"Cool Places" by Sparks and Jane Wiedlin

Song#:  1414
Date:  04/16/1983
Debut:  86
Peak:  49
Weeks:  12
Genre:  New Wave, Synthpop



Pop Bits:  After years of albums that barely notched above a cult-like level, Sparks was beginning to make a dent in the mainstream. Their 1982 album "Angst in My Pants" supplied them with their first Pop chart single, "I Predict" (#60). It set them up well for their next LP "Sparks in Outer Space." For the album's first single, Sparks brought on board Jane Wiedlin from The Go-Go's for this duet. Since The Go-Go's were hugely popular at the time, Wiedlin's name would certainly draw some attention to the single and to Sparks. The ploy worked well with the single getting inside the Top 50 and the album becoming one of their most popular in the US. The song would also be a hit on the Dance chart reaching #13. Success would be short-lived though as both the single and album would be the band's last to appear on the Pop charts.

ReduxReview:  Perhaps like a lot of other people, this was my introduction to Sparks and it came courtesy of Jane Wiedlin. Being a huge fan of The Go-Go's, hearing any project from any band member was a must, so I jumped on this single promptly. It was a worthy purchase. I loved the song and thought the production was excellent. I thought for sure this would get into the Top 40, but it stalled short. Oddly, the song did not make me a big Sparks fan. I liked them (and still do), but the draw for me here was Wiedlin and the song. I love it when this song creeps up on one of my playlists.

ReduxRating:  8/10

Trivia:  There are varying accounts of how Sparks and Wiedlin got together. What seems to be the most plausible story is that Wiedlin discovered the band as a teenager and loved them so much that she started her own unauthorized local fan club. After The Go-Go's hit it big, she wrote a fan letter to the band that was given directly to Sparks' Russell Mael. He responded back saying that they should collaborate. They did and the results were this song plus another track on the album "Lucky Me, Lucky You." The following year, the Mael brothers returned the favor by co-writing the song "Yes or No" with Wiedlin for The Go-Go's album "Talk Show."

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"Love on My Mind Tonight" by The Temptations

Song#:  1413
Date:  04/16/1983
Debut: 88
Peak:  88
Weeks:  3
Genre:  R&B



Pop Bits:  After a solid rebound with their "Reunion" album and their #6 R&B collaboration with Rick James, "Standing on the Top (Part 1)" (#66 Pop), the Temps decided to change up their sound a bit and incorporate more dance and rock elements to their next LP "Surface Thrills." This first single didn't exactly light up the R&B chart with its #17 peak and Pop was unimpressed as well with the song peaking where it debuted. The album flopped as did their next effort "Back to Basics." The group needed a reset and they would do so the following year when lead vocalist Dennis Edwards would be ushered out of the group in favor of new vocalist Ali-Ollie Woodson.

ReduxReview:  This easy groovin' song doesn't have much to offer except for the vocals. The chorus is much better than what the verse would leave you to believe, but its not quite enough to make this a real chart contender. The Temps were struggling during this period and with material like this, it's no wonder.

ReduxRating:  4/10

Trivia:  For the "Back to Basics" album, a new vocalist was hired to join the Temps. Ron Tyson was a successful R&B singer/songwriter in Philly when he was asked to join the Temps after Glenn Leonard left. The plan was for the group to do a few shows with Tyson so he could have a little time to adapt to everything. Unfortunately, due to some weather related issues, that plan went out the window. Instead, Tyson would have to make his stage debut with the group in front of an audience of millions. The Temps were scheduled to appear on the now-famous TV special "Motown 25" (the one where Michael Jackson moonwalks). It was baptism by fire and Tyson made it through his first Temps performance just fine.

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"Electric Avenue" by Eddy Grant

Top 10 Alert!

Platinum Record Alert!

Song#:  1412
Date:  04/16/1983
Debut:  89
Peak:  2
Weeks:  22
Genre:  Reggae, Funk, New Wave



Pop Bits:  Born in British Guyana and raised in London, Grant's first taste of success was in the late 60s with his rock/R&B group The Equals. Their song "Baby Come Back" (written by Grant) eventually made its way to #1 on the UK chart in 1968 (#32 US). They had a couple of UK Top 10 follow-ups, but by 1971 the group disbanded after Grant suffered a heart attack. He later built his own recording studio and began to work on on music that combined Caribbean and African sounds. With his own record label in place (Ice Records), Grant issued the socio-poltical album "Message Man" in 1977. Although not a hit, the music that Grant recorded was unlike any specific genre and it would prove to be highly influential. He recorded several more albums, but nothing really hit until the song "Do You Feel My Love" reached #8 in the UK in 1980. Two years later, Grant grabbed his first UK #1 with "I Don't Wanna Dance" from his album "Killer on the Rampage." Although that song didn't break him in the US, the album's second single, "Electric Avenue," took the charts by storm. It reached #2 in the UK while also spending five weeks at #2 in the US (#6 Dance, #12 Rock, #18 R&B). The song's unique sound and mass appeal sent the singles' sales to the platinum level. It would be Grant's only Top 10 hit.

ReduxReview:  Man, I hated this song. I couldn't turn the radio dial fast enough when this song came on. It just wasn't my thing. I didn't get the reggae/soca/funk style, I didn't like Grant's voice, and I detested that farting synth glide. I have a better understand now about the style/song and can appreciate it much more, so my hate has subsided. I still would not call it one of my favorites of the era, but I do think it is an interesting relic and one that was influential.

