirenz that would perform around the city. Attending one of their gigs was guitarist Tommy Gawenda, who was in a local band called Pezband. He liked what the sisters were doing and asked them to help backup the Pezband for a series of shows they had lined up. The sisters agreed and began working with Gawenda. After a couple of years, Kristen would chose to depart and that led Cathy and Claire to fully join forces with Gawenda and members of the Pezband to form a new group called Tami Show. The sextet would record a demo that would end up in the hands of Blondie bassist Nigel Harrison, who happened to be working in Chicago at the time. Harrison liked what he heard and after returning to L.A. gave it to producer Mike Chapman (Pat Benatar, Blondie, Scandal). Chapman also dug the demo and helped to get the band signed to Chrysalis Records. Chapman would then produce the band's self-titled debut album. This first single was released and it was able to make the Pop chart, but only for a short month. A second single failed to chart and the album disappeared quickly. Yet all was not lost as the band would get a second chance in the new decade to come.

ReduxReview:  This is quite a nice song. Wonderfully written with appropriate production from Chapman and a performance by the band the perfectly suited the song. That said, if I was a record exec listening to the album, I'm not sure I'd call this song out as a potential hit single. In general, it was a really nice tune, but I think that may have been the issue. Nice doesn't necessarily cut it on the Pop chart. A song really has to have something that makes it stand out and as lovely of a listen as this one is, the tune just didn't have that extra oomph to make it a contender. It certainly could have done better on the chart and probably should have made the Top 40, but it wasn't destined to be a major hit. Still, it is an enjoyable song. I wasn't aware of Tami Show until their second album, which I ended up getting at a used CD shop in NYC. Their single "The Truth" definitely had more meat on the bones and did better. I remember kind of liking the album, but in the end it got sloughed off in one of my moves and I don't have it anymore. I probably should have held on to it as listening to this song and "The Truth" made me want to hear more from the band after all these years. The two charting songs showed that the band had something good going on and so I'll give this one the Spotlight treatment in hopes some other folks will go back and give them a listen.

ReduxRating:  7/10

Trivia:  Double Shot!  1) Following their debut album, changes at Chrysalis got the band pushed over to RCA. In 1990, they would release a second album titled Wanderlust. It too would be produced by Chapman. The LP's first single, "The Truth," would end up cracking the Pop Top 30 at #28. Unfortunately, a second single failed to do anything and the album wasn't able to chart. To make things worse, Chapman had a bit of a falling out with a new person in charge of RCA and that along with the album's results didn't bode well for the band and they would end up being let go from the label. Not long after, the band would break up.  2) The band got its name from a two-night concert event in 1964 at the Santa Monica Civic Auditorium billed as "The T.A.M.I. Show." The acronym stood for Teenage Awards Music International and in some advertising Teen Age Music International. The shows brought together rock and R&B acts from the US and the UK. On the bill were The Rolling Stones, James Brown, The Beach Boys, Lesley Gore, the Supremes, Marvin Gaye, the Miracles, Chuck Berry, and others. The shows were filmed and then edited together to make the concert movie The T.A.M.I. Show. While there were several good performances in the film, it is arguably most notable for James Brown's explosive performance. Released in late December of '64, the film had a short run in theaters. After that, some versions of the film would make the rounds including one that eliminated The Beach Boys. Due to legal wranglings and other issues, the movie was very rarely shown and people would have to watch it via bootleg copies. After years of never getting an official, full release for the home video market, the movie was restored and issued out on DVD in 2010. A blu-ray version would come out in 2016. A little trivia side note: the concerts also featured some go-go dancers that would appear on stage with some of the artists. Among these dancers were two future stars, actress Teri Garr and singer/dancer/actress Toni Basil.

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"One Simple Thing" by The Stabilizers

Spotlight Alert!

Song#:  3078
Date:  04/04/1987
Debut:  97
Peak:  93
Weeks:  3
Genre:  Rock



Pop Bits:  This band from Erie, Pennsylvania, mainly consisted of lead singer Dave Christenson and guitarist/keyboardist Rich Nevens. The pair met up in 1984 after their respective previous bands had broken up. They hit it off musically and began working on songs. A couple of tunes they had recorded as demos made the local airwaves and became popular. They then hired in some side musicians and began to play the clubs. A friend of theirs hawked their tape to labels in New York and it caught the ear of Denny Diante, a producer at CBS Records. Diante caught one of the band's shows and liked what he saw. Christenson and Nevens eventually got signed to CBS and work began on a debut album titled Tyranny with Diante producing. The title track served as the first single, but it got nowhere. However, this second single made some waves and it picked up enough airplay to reach #21 on the Rock chart. The song was then able to cross over to Pop, but it could only manage a few short weeks near the bottom of the chart. Further singles didn't do anything and the album failed to chart. When CBS was scooped up by Sony, the duo got released from their contract and moved over to MCA Records. They recorded an album that was to be titled "Teasing Enrico," but after the LP was finished, changes at the label left the LP shelved and the band without a contract. Only one track saw the light of day. "Maybe This Time" ended up on the soundtrack to the 1991 Richard Grieco action-comedy flick If Looks Could Kill. The duo dissolved not long after their association with MCA ended. Sadly, Christenson died in 2017 from lung cancer.

ReduxReview:  I really don't know how I found this song. It was a low charter and I doubt I heard it on a local radio station. My guess is that I might have caught the video (directed by David Fincher before his movie career kicked in) on MTV. Somehow somewhere this song made an impression on me and I bought the single. I just loved it. The production was meaty, Christenson's vocal take was excellent, and the chorus was just explosive. It was always one of my favorite lost tunes from the decade. I still can't believe this wasn't a hit. Top 40 at minimum. I just wonder if it didn't get the push it deserved by CBS. After one failed single, they probably didn't put their best effort towards this one even though it was getting attention on Rock radio. While the balance of their album doesn't necessarily reach the levels of this track, it was a good LP with some worthwhile moments. I have to spotlight this song because it is a lost gem from the time.

