Song#: 1069
Date: 06/12/1982
Debut: 69
Peak: 21
Weeks: 16
Genre: Rock
Pop Bits: After his Bruce Springsteen-produced comeback album yielded the #11 hit "This Little Girl," Bonds teamed up once again with Springsteen and Steven Van Zandt for a follow-up LP titled "On the Line." Springsteen wrote seven of the eleven tunes including this first single. Just as his previous hit missed the Top 10 by one spot, this single missed the Top 20 by one. Bonds would release a few more albums over the years, but this song would be his final pop chart showing.
ReduxReview: This song is in the same vein as Springsteen's "Hungry Heart." However, the missing element here is that Springsteen isn't singing the song. I would imagine if this was a new single from him, it probably would have done better. But Bonds' vocal is perfect for the song and he most likely sings it better than Springsteen would have.
ReduxRating: 6/10
Trivia: The Springsteen tunes were recorded with most of the E Street band members. There were three additional songs recorded during the sessions, but they were not placed on the final album. Later, Springsteen would issue his own versions of two of those songs. "Lion's Den" appeared on his 1998 box set "Tracks" and Rendezvous" showed up on his 2010 compilation "The Promise."
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Saturday, November 8, 2014
Friday, November 7, 2014
"Landslide" by Olivia Newton-John
Song#: 1068
Date: 06/12/1982
Debut: 82
Peak: 52
Weeks: 8
Genre: Synthpop, Pop
Pop Bits: This third single from her "Physical" LP couldn't follow the title track (#1) or "Make a Move on Me" (#5) into the Top 10. It stopped mid-chart and, well, took a slide back down. It did better in the UK, where it was issued as the second single. The song peaked at #18. It was then followed by "Make a Move on Me" which reached #52.
ReduxReview: This was one of my favorites off the "Physical" album. I loved the drum fills and screechy synth. Olivia is not a rocker, but she gave it her best effort here and even got a few grrrs in there for good measure. Of course, her last note is a window-breaking killer. Although quite dated, I still enjoy it.
ReduxRating: 7/10
Trivia: Newton-John's long-time producer John Farrar released his own self-titled solo album in 1980. It didn't get anywhere, but he recycled two songs from the album for Olivia's "Physical" LP. "Recovery" and "Falling" got new leases on life and became part of her hit album.
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Date: 06/12/1982
Debut: 82
Peak: 52
Weeks: 8
Genre: Synthpop, Pop
Pop Bits: This third single from her "Physical" LP couldn't follow the title track (#1) or "Make a Move on Me" (#5) into the Top 10. It stopped mid-chart and, well, took a slide back down. It did better in the UK, where it was issued as the second single. The song peaked at #18. It was then followed by "Make a Move on Me" which reached #52.
ReduxReview: This was one of my favorites off the "Physical" album. I loved the drum fills and screechy synth. Olivia is not a rocker, but she gave it her best effort here and even got a few grrrs in there for good measure. Of course, her last note is a window-breaking killer. Although quite dated, I still enjoy it.
ReduxRating: 7/10
Trivia: Newton-John's long-time producer John Farrar released his own self-titled solo album in 1980. It didn't get anywhere, but he recycled two songs from the album for Olivia's "Physical" LP. "Recovery" and "Falling" got new leases on life and became part of her hit album.
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Thursday, November 6, 2014
"(Sittin' On) The Dock of the Bay" by The Reddings
Song#: 1067
Date: 06/12/1982
Debut: 87
Peak: 55
Weeks: 9
Genre: R&B
Pop Bits: It was probably inevitable. With a trio that included two of Otis Redding's sons, it seemed like a no-brainer that they would cover their dad's biggest hit. At least they waited to capitalize on the connection until their third LP, "Steamin' Hot." Before this, their only other major chart showing was "Remote Control" from their debut album, which did well at R&B (#6), though not so great at pop (#89). Thanks in part to the father/sons connection, this single did better at pop and reached #21 at R&B. It would be their final pop entry. They would place a few more mid-chart singles at R&B, but by the end of the decade they were all done.
ReduxReview: You have to be pretty confident to cover your dad's most famous song and also name your album "Steamin' Hot." I mean, if it ain't, the title could get followed by "pile of..." Luckily, it wasn't. The Reddings were not awesome, but they were a competent trio who pushed out some decent material. This one could have gone horribly wrong, but I think they did well. I love the feel of the opening and wished that could have gotten sustained throughout the song, but their standard cover is respectful and solid.
ReduxRating: 6/10
Trivia: Otis Redding had wrapped up the recording of this song on December 7, 1967. He returned to his tour and three days later, a chartered plane that carried him and his band crashed into Lake Monona outside of Madison, Wisconsin. All on board were killed except trumpeter/Bar-Kay's member Ben Cauley. "(Sittin' On) The Dock of the Bay" was issued as a single the following January. It reached #1 and in doing so, became the first posthumous single in history to top the pop chart.
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Date: 06/12/1982
Debut: 87
Peak: 55
Weeks: 9
Genre: R&B
Pop Bits: It was probably inevitable. With a trio that included two of Otis Redding's sons, it seemed like a no-brainer that they would cover their dad's biggest hit. At least they waited to capitalize on the connection until their third LP, "Steamin' Hot." Before this, their only other major chart showing was "Remote Control" from their debut album, which did well at R&B (#6), though not so great at pop (#89). Thanks in part to the father/sons connection, this single did better at pop and reached #21 at R&B. It would be their final pop entry. They would place a few more mid-chart singles at R&B, but by the end of the decade they were all done.
