Song#: 1388
Date: 03/26/1983
Debut: 90
Peak: 30
Weeks: 14
Genre: Rock, New Wave
Pop Bits: The roots of this Australian group go back to a band of high school classmates that eventually developed into The Farriss Brothers. A couple of years later, they changed their name to INXS and found themselves supporting artists like Midnight Oil. It wasn't long before they signed their first record deal and issued a self-titled debut album in 1980. It had some limited success as did a second album. But the band was itching to break worldwide and went into the studio to record this song in order to get a deal. It worked and soon the band was recording their third album "Shabooh Shoobah." This song served as the LP's first single and it did well in Australia reaching #14. It also did good business in the US, thanks in part to a video played on MTV, and hit the Top 30 while reaching #2 at Mainstream Radio. The album would eventually go gold.
ReduxReview: I remember hearing this on the radio and it was announced as by "in excess." Then, I was in a record store and saw a poster or album that showed INXS as the artist. I though "I.N.X.S.? What is that? "In X's?" Not sure how long it took me to put 2 and 2 together, but I finally realized - "oooh - in-excess! They do that 'one thing' song! Got it." ID-ing the band helped, but I didn't buy the single or album. I probably should have bought the single. I always liked how the verse really rocked along and then the chorus became dreamy and slightly psychedelic. It's pretty terrific and the song deserved to go much higher on the chart.
ReduxRating: 8/10
Trivia: Apparently, the band's manager, Gary Morris, came up with their name. He thought they needed a new one because The Farriss Brothers seemed like some country act. They needed something with a bit more edge. Morris had a concept in mind for the band about being inaccessible - a mystery band. While that was on his mind he was also thinking how he loved the band XTC's name. Then he spotted a commercial for IXL jam ("I excel"). He brought the three things together into letters that created a phrase, INXS (in excess). The band hated Morris' "inaccessible" concept, but loved the name and kept it.
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Tuesday, September 1, 2015
Monday, August 31, 2015
"Solitaire" by Laura Branigan
Top 10 Alert!
Song#: 1387 Date: 03/19/1983
Debut: 65
Peak: 7
Weeks: 17
Genre: Europop, Dance
Pop Bits: Branigan's debut album contained what would become her biggest hit, the #2 Euro-disco remake "Gloria." While that single was still on the chart, Branigan went back to the studio to prep a follow-up album. "Branigan 2" would also dip into the European chart pool with Branigan remaking songs such as Falco's "Der Kommissar" (as "Deep in the Dark") and this tune, which ended up being chosen as the LP's first single. The formula worked again for her and the song rose into the Top 10 (#16 AC, #28 dance). The album would be her second gold seller reaching #24.
ReduxReview: When this song first came out, I was kind of blown away. I thought it had "Gloria" beat by a mile. There was a terrific urgency in both the writing and arrangement that really grabbed me. The song just builds and builds until the bridge totally explodes. And, of course, Branigan just sings the shit out of it. How her performance escaped getting a Grammy nod is beyond me. I will say it is my favorite Branigan song. However, in the long run I do recognize that "Gloria" is the true pop classic. But that doesn't mean I can't give this song a lotta love (and sing/dance like a total idiot when it comes on).
ReduxRating: 9/10
Trivia: Double Shot! 1) This is a remake of a song written and performed by French artist Martine Clémenceau. Her original 1981 version would hit #50 on the French pop chart. The song's lyrics were a bit dark and focused on a person trying to get away and hide from a world that was on the brink of nuclear war. Branigan's English version steered away from the premise and into relationship territory. The new lyrics came courtesy of an upstart songwriter named Diane Warren. She had been working with Branigan's producer, Jack White. He tasked Warren with the job of writing English lyrics for the song. It became Warren's first major hit. She would go on to write many major hits, win a Grammy, and receive seven Oscar nominations for Best Original Song. 2) The last note Branigan belts in the song is a doozy. It came close to setting a world record. For hit songs, the longest sustained note held by a female singer on record was performed by Donna Summer on her 1979 hit "Dim All The Lights." She holds a note for about 16 seconds. Branigan's last note on this song clocked in only 2 seconds shorter.
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Sunday, August 30, 2015
"Goodnight Saigon" by Billy Joel
Song#: 1386
Date: 03/19/1983
Debut: 71
Peak: 56
Weeks: 7
Genre: Rock
Pop Bits: Joel's peak behind "The Nylon Curtain" gave him two Top 20's, "Pressure" (#20) and "Allentown" (#17). A third look would produce this Vietnam-themed single that couldn't quite get into the top half of the chart. Joel's more serious tunes would help the Grammy nominated LP reach double-platinum status, but that was actually a significant drop from his previous three studio albums which all would eventually sell between 7-10 million each. He would rebound to those levels with his next set of songs.