ReduxRating:  9/10

Trivia:  The band got its name from a previous band that Rich Nevens had been in. During his college years at Penn State, Nevens was in a band called The Stabilizers. That band was able to record and issue out an indie self-titled debut in 1982. The band broke up when Nevens graduated and moved to Erie for a job. It was while he was in Erie that he met and began hanging out with Dave Christenson. When the pair decided to form a band, Nevens was able to reuse his former band's name.

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"Stay True" by Sly Fox

Spotlight Alert!

Song#:  2747
Date:  06/07/1986
Debut:  94
Peak:  94
Weeks:  2
Genre:  Synthpop, Blue-Eyed Soul



Pop Bits:  The duo of Sly Fox made an impression with their #7 hit "Let's Go All the Way." It was taken from their debut album of the same name as was this follow-up single. Unfortunately, it didn't appeal to listeners like their previous hit and the song ended up being a blip at the bottom of the Pop chart for a couple of weeks. It was actually their third single from the LP. The first one released was "Como Tu Te Llama? (What Is Your Name)." It was able to reach #13 at Dance, but it failed to make other charts. "Let's Go All the Way" would be the second single and their breakthrough. Their debut album would do well reaching #31 and plans were made for a follow-up, but the duo ended up splitting. They tried to reunite near the end of the decade, but they still couldn't solve their issues and parted ways for good. The lone Top 10 hit made them a one-hit wonder of the decade.

ReduxReview:  These guys were gonna have a tough time following up a song so distinctive as "Let's Go All the Way." They were a one-hit wonder waiting to happen and indeed that ended up being the result. Yet it didn't have to be. This joyous slice of blue-eyed soul/pop with a terrific, hooky chorus should have easily become their second hit. If this had been done by a band like Go West, I think it would have clicked on the radio. Since it was a follow-up to the unforgettable, mind-melting "Let's Go All the Way," I think it got ignored because it was too different from that hit and DJs and listeners were probably expecting a "Let's Go, Pt.2" that would continue the groove. It's really too bad as this is a gem of a tune that got totally lost. "Let's Go" is a classic one-hit wonder of the decade, but if push comes to shove, I think this is a better song. Therefore, I'm gonna shine a spotlight on this because it deserved a lot more attention that it received.

ReduxRating:  8/10

Trivia:  After the split, the members of Sly Fox, Gary Mudbone Cooper and Michael Camacho, went off on their own career paths. Cooper returned to working with George Clinton and would also write music for and perform with many other artists. Camacho, who had some theater experience, tried to break into acting and appeared in a few indie films. He still dabbled in music and changed over to jazz for his 2006 solo album Just for You. Camacho also became the manager of a jazz bar in NYC called Rue-B and he occasionally performs there. 

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"Right Between the Eyes" by Wax

Spotlight Alert!

Song#:  2652
Date:  03/15/1986
Debut:  97
Peak:  43
Weeks:  13
Genre:  Pop, Rock

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Pop Bits:  When the British group 10cc was working on their 1981 album Ten Out of 10, their American label (Warner Bros.) thought there needed to be a couple of tracks that would be more in tune with US listeners (aka hits for US radio). The label though that if they co-wrote some tunes with an American songwriter it might help and they offered up the services of Andrew Gold. 10cc ended up liking the idea and brought in Gold. He co-wrote two songs with the band for the album and both were issued out as singles. Sadly, neither track charted and the album quickly disappeared. However, the relationship between 10cc and Gold was solid and Gold was even asked to join the band. He ended up declining due to other commitments. It was probably a good decision because 10cc split up in 1983. Yet 10cc's Graham Gouldman remained close with Gold and the pair spent time together working on music. It wasn't long before the duo had enough tracks for an album. They issued out a single under the name World in Action, but nothing came of it. They changed their name to Common Knowledge and pushed out another single that also went nowhere. Undeterred, they recorded more tracks, signed on with RCA and issued out a debut album titled Magnetic Heaven. The LP's first two singles failed, yet this third single finally got them noticed. It picked up enough airplay to reach #39 on the Rock chart while nearly making the Pop Top 40. While it wasn't a major hit, it was enough for the label to call for a second album and they released American English in 1987. The LP and its singles tanked in the US, but in the UK the song "Bridge to Your Heart" became a hit reaching #12. A third album did nothing and that was the end of Wax.

ReduxReview:  Although the band and the song title didn't bring anything to mind, once I started to play the tune I got that "oh yeah - I remember this song!" I'm not sure where I would have heard the track, but it was familiar to me right away. I also don't know why I didn't seek out the single. This was right up my alley. Perhaps it wasn't stocked at the local record store, which did happen on occasion. This was a really nice surprise. The song is great and I love the punchy 80s Motown-via-London production. It's a shame this didn't do better. When it comes down to it, it's not all that different from some of the stuff bands like Go West or Mike + the Mechanics were doing, but it was delicious pop that was well done. I think it is worthy of being the first song from 1986 to get a Spotlight mention. I may have to dip into the Wax catalog now.

