Song#: 1390
Date: 03/26/1983
Debut: 82
Peak: 65
Weeks: 6
Genre: R&B, Adult Contemporary
Pop Bits: A three-time Grammy winner, this R&B singer began recording jazz-oriented albums for Capitol Records in 1962. Although his recordings were selling well, he didn't have much luck on any singles chart until he moved to a full R&B sound on his 1966 album "Soulin'." That LP featured his first #1 R&B hit "Love Is a Hurtin' Thing" (#13 pop). His silky voice would front more hits that culminated in his 1976 #1 R&B (#2 pop, #1AC) gold hit "You'll Never Find Another Love Like Mine." Chart hits began to ebb after that single and as the 80s started he was looking for a new label. Epic picked him up and his second album for them, "When the Night Comes," produced this single that became a #10 AC hit. Pop and R&B (#60) were not that interested and it became Rawls' final pop chart entry. His last R&B chart showing would come in 1987. Rawls would continue to record and remain a popular concert draw and TV personality. He would receive a Grammy nod for Best Jazz Vocals, Male, for his 1989 album "At Last." Rawls died of cancer in 2006.
ReduxReview: Speaking song lyrics is really tricky. It can be very effective or incredibly corny. I have to say for this song, it is the latter. I almost wanted to give up on this song within the first 10 seconds. But I hung in there and I'm glad I did. Once the groove starts, the song sounds good. I'd never heard the tune at this tempo and I rather like it. Rawls is always in great voice, so that certainly helps. If I'm being honest, I think this song is full of cheez-whiz. It's never been a favorite of mine. I like a good slice of processed cheeze every now and then, but this one was just a little too filling for my taste. However, the arrangement (although dated) is interesting and puts a different spin on a song we all know. Now, if only the first 35 seconds of the song could be lopped off, destroyed, and redone.
ReduxRating: 5/10
Trivia: Here is another song that took several years to become a major hit. Composed in 1982 by Jeff Silbar and Larry Henley, the song was demoed by the writers and also by fellow songwriter Bob Montgomery. Montgomery's version was shopped around and got picked up by British crooner Roger Whittaker who recorded the song for his 1982 album of the same name. The same year, an Australian singer became the first to chart the song anywhere. Colleen Hewett's version reached #52 on Australia's Kent Music Report. The song's next appearance was on Sheena Easton's 1982 album "Madness, Money & Music." Rawls' 1983 version came next and was the first to hit a US chart. This was followed by a country version the same year by Gary Morris. His single of the song was a hit reaching #4 on the country chart. Many other artists would cover the song, but of course the most famous version would be Bette Midler's 1989 Grammy-winning #1 single. Although primarily known as a ballad, Silbar and Henley's original demo was a mid-tempo song while Montgomery turned it into a ballad. Rawls' version is in the style of the original demo.
_________________________________________________________________________________
Thursday, September 3, 2015
Wednesday, September 2, 2015
"I Won't Be Home Tonight" by Tony Carey
Song#: 1389
Date: 03/26/1983
Debut: 89
Peak: 79
Weeks: 7
Genre: Rock
Pop Bits: As a teenager, Carey formed a band called Blessings that secured a contract with ABC Dunhill. While attempting (and eventually failing) to record a debut album, Ritchie Blackmore was down the hall holding auditions for his band Rainbow. Carey got asked to come down for an audition and was invited to be in the band on keyboards. With Blessings a non-starter, Carey took the gig. He recorded one album with the group and did a couple of tours before quitting to go solo. He relocated to Germany and recorded his first LP "In the Absence of the Cat." It got little notice, but his second album "I Won't Be Home Tonight" made a few waves with this title-track single. It would be a #8 hit at rock radio while floating around the bottom of the pop chart for a few weeks.
ReduxReview: With its driving groove and memorable guitar lick, I can understand why this did well on rock radio. I was hooked right away. The chorus lacks a little bit of zest and is totally overshadowed by the guitar line, but it's a solid rocker that is better than the measly #79 pop showing.
ReduxRating: 7/10
Trivia: While in Germany, Carey had nightly access to a recording studio. The excess studio time allowed him to branch out into different styles and he recorded a lot of instrumentals and other experimental tunes. Many of the instrumentals were released on five indie albums in the early 80s. Other songs he had were too different to be included on his formal solo albums, so he created an alternate moniker, Planet P Project, and secured a deal to release those songs as well. A few weeks after this song was issued, Carey would hit the pop chart with the Planet P song "Why Me" (#64).
_________________________________________________________________________________
Date: 03/26/1983
Debut: 89
Peak: 79
Weeks: 7
Genre: Rock
Pop Bits: As a teenager, Carey formed a band called Blessings that secured a contract with ABC Dunhill. While attempting (and eventually failing) to record a debut album, Ritchie Blackmore was down the hall holding auditions for his band Rainbow. Carey got asked to come down for an audition and was invited to be in the band on keyboards. With Blessings a non-starter, Carey took the gig. He recorded one album with the group and did a couple of tours before quitting to go solo. He relocated to Germany and recorded his first LP "In the Absence of the Cat." It got little notice, but his second album "I Won't Be Home Tonight" made a few waves with this title-track single. It would be a #8 hit at rock radio while floating around the bottom of the pop chart for a few weeks.
ReduxReview: With its driving groove and memorable guitar lick, I can understand why this did well on rock radio. I was hooked right away. The chorus lacks a little bit of zest and is totally overshadowed by the guitar line, but it's a solid rocker that is better than the measly #79 pop showing.
ReduxRating: 7/10
Trivia: While in Germany, Carey had nightly access to a recording studio. The excess studio time allowed him to branch out into different styles and he recorded a lot of instrumentals and other experimental tunes. Many of the instrumentals were released on five indie albums in the early 80s. Other songs he had were too different to be included on his formal solo albums, so he created an alternate moniker, Planet P Project, and secured a deal to release those songs as well. A few weeks after this song was issued, Carey would hit the pop chart with the Planet P song "Why Me" (#64).
_________________________________________________________________________________
Tuesday, September 1, 2015
"The One Thing" by INXS
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.
_________________________________________________________________________________
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.
_________________________________________________________________________________
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.
_________________________________________________________________________________
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.
_________________________________________________________________________________
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.
_________________________________________________________________________________
Subscribe to:
Posts (Atom)