ReduxReview: Joel's bid to be considered a "serious" musician continued with this song. At the time there was a lot of focus on the Vietnam war, the soldiers who returned, and the after-effects. Joel's song was a well-timed release that a lot of critics seemed to appreciate. It is indeed a well-written observation piece that culminates in a moving "we will all go down together" refrain. However, as a single there are a couple of problems. First is length. Even the edited single is close to 6 minutes - an eternity in pop radio. It had better be a highly popular and requested tune for a stations to play something that long. I can honestly say I never heard this on the radio. Second is that the song is not something someone is gonna hum along with while driving home from work. It's just a little too serious for that. I'm sure that Joel and the label wanted to draw attention to all the Vietnam issues at the time and chose to release this epic, but this is really a key album track and not a single.
ReduxRating: 6/10
Trivia: Joel's lyrics reflect the experience of a group of Marines during the Vietnam War. The song references many key touch points from the era including Parris Island (a Marine training facility in South Carolina), a hash pipe, The Doors, Bob Hope, and "Charlie." Apparently Joel was approached to write a song by a veteran's organization. Since Joel did not serve in the military, he had no real experience as a basis for the song, however members of the organization did. With their input and that of other friends/crew members who served, Joel was able to fashion the song from their experiences.
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Date: 03/19/1983
Debut: 71
Peak: 56
Weeks: 7
Genre: Rock
Pop Bits: Joel's peak behind "The Nylon Curtain" gave him two Top 20's, "Pressure" (#20) and "Allentown" (#17). A third look would produce this Vietnam-themed single that couldn't quite get into the top half of the chart. Joel's more serious tunes would help the Grammy nominated LP reach double-platinum status, but that was actually a significant drop from his previous three studio albums which all would eventually sell between 7-10 million each. He would rebound to those levels with his next set of songs.
ReduxReview: Joel's bid to be considered a "serious" musician continued with this song. At the time there was a lot of focus on the Vietnam war, the soldiers who returned, and the after-effects. Joel's song was a well-timed release that a lot of critics seemed to appreciate. It is indeed a well-written observation piece that culminates in a moving "we will all go down together" refrain. However, as a single there are a couple of problems. First is length. Even the edited single is close to 6 minutes - an eternity in pop radio. It had better be a highly popular and requested tune for a stations to play something that long. I can honestly say I never heard this on the radio. Second is that the song is not something someone is gonna hum along with while driving home from work. It's just a little too serious for that. I'm sure that Joel and the label wanted to draw attention to all the Vietnam issues at the time and chose to release this epic, but this is really a key album track and not a single.
ReduxRating: 6/10
Trivia: Joel's lyrics reflect the experience of a group of Marines during the Vietnam War. The song references many key touch points from the era including Parris Island (a Marine training facility in South Carolina), a hash pipe, The Doors, Bob Hope, and "Charlie." Apparently Joel was approached to write a song by a veteran's organization. Since Joel did not serve in the military, he had no real experience as a basis for the song, however members of the organization did. With their input and that of other friends/crew members who served, Joel was able to fashion the song from their experiences.
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Saturday, August 29, 2015
"So Wrong" by Patrick Simmons
Song#: 1385
Date: 03/19/1983
Debut: 72
Peak: 30
Weeks: 13
Genre: Rock
Pop Bits: With The Doobie Brothers kaput, founding member Simmons took the same route as Michael McDonald and headed out on a solo career. McDonald was able to grab a hit with his debut solo single "I Keep Forgettin' (Every Time You're Near)" (#4), so hopes were high that Simmons could do the same. This first single from his album "Arcade" got enough attention to just barely make the pop Top 30. Rock radio was a little more receptive with the song reaching #17. It even briefly hit the R&B chart at #77. The single helped the album reach #57, but it all wasn't quite enough to make Simmons a solo star.
ReduxReview: Here is another song that I knew reached the Top 40, yet I could not remember a lick of it. And even after taking a listen, it still wasn't familiar. This one is slightly odd. Not necessarily the song itself, but the pairing of it with Simmons. He was the Southern folk/rock guy of the Doobies who wrote some lovely melodies, so this highly produced dance/rocker tune seems out of character. Maybe that was the intent - separate from the Doobie sound (even though the harmonies totally reflect the band). Simmons co-wrote the tune with Chris Thompson (of the group Night) and I like it. I'm not sure why I missed this back in the day. I love songs that have a driving groove like this and am glad to rediscover it. I wish his album followed the sound of this song, but it is a mish-mash of different styles that doesn't gel into a solid work. Regardless, I'll be adding this song to my collection.
ReduxRating: 8/10
Trivia: Double Shot! 1) In addition to being a founding member of The Doobie Brothers, Simmons contributed songs along the way. His most famous composition would be 1974's "Black Water." Issued as a single, it became The Doobie's first #1 hit. 2) Oddly, this song received a dance remix and it ended up receiving a lot of club play. It did well enough to reach #7 on the dance chart, which was the highest position it reached on any chart.
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Date: 03/19/1983
Debut: 72
Peak: 30
Weeks: 13
Genre: Rock
Pop Bits: With The Doobie Brothers kaput, founding member Simmons took the same route as Michael McDonald and headed out on a solo career. McDonald was able to grab a hit with his debut solo single "I Keep Forgettin' (Every Time You're Near)" (#4), so hopes were high that Simmons could do the same. This first single from his album "Arcade" got enough attention to just barely make the pop Top 30. Rock radio was a little more receptive with the song reaching #17. It even briefly hit the R&B chart at #77. The single helped the album reach #57, but it all wasn't quite enough to make Simmons a solo star.