ReduxRating:  8/10

Trivia:  Double Shot!  1) Most folks are familiar with Andrew Gold thanks to two solo hits he had in the 70s. First was 1977's #7 "Lonely Boy." Then the following year he scored with the song "Thank You for Being a Friend." Although that song would only reach #25 on the Pop chart, it would later be forever known as the theme song to the classic TV show The Golden Girls (1985-1992). Although Gold's solo career would be short-lived, he remained an in-demand session musician and occasionally wrote songs for other artists. One of his songs, "I Saw the Light," was recorded by Wynnona Judd for her debut solo album in 1992. The song would be her second single and it would reach #1 on the Country chart. Gold could also be heard singing the theme song to the hit TV show Mad About You. The song, titled "Final Frontier," was written by Don Was and Paul Reiser and Gold's vocal version was used during the show's first five season.  2) Gold's mother was a famous singer who wasn't really famous during a good chunk of her career. Marni Nixon was a singer/performer who did ghost work supplying the singing voice to famous actresses in many big films. Her most famous dubs were supplying the vocals for Natalie Wood in West Side Story and for Audrey Hepburn in My Fair Lady. Most of the time Nixon would not receive credit for her work as the studios didn't want audiences to know the actresses didn't sing the songs. The ruse would come out later and despite having an extensive singing and acting career (winning four local Emmys and nominated for two Grammys), her biggest claim to fame would be as the ghost singer for some of Hollywood's biggest leading ladies.

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"Black Kisses (Never Make You Blue)" by Curtie and the Boombox

Spotlight Alert!

Song#:  2402
Date:  07/27/1985
Debut:  88
Peak:  81
Weeks:  4
Genre:  Dance-Pop



Pop Bits:  After Dutch producer Peter Koelewijn crossed paths with singer Curie Fortune, he decided to develop her as an artist and form a backing group to support her. Fortune was originally from a Caribbean island and had an accent that Koelewijn liked, so when he sought other singers to fill out the group, he ended up finding three others that were also from the Caribbean. The new group recorded the song "Let's Talk It Over in the Ladies Room" for RCA and it got released in 1984. Although it was a middling chart entry in The Netherlands, the results were good enough to support the recording of this follow-up single, which ended up making the Dutch Top 20. RCA pushed the song to other countries including the US where it got some attention in the clubs and made it to #40 at Dance. It was also able to cross over to the Pop chart for a short month. With interest in the group increasing, it was decided that a full album should be done. After a few personnel changes, enough songs were recorded to fill a debut album. Unfortunately, follow-up singles failed to do anything and the album disappeared quickly. Fortune and Koelewijn then called it quits on the group, but three of the remaining members tried to kick off a career as just Boombox. Their initial single tanked and that brought a final close to the group.

ReduxReview:  I didn't know what to expect from this song and I have to say that it surprised me. It's nearly like something from the Bananarama/Stock Aitken Waterman camp with a bit of a rock edge. It grooves along quite well and the production is surprisingly good. The vocals and harmonies are just fine, but I think this song could have benefited from stronger voices. The lyrics are a bit meh, yet the groove of the track makes up for it. With the upcoming era of 80s female vocal groups coming up soon, this might have had more luck on the chart a couple of years down the road. This is a lost little gem that I'm glad I got to uncover and it is worthy of a Spotlight mention.

ReduxRating:  8/10

Trivia:  Peter Koelewijn is often considered the father of Dutch rock and roll. Back in the mid to late 50s, the new sounds of rock and roll were beginning to take over the airwaves in the US and the UK. Those songs began to spread across Europe, but for countries like The Netherlands, rock music was slow to take hold. It wasn't something played on the more conservative Dutch radio stations. Those who discovered rock had to hear it through other sources such as Radio Luxembourg or the American Forces Network that was mainly for US servicemen who were stationed in Germany. Soon, some young Dutch musicians were trying to replicate the sound of rock and covering hits from the US. A few artists were able to record some original tunes as well, yet despite a growing audience for this music, rock was still not taking over the Dutch airwaves. That all changed when Koelewijn started his band Peter and the Rockets. In 1959, the band recorded some original songs written by Koelewijn and one of the tunes, "Kom Van Dat Daf Ak" (translation - "Get Off That Roof"), was pushed out by Imperial Records. After a slow start, the song got on the Dutch chart and eventually made its way to the #1 spot. The band followed it up with more hits and in doing so helped to establish original rock and roll in The Netherlands. They would end up with five Top 10's at home, but the band was even more popular in Belgium where they scored fifteen Top 10's.

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"Love and Pride" by King

Spotlight Alert!

Song#:  2393
Date:  07/20/1985
Debut:  87
Peak:  55
Weeks:  11
Genre:  New Wave



Pop Bits:  Formed from the ashes of other bands, this British outfit officially came into being in 1983. Named for its lead singer Paul King, The band signed on with CBS (Epic in the US) and set out to record songs for a debut album. This first single came out in the spring of '84, but it tanked getting to only #84 in the UK. Then two follow-up singles failed to chart. That could have been it for them but then late in '84 the band gained fans while touring with Culture Club and then they performed this song on the UK music TV show The Tube. Interest in the band caused the label to reissue this song and it ended up being a big hit reaching #2 on the chart. The song then crossed the pond, but its fortunes were not as good. It ended up peaking just outside the Top 50 while getting to #17 on the Dance chart. It would be their only charting song in the US. Meanwhile in the UK, the band's album would go gold and their follow-up LP would generate a second Top 10 hit. Unfortunately, after two albums the band split with Paul King headed out on a solo career.

ReduxReview:  To me, both the song and Paul King's vocals bring to mind Adam Ant mixed with a little early U2. I can absolutely hear why this was a hit in the UK. It's different, interesting, and blended well with other new wave/pop Euro artists who were hitting at the time. When I first listened to the song, I wasn't sure if I liked it, but as the song went on I got into it and wanted a second listen. This one was gonna be lost on US ears and I'm actually a bit surprised it made it halfway up the chart. Quite a cool song and I'll be taking a listen to their albums after hearing this and see what else they have to offer. Oddly, I think I remember seeing this album in the record store back in the day. It's an attractive, 80s day-glo cover and one that would have stood out to me. This is an interesting discovery and one worthy of a Spotlight mention. As always, I'm so happy when I run across lost songs like this in the project!