ReduxReview: You have to be pretty confident to cover your dad's most famous song and also name your album "Steamin' Hot." I mean, if it ain't, the title could get followed by "pile of..." Luckily, it wasn't. The Reddings were not awesome, but they were a competent trio who pushed out some decent material. This one could have gone horribly wrong, but I think they did well. I love the feel of the opening and wished that could have gotten sustained throughout the song, but their standard cover is respectful and solid.
ReduxRating: 6/10
Trivia: Otis Redding had wrapped up the recording of this song on December 7, 1967. He returned to his tour and three days later, a chartered plane that carried him and his band crashed into Lake Monona outside of Madison, Wisconsin. All on board were killed except trumpeter/Bar-Kay's member Ben Cauley. "(Sittin' On) The Dock of the Bay" was issued as a single the following January. It reached #1 and in doing so, became the first posthumous single in history to top the pop chart.
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"So Fine" by Oak Ridge Boys
Song#: 1066
Date: 06/12/1982
Debut: 88
Peak: 76
Weeks: 4
Genre: Country
Pop Bits: The Oaks had their second major crossover hit with the title track to their LP "Bobbie Sue" (#1 country, #12 pop). This second single from the album may not have been the right choice as a follow-up. The song only got to #22 on the country chart, which broke a string of fourteen Top 10's, and was a month-long blip on the pop chart. A third single got them back into the country Top 10, but this was certainly a hiccup in the middle of their most successful period.
ReduxReview: Although this is an older song (see below), it starts like a ripoff of "Elvira," which was written in 1966. So now it makes me wonder if "Elvira" was a ripoff! Most likely not, but they are a bit similar. It may have been that similarity that sunk it on the chart. It's a good song and the Oaks do a great job, but it's like we've heard this before, so why listen to an inferior repeat?
ReduxRating: 4/10
Trivia: This song is a remake of the #11 pop hit (#3 R&B) by The Fiestas from 1959. Written by Johnny Otis, it was the R&B group's only major hit.
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Date: 06/12/1982
Debut: 88
Peak: 76
Weeks: 4
Genre: Country
Pop Bits: The Oaks had their second major crossover hit with the title track to their LP "Bobbie Sue" (#1 country, #12 pop). This second single from the album may not have been the right choice as a follow-up. The song only got to #22 on the country chart, which broke a string of fourteen Top 10's, and was a month-long blip on the pop chart. A third single got them back into the country Top 10, but this was certainly a hiccup in the middle of their most successful period.
ReduxReview: Although this is an older song (see below), it starts like a ripoff of "Elvira," which was written in 1966. So now it makes me wonder if "Elvira" was a ripoff! Most likely not, but they are a bit similar. It may have been that similarity that sunk it on the chart. It's a good song and the Oaks do a great job, but it's like we've heard this before, so why listen to an inferior repeat?
ReduxRating: 4/10
Trivia: This song is a remake of the #11 pop hit (#3 R&B) by The Fiestas from 1959. Written by Johnny Otis, it was the R&B group's only major hit.
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Wednesday, November 5, 2014
"Loveline" by Dr. Hook
Song#: 1065
Date: 06/12/1982
Debut: 89
Peak: 60
Weeks: 10
Genre: Soft Rock
Pop Bits: Dr. Hook got a bit of a left-field hit with the slightly salacious "Baby Makes Her Blue Jeans Talk" (#25) from their LP "Players in the Dark." The band's popularity had been in decline and this follow-up single did not reverse the trend. In fact, it became their final pop chart entry. They would issue one more LP the following year, but it completely tanked and that ended the main era of the group. Ray Sawyer (whose eye patch inspired the Dr. Hook name) left the group soon after, but the band continued to successfully tour for years.
ReduxReview: The original by Eddie Rabbitt (see below) is so much better than this remake. Rabbitt does a sleepy, romantic reading that would nicely enhance a wine and fireplace evening. Dr. Hook does theirs with more of a wink and point. The arrangement with the flute and female background vocals sounds dated and doesn't serve the song well. Unlike Rabbitt's original, this one seems more suited to a PBR and campfire by the trailer.
ReduxRating: 3/10
Trivia: This song was originally recorded by Eddie Rabbitt. It served as the title-track to his 1979 album "Loveline." Rabbitt co-wrote the song with David Malloy and Even Stevens. It was not released as a single. The album is noteworthy for a pair of #1 country hits, "Suspicions" (#13 pop) and "Gone Too Far" (#82 pop).
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Date: 06/12/1982
Debut: 89
Peak: 60
Weeks: 10
Genre: Soft Rock
Pop Bits: Dr. Hook got a bit of a left-field hit with the slightly salacious "Baby Makes Her Blue Jeans Talk" (#25) from their LP "Players in the Dark." The band's popularity had been in decline and this follow-up single did not reverse the trend. In fact, it became their final pop chart entry. They would issue one more LP the following year, but it completely tanked and that ended the main era of the group. Ray Sawyer (whose eye patch inspired the Dr. Hook name) left the group soon after, but the band continued to successfully tour for years.
ReduxReview: The original by Eddie Rabbitt (see below) is so much better than this remake. Rabbitt does a sleepy, romantic reading that would nicely enhance a wine and fireplace evening. Dr. Hook does theirs with more of a wink and point. The arrangement with the flute and female background vocals sounds dated and doesn't serve the song well. Unlike Rabbitt's original, this one seems more suited to a PBR and campfire by the trailer.
ReduxRating: 3/10
Trivia: This song was originally recorded by Eddie Rabbitt. It served as the title-track to his 1979 album "Loveline." Rabbitt co-wrote the song with David Malloy and Even Stevens. It was not released as a single. The album is noteworthy for a pair of #1 country hits, "Suspicions" (#13 pop) and "Gone Too Far" (#82 pop).
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