ReduxReview: Here is another song that I knew reached the Top 40, yet I could not remember a lick of it. And even after taking a listen, it still wasn't familiar. This one is slightly odd. Not necessarily the song itself, but the pairing of it with Simmons. He was the Southern folk/rock guy of the Doobies who wrote some lovely melodies, so this highly produced dance/rocker tune seems out of character. Maybe that was the intent - separate from the Doobie sound (even though the harmonies totally reflect the band). Simmons co-wrote the tune with Chris Thompson (of the group Night) and I like it. I'm not sure why I missed this back in the day. I love songs that have a driving groove like this and am glad to rediscover it. I wish his album followed the sound of this song, but it is a mish-mash of different styles that doesn't gel into a solid work. Regardless, I'll be adding this song to my collection.
ReduxRating: 8/10
Trivia: Double Shot! 1) In addition to being a founding member of The Doobie Brothers, Simmons contributed songs along the way. His most famous composition would be 1974's "Black Water." Issued as a single, it became The Doobie's first #1 hit. 2) Oddly, this song received a dance remix and it ended up receiving a lot of club play. It did well enough to reach #7 on the dance chart, which was the highest position it reached on any chart.
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Friday, August 28, 2015
"Mornin'" by Jarreau
Song#: 1384
Date: 03/19/1983
Debut: 80
Peak: 21
Weeks: 15
Genre: Pop, R&B, Adult Contemporary
Pop Bits: Before anyone says anything, no...I did not forgot to put "Al" in his name. For whatever reason, after the major success of his Grammy-winning LP "Breakin' Away," Al Jarreau decided to chuck his first name and go simply by Jarreau. His follow-up album would then be the self-titled "Jarreau." The rebranding didn't seem to work out as he returned to his full name on his next album. But before that, the mononymous Jarreau issued this first single from the "Jarreau" LP. It would become his second R&B Top 10 hit (#6) while just barely missing out on the pop Top 20. It would do even better at AC where it reached #2. The hit would propel the album to #13 pop, #4 R&B, and #1 jazz. It would be his second platinum album following "Breakin' Away."
ReduxReview: I read somewhere that the co-writer of this song Jay Graydon though that Jarreau was a pretty bad lyricist. Based on this song, I'd have to agree. It was the main reason I didn't like this song. Chattin' up Cheerios, an oriole, a shoeshine man, and touching the face of God was all a bit too silly for me. It's a lovely, breezy tune that can be quite enjoyable if you can just get passed the lyrics. The bridge is especially effective. These days, I think the lyrics may be part of the goofy charm of this song. Jarreau greeting his cereal kind of made this a memorable tune that still gets a lot of supermarket airplay. (P.S.: The video for this song is equally weird and goofy with a real Jarreau walking and floating through an animated world.)
ReduxRating: 6/10
Trivia: This song, co-written by David Foster and Jay Graydon, was first recorded as an instrumental. It appeared on an album titled "The Best of Me" that Foster recorded for release in Japan. Graydon, who produced Jarreau's "Breakin' Away" album, took the song to Jarreau thinking it would be a perfect fit for him. Jarreau then wrote the lyrics and recorded the song.
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Date: 03/19/1983
Debut: 80
Peak: 21
Weeks: 15
Genre: Pop, R&B, Adult Contemporary
Pop Bits: Before anyone says anything, no...I did not forgot to put "Al" in his name. For whatever reason, after the major success of his Grammy-winning LP "Breakin' Away," Al Jarreau decided to chuck his first name and go simply by Jarreau. His follow-up album would then be the self-titled "Jarreau." The rebranding didn't seem to work out as he returned to his full name on his next album. But before that, the mononymous Jarreau issued this first single from the "Jarreau" LP. It would become his second R&B Top 10 hit (#6) while just barely missing out on the pop Top 20. It would do even better at AC where it reached #2. The hit would propel the album to #13 pop, #4 R&B, and #1 jazz. It would be his second platinum album following "Breakin' Away."
ReduxReview: I read somewhere that the co-writer of this song Jay Graydon though that Jarreau was a pretty bad lyricist. Based on this song, I'd have to agree. It was the main reason I didn't like this song. Chattin' up Cheerios, an oriole, a shoeshine man, and touching the face of God was all a bit too silly for me. It's a lovely, breezy tune that can be quite enjoyable if you can just get passed the lyrics. The bridge is especially effective. These days, I think the lyrics may be part of the goofy charm of this song. Jarreau greeting his cereal kind of made this a memorable tune that still gets a lot of supermarket airplay. (P.S.: The video for this song is equally weird and goofy with a real Jarreau walking and floating through an animated world.)
ReduxRating: 6/10
Trivia: This song, co-written by David Foster and Jay Graydon, was first recorded as an instrumental. It appeared on an album titled "The Best of Me" that Foster recorded for release in Japan. Graydon, who produced Jarreau's "Breakin' Away" album, took the song to Jarreau thinking it would be a perfect fit for him. Jarreau then wrote the lyrics and recorded the song.
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