ReduxRating:  8/10

Trivia:  After breaking from the band, Paul King stayed with CBS and recorded a 1987 debut solo album titled The Joy. The album was produced by US chart star Dan Hartman and featured several songs co-written by King and Hartman (and a few with Hartman's writing partner Charlie Midnight). The new material leaned towards pop/rock and the LP's first single, "I Know," failed to make a major impression peaking at #59 in the UK. Soon after, King embarked on another career - that of an MTV VJ. Working for MTV Europe, King hosted several of the channel's shows including 120 Minutes and MTV's Greatest Hits. He would stay with the channel through to 1994 when he then switched over to VH1. Apparently he is still working with the MTV/VH1 network producing shows.

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"Look My Way" by The Vels

Spotlight Alert!

Song#:  2225

Song#:  1802
Date:  02/23/1985
Debut:  92
Peak:  72
Weeks:  6
Genre:  New Wave, Dance, Synthpop



Pop Bits:  This Philadelphia trio consisting of Charles Hanson, Alice DeSoto, and Chris Larkin formed in 1980 and over the next few years they honed their sound and gathered a solid following. Eventually, Mercury Records came calling and the band got signed to the label. Working with producer Steve Stanley (of Tom Tom Club), the trio recorded their debut album, Velocity. The initial single from the album, "Private World," couldn't do much except a #30 showing on the Dance chart. This next single got a little more attention thanks to an MTV video and the song was able to reach the Pop chart for a few weeks while getting to #39 at Dance. It would be their only single to reach the Pop chart. A second album, House of Miracles, was issued in 1986, but it quickly disappeared. The Vels broke up later in '87.

ReduxReview:  I've never heard of this Philly band, but they hooked me right from the opening of this song. The warm chords, the nice melody, the boy/girl vocals, and the 80s synthpop production are all right up my alley. Then, to top it off, there is a rap section a la Debbie Harry in "Rapture." It was produced by the same guy who co-wrote and produced Tom Tom Club's "Genius of Love," so that seemed to rub off here. Sadly, this song couldn't do as well and it quickly disappeared. It deserved a better fate. I've called up a couple of their other tunes and they show promise, so I ordered up both of their LPs to see what else they had to offer. Regardless, this is a lost gem from the 80s and a lovely surprise to run across. As I've said before, discovering tunes like this is one of the best things about this project and I think it is worthy of being in the Spotlight.

ReduxRating:  8/10

Trivia:  Double Shot!  1) Charles Hanson's first brush with success came via the New Orleans-based punk band The Normals. Formed in 1977, they only issued one single back in the late 70s, but had recorded enough songs for an album. These would later be issued on LP and then in 2011 as a CD titled Vacation to Nowhere. Apparently, at the time they were considered New Orleans' first punk band. After an unsuccessful attempt to break through in New York, the band split and Hanson went on to form The Vels. It seems these days Hanson owns what is considered one of the oldest bars still in operation in NYC. Now called the 169 Bar, it originally opened in 1916.  2) After The Vels broke up, Alice DeSoto returned to her real name of Alice Cohen and in the early 90s was a member of the Athens, Georgia, band Die Monster Die. They released two albums that did well critically, but were commercially unsuccessful. While in The Vels, Cohen wrote a disco-style song called "Deetour" that was a #34 Dance hit in 1982 for singer Karen Young. Young previously had one charting hit at Pop called "Hot Shot." That 1978 track reached #1 at Dance while getting to #67 at Pop.

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"Had a Dream (Sleeping with the Enemy) by Roger Hodgson

Rated 10 Alert!

Spotlight Alert!

Song#:  2082
Date:  10/13/1984
Debut:  85
Peak:  48
Weeks:  15
Genre:  Rock



Pop Bits:  Even if you are not familiar with his name, you will most likely recognize Hodgson's voice and songs. As a member of the band Supertramp, Hodgson wrote and sang the lead on some of their most memorable hits including "The Logical Song" (#6), "Give a Little Bit" (#15), "Take the Long Way Home" (#10), "Goodbye Stranger" (#15), and 1982's "It's Raining Again" (#11). However, during the making of Supertramp's album ...Famous Last Words..., Hodgson felt like he needed to branch out on his own. After Famous was finished, Hodgson decided to record a solo album. He intended to release it after the Supertramp LP, but in the end he wasn't happy with the results and scrapped it. Hodgson then officially left Supertramp after the band was done touring for the album and set out to re-record his solo album. Once completed to his satisfaction, his debut album In the Eye of the Storm, was released and this first single was issued. The song did very well at Rock getting to #5. At Pop it didn't do as well and the single stalled before it could reach the Top 40. It would end up being Hodgson's only solo Pop entry. The album also featured the song "In Jeopardy," which was able to get to #30 at Rock.

ReduxReview:  I can't remember what drew me to this album. I wasn't a big fan of Supertramp and I don't remember seeing a video for the song. I can only imagine that I must have heard it on the radio at some point. Or, I might have been intrigued by the song title or album cover. Whatever it was, I'm so glad I found it. This opening track quickly became a huge favorite of mine. I played it constantly for a long time and I loved to crank it up in the car on a summer day with the windows down. My love for the song hasn't diminished over time. I still play the song and other tracks on the album several times a year. Weirdly enough, I just listened to the album a couple of days ago without knowing the song was coming up on the chart! The dramatic opening, the quiet midsection, the vocal harmonies, the arrangement, and the guitar solos are all just bangin'. It is still one of my favorite songs of all time. I can understand why it wasn't such a big pop hit, but at least Rock embraced it at the time and gave it life. To me, the song is just brilliant. Because of that and the fact that I think it is an overlooked gem from the time period, I'm gonna put a Spotlight on the song and hope others discover it.