ReduxRating:  7/10

Trivia:  This song was inspired by the 1981 riots in the Brixton section of South London. With an impoverished African-Caribbean community, the area was hit hard by the UK recession and tensions were high between residents and police. It all erupted on what was dubbed "bloody Saturday." In the area of the riots was a street named Electric Avenue. It was named as such in the 1880's because it was the first marketplace street to be lit with electricity. Apparently, there wasn't much rioting in that specific area, but the event and street were powerful enough for Grant to write the song. However, its more serious lyrics are often overshadowed by its danceable groove.

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"Never Gonna Let You Go" by Sergio Mendes

Top 10 Alert!

Song#:  1411
Date:  04/16/1983
Debut:  90
Peak:  4
Weeks:  23
Genre:  Pop, Adult Contemporary



Pop Bits:  Mendes' sleek Brazilian pop sounds were hugely popular in the mid-60s. Leading his band Brazil '66, Mendes scored two major pop hits in 1968: "The Look of Love" (#4) and "The Fool on the Hill" (#6). It was his peak period on the chart with "The Fool on the Hill" LP reaching #3. It would also be his fourth gold album for A&M Records (thanks in part to label head Herb Alpert). But as the 70s drew near, his presence on the pop chart quickly faded as his smooth AC sound got lost amid the new sounds of the era. He still scored a few AC hits over the years, but by 1983, Mendes had been absent from the pop chart for 14 years. After spending a decade on other labels, Mendes returned to A&M in an attempt to kickstart his career. Of course, a retread of Brazilian-based pop wasn't gonna fly, so Mendes modernized (ala Quincy Jones' "The Dude" LP) and released a self-titled album that included this first single. The duet, sung by Joe Pizzulo and Leza Miller, was tailor made for AC airplay and indeed it spent four weeks at #1 on that chart. Pop loved the tune as well and it ended up becoming Mendes' biggest pop hit thanks to its 23-week chart run. The song also spent a little time on the R&B chart reaching #28. It would end up being Mendes' last pop Top 10 hit.

ReduxReview:  I've always liked this song. It's a top-notch ballad from the era. I think I initially wanted to buy this single, but because it got a ton of airplay in my town I may have gotten tired of it and didn't make the purchase. The bothersome thing for me is that it's only credited to Sergio Mendes. Yes, it was his album and he did play on the track as well as arrange and produce it, but it was Pizzulo and Miller that sold it. When Quincy Jones did the same thing, the songs got credited to him and the vocalists. Herb Alpert did the same. Mendes didn't even have a group name (like Brazil '83) to group them under. It's kind of misleading and a bummer because both vocalists were terrific and deserved more credit.

ReduxRating:  8/10

Trivia:  Double Shot!  1) Two other artists had already recorded this song before Mendes created his hit version. In 1982, both Dionne Warwick and Stevie Woods recorded the song for their respective albums. Neither artist released the song as a single. Originally, songwriters Cynthia Weil and Barry Mann shopped the song to Earth, Wind & Fire, but they ended up rejecting the song.  2) Although their names were mostly unfamiliar, singers Pizzulo and Miller each had successful careers as backing vocalists before this song hit. Miller already had an association with Mendes. She was hired on as part of his Brazil '77 group and recorded/toured with him. Pizzulo had already toured and recorded with several major artists before joining up with Mendes. Pizzulo would remain with Mendes for several years while Miller would move on to other projects. Neither singer was able to parlay this hit into a solo career. Pizzulo would continue to back major artists on tour and on record. Miller later began a successful voiceover career.

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"Overkill" by Men at Work

Top 10 Alert!

Song#:  1410
Date:  04/09/1983
Debut:  28
Peak:  3
Weeks:  16
Genre:  New Wave



Pop Bits:  The Australian band's #1 debut album, "Business as Usual," supplied them with the back-to-back #1 hits "Who Can It Be Now" and "Down Under." Unfortunately, these hits came almost two years after they hit big in Australia and by this time they were ready to move on to their second album. In fact, in late 1982 they issued a new single in Australia, "Dr. Heckyll and Mr. Jive," to preview their next album. It kept Aussie fans happy (it reached #6 there) while waiting for the rest of the world to catch up. Finally, this single from their new album "Cargo" got a worldwide release. The song debuted in the Top 30 in the US and would eventually make it to #3 (#3 Mainstream Rock, #6 AC). Although not a smash hit like their two previous singles, it was a solid start for their album.

ReduxReview:  I have to admit that when this song came out I was really disappointed. Their first two singles were so distinctive and interesting that when this melancholy tune came out, it was a total letdown. It was unfair to expect so much from them at the time, but I think everyone was kind of ready for "Down Under, Pt. 2." Instead, we got this reflective little ditty that didn't really have a chorus and only mentions the title twice. Ridiculous! I proceeded to ignore it. However, that was a mistake. Years later I can appreciate this song much more. Lyrically, I think it is one of Colin Hay's best songs and making the choice of going up an octave on the last verse was brilliant as it emphasizes the exasperation of his dilemma. The song has been overshadowed for years by its two bolder siblings, but it's this quieter one that has a lot more depth. It's not a classic, but it is certainly a very good song.

ReduxRating:  8/10

Trivia:  Had the timing been better, there would have most likely been a third single released from "Business as Usual." The song "Be Good Johnny" was a #8 hit in Australia, but since the band's worldwide success was delayed, there wasn't enough time to issue this song as a single elsewhere because their next album was set to go. However, it did get a lot of airplay on US rock stations and the tune made it to #3 on the Mainstream Rock chart.

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