"American Music" by The Pointer Sisters

Song#:  1080
Date:  06/26/1982
Debut:  73
Peak:  16
Weeks:  14
Genre:  Pop, Adult Contemporary



Pop Bits:  The Sisters followed-up their successful "Black & White" album, which featured the #2 "Slow Hand," with "So Excited!" It would be their fifth album with producer Richard Perry who guided the trio into their most successful period. This lead single revisited the girl group sound of their previous single, "Should I Do It" (#13). It did just about as well, but it wasn't a solid hit (although it reached #9 at AC). In turn, the LP fizzled at #59 and failed to reach gold status.

ReduxReview:  I have to say, I'm not sure why this song made it to the Top 20. Maybe the nostalgia factor? It was never a favorite of mine from the Sisters. If listening to their greatest hits, I usually fast-forward over this one. They didn't get a lot of support at R&B for this single (#23) and I think that hurt. It's not an awful song, but it borders on corny for me.

ReduxRating:  5/10

Trivia:  This song was written by Parker McGee. As a songwriter, McGee had two major hits that were recorded by England Dan & John Ford Coley. In 1976, the duo hit with McGee's "I'd Really Love to See You Tonight" (#2) and "Nights Are Forever without You" (#10). As most successful songwriters do, McGee tried for his own solo career. He issued a self-titled debut in 1977 that yielded the #42 chart single "I Just Can't Say No to You." It would be his only chart song and lone solo LP.

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"Love Is in Control (Finger on the Trigger)" by Donna Summer

Top 10 Alert!

Song#:  1079
Date:  06/26/1982
Debut:  79
Peak:  10
Weeks:  18
Genre:  Pop, R&B, Dance



Pop Bits:  It was not the best time for Donna Summer. After the fall of disco, Summer signed with Geffen Records and rushed out her LP "The Wanderer." While the album went gold and featured the #3 title track, it couldn't match the success of her heyday. Work began soon after on a follow-up with her producers Giorgio Moroder and Pete Bellotte. It was to be a double LP and with three songs done and the rest in demo stage, label head David Geffen stopped by to check on progress. He wasn't happy with the results and decided to scrap the album and get rid of the producers. He then hired Quincy Jones to guide Summer's next LP. The sessions were not the most pleasant with Summer pregnant, the material challenging, and the Summer/Jones relationship not very harmonious. The self-titled album took six months to finish and this first single was issued. It reached #10 at pop and #4 at R&B, but it was not a runaway hit and the album, although getting to gold again, did not end up being the smash hit Geffen and Jones had plotted.

ReduxReview:  After the LP's release, Summer stated in an interview that she sometimes felt like she was just a singer on a Quincy Jones album. I can hear/feel that in this song. Just listen to the chorus. Which, if any of those voices, belongs to Summer? Although it is her single, she is practically invisible during most sections. It seems like Geffen and Jones had a specific agenda - create a mega-hit album at whatever cost. Unfortunately, when folks try to force something to work, it typically doesn't. And with Summer not fully on board, this project was practically doomed from the beginning. I like this song, but they could have gotten anyone to sing this. Summer's diva voice is basically wasted here.

ReduxRating:  6/10

Trivia:  Although the LP scrapped by Geffen was not entirely finished (most songs were still in demo form), several tunes appeared elsewhere later. The song "Romeo" appeared on the award-winning soundtrack to "Flashdance," while "Highway Runner" was on the soundtrack to "Fast Times at Ridgemont High." Some songs ended up covered by other artists. Frida recorded a version of "To Turn to Stone" for her "Something's Going On" album (produced by Phil Collins). The shelved album would later be officially issued in 1996 as "I'm a Rainbow." Although the album did not chart or produce any singles, reviews were generally positive, as opposed to the negative reviews for the self-titled LP Geffen and Jones manufactured.