ReduxRating:  10/10

Trivia:  For those younger folks who are unfamiliar with Supertramp, chances are they know a recent song that was based on one of the band's most famous album tracks. The title track to their multi-platinum 1979 album Breakfast in America was transformed into the song "Cupid's Chokehold" by the hip-hop/alt rock band Gym Class Heroes, which featured vocals by Fall Out Boy's Patrick Stump. That song reached #4 on the Pop chart in 2006. Roger Hodgson wrote the original song for Supertramp's album and performed the lead vocals. It was issued as a single, but in the US it failed to chart at Pop. However, a live version of the song hit the chart in 1980 and got to #62.

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"Flashes" by Tiggi Clay

Spotlight Alert!

Song#:  1802
Date:  02/25/1984
Debut:  90
Peak:  86
Weeks:  3
Genre:  New Wave, Synthpop

Video Link to "Flashes" by Tiggi Clay

Pop Bits:  Despite sounding like a person's name, Tiggi Clay was actually a trio headed up by singer/songwriter Fizzy Qwick (aka Debravon Lewis). She along with Billy Peaches and Romeo McCall got the attention of Motown Records and signed on with their new subsidiary label Morocco. They recorded their self-titled debut album, which featured this first single.    The song's new wave edge attracted some Pop listeners and the tune was able to reach the chart for a minor few weeks. Despite good reviews, the album disappeared quickly. The results still might have been good enough to warrant a second disc, but before that could happen Motown shut down Morocco and that was the end of Tiggi Clay.

ReduxReview:  Here is one that totally caught me off guard. A black new wave trio with a name that sounds like a person rather than a group (I can't confirm it, but apparently they copped the moniker from some bully that went by that name - which they have someone portray in the video). I called up the original video on YouTube (introduced by the trio with Fizzy looking awesome!) and it was so strange and so 80s. The song sounds like it might have been the result of a collaboration between Toni Basil and Missing Persons. It was all a bit odd, but in a good way. Had I heard this song back in the day, I would have immediately bought the record. Unfortunately, it just didn't get enough promotion and disappeared. Thanks to this blog project, I was lucky enough to discover the tune. I've already ordered a copy of the original vinyl LP, so I'm looking forward to seeing what else they had to offer. These are the songs that truly make this project fun, so I have to give the Spotlight to Tiggi Clay.

ReduxRating:  8/10

Trivia:  After Tiggi Clay disbanded, Fizzy Qwick signed on to Motown as a solo artist. She recorded a self-titled album in 1986 for the label that included the single "Hangin' Out." That song would be a minor entry at R&B reaching #71. A second singled failed to chart and that ended Qwick's time at Motown.
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"Canvas of Life" by Minor Detail

Spotlight Alert!

Song#:  1619
Date:  09/24/1983
Debut:  95
Peak:  92
Weeks:  2
Genre:  Synthpop



Pop Bits:  This Irish duo consisted of brothers John and Willie Hughes. In the 60s and 70s, they honed their skills with two other bands. First was a pop/rock covers band called Ned Spoone. They then moved on to a folk-hippie style acoustic outfit called Highway. Neither would bring the brothers much success and by the 80s they decided to concentrate on pop song writing and soon Minor Detail was born. They signed with Polydor Records and recorded their self-titled debut album. This first single was issued and became just a blip on the Pop chart for a couple of weeks. It did a little better in their Ireland home where it reached #25. The lack of a success took its toll and they split in 1984. A couple of years later, they tried to mount a comeback and issued a new single, but it failed to get any attention and Minor Detail broke up for the final time.

ReduxReview:  Where did this 80s synthpop gem come from? Never heard of the duo or this song. That's too bad because I would have jumped on this song back in the day. Very cool, melodic synthpop with a little Neil Young Trans vocodor tossed in. Nice arrangement too. Dang! This should have been a Top 40 contender. I was kind of surprised the album was on Spotify since a CD version is not available. I found it on Amazon as an MP3 download, so I bought that puppy as I thought the whole disc was really interesting. This, of course, is the stand-out track and definitely worthy of a Redux Spotlight, which I haven't done in a long while. This one definitely caught me by surprise and discovering little treasures like this is what I love about doing this blog project.

ReduxRating:  8/10

Trivia:  Double Shot!  1) Minor Detail's debut album was produced by Bill Whelen. If that name seems familiar, it's most likely because he composed the score for the mid-90s theatrical sensation Riverdance. That show has been seen by millions worldwide and the soundtrack was a big hit getting platinum certification in the US.  2) John Hughes later went on to serve as the music coordinator for the 1991 film The Commitments. At the auditions, a quartet of siblings caught his attention. The four did get minor parts in the film, but Hughes saw more potential and became their manager. By 1995, the four Corr siblings released their debut album. As The Corrs, they landed on the US chart at #68 with their first single, "Runaway." A reissue of that song would come out in 1999 and hit #2 in the UK and #20 on the US AC chart. The following year they reached #1 in the UK, #14 US AC, and #34 US Pop with "Breathless." That single allowed their album In Blue to reach platinum status in the US. Hughes still manages the successful quartet.

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"Younger Days" by Joe Fagin

Spotlight Alert!

Song#:  1117
Date:  07/31/1982
Debut:  90
Peak:  80
Weeks:  3
Genre:  Rock



Pop Bits:  This UK musician played with several different bands throughout the 50s and 60s before falling into session and jingle work. Eventually he got a shot at his own solo career and got a single out in the UK in 1980 that failed to get any attention. His next deal included this single that was released in the US on the Millennium label. It spent a few weeks on the chart and would be Fagin's only US entry. He caught a break in the UK when he sang the theme song to the hit TV show "Auf Wiedersehen, Pet." The main song, "That's Living Alright," reached #3 in 1984 and would be Fagin's peak solo moment. The song would later be revamped as "That's England Alright" and used as an unofficial theme for the 2006 World Cup.

ReduxReview:  After reading about Fagin and his background, this song was not what I expected. I guess I was thinking along the lines of some kind of oldies-style pop leaning towards blues with a twinge of novelty. But what I heard was darn near close to heartland rock via Bob Seger mixed with a little "Shades of 45" from Canadian Gary O'. I was pleasantly surprised. I like his gravely voice (which reminds me of a gruff Bill Medley) and the song is quality. I'm not sure why this didn't click. It's an enjoyable surprise and one worthy of a Spotlight.

ReduxRating:  7/10

Trivia:  For a time in the early 60s, Fagin played piano for the UK's Vince Taylor and the Playboys. The band was particularly popular in France, but due to Taylor's drug and alcohol issues, along with other internal band issues, the band broke-up and reformed several times. Sometime in the mid-60's, Taylor's altered state of mind (thanks to drugs) led to him joining a religious cult and his career crashed when he had a breakdown on stage and said he was the prophet Matthew. This brought a final end to the band and Taylor basically disappeared. He attempted a few comebacks over the years, but nothing panned out. He died in 1991. However, he remains famous thanks to two other music artists. The Clash covered a song Taylor wrote and recorded called "Brand New Cadillac." It appeared on their classic 1979 LP "London Calling." And David Bowie has said that Taylor was the inspiration for his character and 1972 album "Ziggy Stardust." Bowie met Taylor post-breakdown and in their conversation Taylor described himself as a combination of a god and an alien, which sparked Bowie's musical and theatrical imagination.

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"What Do All the People Know" by The Monroes

Spotlight Alert!

Song#:  1050
Date:  05/29/1982
Debut:  80
Peak:  59
Weeks:  8
Genre:  Pop, New Wave



Pop Bits:  You can add The Monroes to the list of "could have been" bands whose unfortunate luck derailed their potential success. This San Diego group got picked up by the Japanese-based label Alfa. Alfa had opened a US subsidiary in 1980 and was able to get a few singles on the chart including the original release of Billy Vera's "At This Moment" (#79). The Monroes recorded a self-titled EP for the label that featured this first single. The track was off to a good start and was expected to do very well. Unfortunately, as the track began to climb the chart, Alfa decided to close their US office. The closing took away all promotion and everything the group needed to secure a hit. Without the label's support, the single took an immediate dive and it left The Monroes in the lurch. The band did get picked up by CBS (Alfa's distributor), but lack of support from them kept their recordings on the shelf. They soldiered on for most of the decade, but by 1988 they finally called it quits.

ReduxReview:  Was it bad luck or just fated to be? That question gets asked when this happens to a promising artist. I think this group had potential and this song should have really kicked it off for them. It's a little bit of Elvis Costello mixed with a tidge of Squeeze. I love the dual lead vocals. It's a shame this didn't get further. It's a cool lost 80s track that could use a revival. Therefore, a Spotlight was in order.

ReduxRating:  7/10

Trivia:  Although called The Monroes, there wasn't anyone in the band with the real name of Monroe. The closest was Bob Davis who maintained a stage name of Bob Monroe. Before joining the band, he was in another group called Rick Elias and the Monroes. When Elias decided to be a solo act, he allowed Davis to retain The Monroes moniker and Davis then used it for the new group. Davis continued to use the name Bob Monroe and lead vocalist Jesus Oritz adopted the name Tony Monroe. A few years later, the band was successfully sued for using the name by another band called The Monroes. Forced into a name change, they came up with Man to Man.

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"867-5309/Jenny" by Tommy Tutone

Top 10 Alert!

Gold Record Alert!

One-Hit Wonder Alert!

Spotlight Alert!

Rated 10 Alert!

Song#:  0882
Date:  01/23/1982
Debut:  88
Peak:  4
Weeks:  27
Genre:  Rock, Power Pop



Pop Bits:  This group's 1980 self-titled debut featured their first Top 40 song with the #38 "Angel Say No." But that first effort would quickly get forgotten thanks to this smash from their second LP "Tommy Tutone-2." The song, which describes a guy getting up the nerve to call a girl's phone number (supposedly) found on a bathroom wall, slowly gathered steam from radio requests and reached #4. It was a massive success for the group and it ended up being so iconic that the group was never able to follow it up. Their next album was barely a blip on the chart and with no further chart singles, the group saw the writing on the wall and called it a day. A version of the group would release a couple of albums later in the 90s to little notice, but they will always be remembered thanks to this hit. Although technically not a one-hit wonder, due to "Angel Say No," they are often considered one thanks to this song.

ReduxReview:  The phone number dialed around the world! Back in the day, my group of friends hooked into a few albums and songs that would go on to help define those years. This is one of those songs. I remember one summer night we drove around and had this song on a continuous loop on cassette. We probably played it 20 times or more. We ended up driving to the local man-made waterfall attraction, The Cascades. You could walk up and down the sides and if there was a breeze, the water from the fountains would get you all wet as you walked up the falls. I remember it was hot and we all cooled off getting doused by the fountains. It was a lot of fun. And this song played its part in that memorable evening. Even when I hear the song now, the first thing that comes to mind is that night with my friends. Music can be so powerful in triggering great memories. Because of that, how can I not Spotlight this song?