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"Don't Talk" by Larry Lee

Song#:  1078
Date:  06/26/1982
Debut:  82
Peak:  81
Weeks:  2
Genre:  Soft Rock



Pop Bits:  Lee served as a member of the Ozark Mountain Daredevils during their prime 70s years. Along the way he wrote/co-wrote several songs for the group including their biggest hit, 1975's "Jackie Blue" (#3), which Lee also sang. He left the group for a solo career as the 80s started and got signed to Columbia Records, who had issued the Daredevils' last album. "Marooned" appeared on shelves in 1982 and this lead single spent a minor couple weeks on the chart. It would be his only chart entry and his lone solo LP.

ReduxReview:  Whoa. This shocked me a little. When I heard this song I thought I had the wrong Larry Lee. I had to go back and confirm I had the right artist and song. Both were correct. I had fully expected to hear some type of Southern rock a-la the Daredevils, but what got pumped into my ears was glossy SoCal pop that sounded like a lost Christopher Cross track. What the...? Mind you, I'm not complaining as the Daredevils' brand of rock has never been a favorite, but the shift in style/genre was completely unexpected. I'm not sure how Lee went from redneck rock to smooth pop, but it works for me. I like this song and had I heard it back in the day, I might have considered a purchase. But the song and LP never got off the ground and they quickly vanished. It's too bad because anyone who enjoys some good SoCal pop should be hot on this tune.

ReduxRating:  6/10

Trivia:  "Marooned" was not Lee's first solo effort. In 1978, he recorded a disc for A&M (the Daredevils' label at the time). Unfortunately, the album got shelved and it was never released.

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"Hold Me" by Fleetwood Mac

Top 10 Alert!

Song#:  1077
Date:  06/19/1982
Debut:  33
Peak:  4
Weeks:  17
Genre:  Soft Rock



Pop Bits:  After their ambitious epic "Tusk" and subsequent tour, the Mac took an extended break with some members releasing successful solo projects. They reconvened late in 1981 to begin work on a new album and by the following June they issued "Mirage." Unlike it's experimental predecessor, "Mirage" focused on commercial-friendly soft rock. The album was well-received by record buyers and spent five weeks at #1, eventually going double-platinum. This first single would become their seventh Top 10 hit and their first to reach the AC Top 10 (#7).

ReduxReview:  This radio-friendly gem was a great return for the band from the la-la-land of "Tusk." "Mirage" wasn't as potent as their previous classics, but it had some fun songs on it (like this one). Tailoring their tunes for a larger audience was a good choice after indulging in "Tusk" and it got plenty of fans back on board.

ReduxRating:  8/10

Trivia:  This song was written by Christine McVie and Robbie Patton. It is said to be about McVie's relationship with Beach Boy Dennis Wilson. The couple parted ways in 1981. Patton recently had a chart hit of his own in 1981 with "Don't Give It Up." It was produced by Christine McVie.

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"Your Imagination" by Daryl Hall & John Oates

Song#:  1076
Date:  06/19/1982
Debut:  69
Peak:  33
Weeks:  11
Genre:  Blue-Eyed Soul, New Wave



Pop Bits:  After two #1's and another Top 10, Hall & Oates decide to try for another with a fourth single from their "Private Eyes" album. It didn't quite work out as the single could only make a Top 40 appearance. It was unfortunate because it would be the only interrupter within a streak of 12 Top 10 hits from 1981 through 1984.

ReduxReview:  The duo definitely had momentum going and a fourth single seemed possible. However, I'm not sure if this was the best choice. I think what it lacks is an identifiable chorus. Their previous hits were so memorable and easy to sing along with. This one, not so much. I really like the song and its groove, but honestly, can you sing the chorus of this tune? They had a couple songs on the album that may have worked better, but I think they would have been smarter to keep it at three.

ReduxRating:  6/10

Trivia:  Their streak of hits earned Hall & Oates the title of the most successful duo in the rock era. With sixteen Top 10's that included six #1's, the duo surpassed The Everly Brothers to take the top spot. The Brothers had fifteen Top 10's and four #1's during their career.

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