ReduxRating:  10/10

Trivia:  Triple Shot!  1) The phone number listed in this song became a nightmare for people who had it as their home number. It was a common prank to call the number in the various area codes and ask for Jenny. Some folks were so incensed that lawsuits were considered. People had to change their numbers due to the amount of crank calls they received - sometimes numbering in the thousands per day. It prompted a few businesses to pick up the number for promotional purposes. And after all these years, you'd think this would die down, but it still remains a popular. In 2010, a new area code (855) was added. This phone number was grabbed up in less that a minute after numbers were offered to the public. (Oddly, we made our share of crank calls back in the day, but we never called this one. Weird.)  2) Although up for debate between band members, the question everyone had was if there was a real Jenny and if that was her number. The song's originator, Alex Call, has written that he just came up with the name and number out of the blue as he was writing. When Tutone group member Jim Keller showed up, he said it was like a number on a bathroom wall and then the two set out to finish the song.  3) If taken as an actual number, 8675209 is a prime number.

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"Don't Stop Believin'" by Journey

Top 10 Alert!

Gold Record Alert!

Rated 10 Alert!

Redux Spotlight!

Song#:  0807
Date:  10/31/1981
Debut:  56
Peak:  9
Weeks:  16
Genre:  Rock, Arena Rock



Pop Bits:  Well, here it is folks. The time has come to cover one of the biggest rock anthems of the decade (and beyond). Journey was coming off of their first Top 10 hit with "Who's Crying Now" (#4) from their album "Escape" when this second single from the LP was issued. The song did well at the time reaching #9 and going gold. However, the song's continued popularity over the years has far outlasted its initial chart run thanks to its use at sporting events, on TV, in films, and even on Broadway. It's pretty much guaranteed that if you ask anyone to name the first Journey song that pops into their head, this song will be the answer. The song is inescapable. Chances are you've probably heard it somewhere quite recently (I just heard it on TV two nights ago). Although Journey would have higher peaking chart hits, this is the one that has outlasted them all to become the group's signature anthem.

ReduxReview:  I loved, loved, loved this song when it came out. I thought for sure it would hit #1. But it didn't and initially the song just kind of faded like most after their chart run was complete. It remained popular on rock radio and I continued to play it quite a bit. But then sometime around the late 90s the song started getting used a lot more. And then in the aughts it seemed to be all over the place. Jonathan Cain, Steve Perry, and Neal Schon wrote the song and it boggles my mind the amount of money they have probably made from it. As far as rock anthems go, for me it is the tops and a solid go-to karaoke song; even though there is no "South Detroit." Streetlight people? Hows about "PopRedux80 Spotlight people?"

ReduxRating:  10/10

Trivia:  Double Shot!  1) In the UK, the initial release of the single didn't do well and it only reached #62. In 2009, the song was sung on the hugely popular "The X-Factor" singing competition TV show. The attention got Journey's single back on the chart. After another performance of the song late in the season on the show, the song rose up to #6 - 28 years after it originally appeared on the chart.  2) As of this date, the song has sold almost 6 million downloads making it the highest selling song from the pre-digital era.  3) Arguably the song's most famous uses are from two very different TV shows. In 2007, Journey's original version was used over the controversial series closing scene of HBO's "The Sopranos." Two years later, the song was covered by the cast of the TV show "Glee" in the series pilot and in the first season finale. The Glee cast version from the pilot show hit #4 on the pop chart, going higher than Journey's original single.

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"No Time to Lose" by The Tarney/Spencer Band

Redux Spotlight Alert!

Song#:  0747
Date:  09/19/1981
Debut:  84
Peak:  74
Weeks:  4
Genre:  Pop



Pop Bits:  Australians Alan Tarney and Trevor Spencer formed this duo in 1975 but they had been working together on other recordings and projects since the late 60s. Throughout the 70s both would support Cliff Richard and the Shadows on many sessions with Tarney formally joining the Shadows in 1973. The duo's first album was a UK-only release in 1976. Then they signed with A&M Records and issued their second album in 1978, which did a little business due to the #86 single "It's Really You." The following year their third album, "Run for Your Life," came out and featured this single. Initially released in 1979, the song reached #84. This lackluster showing got A&M to cancel their contract and the duo broke up. Enter the fledgling MTV channel who began airing the video for this song and it gained enough popularity to have the single reissued two years after its initial release. It peaked slightly higher the second time around, but it wasn't enough to really revive the group.

ReduxReview:  This has a lot that I really like - the opening is great and the chorus is like a cross of Fleetwood Mac and Alan Parsons Project. I can't say it is the strongest single, but it if I heard this on the radio, I would have picked it up right away. I like Tarney's work with Cliff Richard and others (see below) and his songwriting is strong, so I'm not too surprised I liked this so much. The surprise is that I didn't know it existed. I think the song deserved a better fate, so I'm Spotlighting this tune as being a terrific lost song from 1981 (or really, 1979). I've already got this album ordered and coming my way!

ReduxRating:  8/10

Trivia:  Tarney's career took a turn from performing to being behind the boards. He wrote/co-wrote songs and produced them for Cliff Richard including the hits "We Don't Talk Anymore" (#7, 1979) and "Dreaming" (#10, 1980). But his biggest success would be producing the first three albums for Norwegian group a-ha, who reached #1 with "Take on Me" (1985).

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"Bette Davis Eyes" by Kim Carnes

#1 Alert!

Gold Alert!

Grammy Alert!

Redux Spotlight Alert! 
Rated 10 Alert!

Song#:  0548
Date:  03/28/1981
Debut:  80
Peak:  1 (9 weeks)
Weeks:  26
Genre:  Pop, Synthpop



Pop Bits:  Although Carnes just had a couple of Top 10's, "Don't Fall in Love With a Dreamer" (with Kenny Rogers) and "More Love," I don't think anyone expected her next solo effort to be one of the biggest hits of the 80s. This mysterious single, the first from her #1 "Mistaken Identity" album, took off and spent nine non-consecutive weeks at #1. It also ranked as the #1 chart song for 1981. The song and album were nominated for several Grammy awards with this single walking off with both Song of the Year and Record of the Year. Carnes would go on to have several more chart songs, but oddly this ended up being her last Top 10 hit. A true 80s classic.

ReduxReview:  And here it is. The song that really started it all for me. I think more than any other song at the time, this one really announced that the 80s were here. I latched onto it big time. It was the summer of '81 and while this song was #1, I began listening to Casey Kasem's American Top 40 show to follow how the song was doing. I continued to listen to the show even after the song was off the chart and would rarely miss an episode. I even kept a notebook going writing all the songs down in order as they played each week. Hearing these songs then got me to buy them and that is when my addiction to purchasing 45s and LPs began. I also became a huge Carnes fan and got all of her albums and continued to buy anything she released. She is still one of my top favorites and a great songwriter (although she did not write this hit - see below). So for starting my love with 80s music and getting my record collection going, I gotta spotlight this song as it influenced me greatly.

ReduxRating:  10/10

Trivia:  This song was originally written in 1974 by Jackie DeShannon and Donna Weiss. DeShannon recorded the song the same year for her "New Arrangement" LP, however it was not issued as a single. Despite solid critical reaction, the album didn't really go anywhere. DeShannon's original wasn't a dark, mysterious song. Her arrangement was like an old-fashioned jazzy tune and reminiscent of something maybe Randy Newman might have done (I included the original below for a listen). It was pitched that way to Carnes' producer, Val Garay, but of course that arrangement was not going to fly. In comes keyboardist Bill Cuomo who developed the signature synth riff that starts the song. It was recorded live in the studio in one take and the rest is history. It just goes to show you how someone's vision of a song can totally transform it into something new, timely, and hit-worthy. (Side note - Bette Davis sent a note to Carnes thanking her for making her part of the rock generation. The two struck up a friendship which lasted until Davis' death in 1989.)



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"When Things Go Wrong" by Robin Lane & the Chartbusters

Redux Spotlight Alert!

Song#:  0249
Date:  07/12/1980
Debut:  87
Peak:  87
Weeks:  3
Genre:  Rock, New Wave



Pop Bits:  Lane was originally writing and performing on the folk-rock scene in the 70s but turned her tastes toward the rock/new wave sounds coming up in the late 70s and formed the Chartbusters in 1978. They initially had a deal with Private Stock Records, but then the label went out of business. Thanks to Jerry Wexler seeing them, they were signed to Warner Bros. and issued their self-titled debut album in 1980. This lead single briefly got on the chart and it ended up being their only song to get that far. They would go on to release one more studio album for Warner before breaking up. Lane would continue to write and perform as a solo act, but reunited with some of the Chartbusters  in 2001, eventually issuing a new album two years later.

ReduxReview:  You can hear how she dialed right into that punk-ish/new wave sound. She reminds me a teeny bit of Patti Smith in both voice and sound. I kind of dig it. Her voice is really interesting and is the attraction here for me along with the dark jangly guitar. I'm not sure if it is hit single material, but it's a quality tune.

Okay - another one of my weird-ass connections. So I had heard of Robin Lane, especially since I live in Boston around 1983. However, I don't remember hearing her records or seeing her perform. So now, I have this single to hear and research and lo-and-behold if I don't have a strange connection to her. In 2011, I got the wonderful opportunity to record one of my songs with the awesome Bleu and Ducky Carlisle at Ducky's studio in Boston. Well, it seems Ducky and Robin were married for a time and he produced her 1995 solo album "Catbird Seat." I had no idea! Another cool oddity that has sprung up from doing this project! Due to this connection and the music, I'm calling this out as a Spotlight.

ReduxRating:  7/10

Trivia:  Double Shot!  1) The video of this song was the 11th video shown on the first broadcast day of MTV on August 1, 1981.  2) Lane was married to future Police guitarist Andy Summers for a couple of years beginning in 1968.

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"King of the Hill" by Rick Pinette and Oak

Redux Spotlight Alert!

Song#:  0160
Date:  05/10/1980
Debut:  88
Peak:  36
Weeks:  14
Genre: Soft Rock, Pop



Pop Bits:  Here is a lost group where not a lot of information is available. From what I can gather, the band Oak was from New Hampshire. They formed in 1969 and hit the bar band circuit. The band would split and reform several times before really setting sights on being a full-time successful group. They finally got their shot at the big time when they signed with Mercury. I believe their band name was originally Pinette (Rick Pinette was the lead singer/writer), but Mercury didn't like it and the band became Oak. Their first single, "This Is Love," hit the chart and peaked at #58 in 1979. Further singles would be credited to Rick Pinette and Oak. This song was their biggest chart hit and it would be followed up with one more album and chart single before the band would split.

ReduxReview:  As I've said before, this is a big part of the reason why I'm doing this project. This song was a fun find. It is a big-ass ballad with everything but the kitchen sink. It scratched the Top 40, but it reminds me of one of those songs that wasn't big the first time around, but was rediscovered years later and went Top 10 - like the group Sheriff whose song "When I'm With You" peaked at #61 in 1983 and then reappeared in 1989 and went to #1. Unfortunately, this song didn't have a second life but I'm glad I discovered it. Yes, I know it is not a brilliant song, but I really love it - the opening piano riff, Pinette's big voice, the strings, the horn, the big last note. Totally awesome. The vinyl of their self-titled debut was slightly hard to find, but I got one coming my way! This is very deserving of a Spotlight mention.

ReduxRating:  8/10

Trivia:  After the band split, Pinette formed the Rick Pinette Band and toured all around the northeast. It appears that he gave up the music business and is now a motivational speaker located in Florida. He does corporate events and also school assemblies where he incorporates music and goes by "Mr. Rick."

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