Song#: 1643
Date: 10/08/1983
Debut: 91
Peak: 48
Weeks: 15
Genre: R&B, Pop, Adult Contemporary
Pop Bits: Over the years, The Pointer Sisters maintained a solid catalog that flowed easily between R&B, Pop, and AC. However, their 1982 LP So Excited! found the trio losing their R&B audience. The album's first single, "American Music," did fine at Pop reaching #16 (#9 AC), but it could only manage a weak #23 at R&B. Subsequent singles got on the chart, but were minor entries at best. The lack of R&B support affected sales and the album missed going gold - a disappointment after two solid-selling gold LP's. In order to gain back their R&B audience, the trio's producer, Richard Perry, selected this song as the first single from their new album Break Out. Indeed the ploy seemed to work as the song got to #13 at R&B, which was their best showing since 1981's #7 "Slow Hand." AC also enjoyed the song and put it at #15. Unfortunately, the crossover success of their previous hits did not apply to this song and it was pretty much ignored at Pop where it missed getting into the Top 40. It was not the result they were looking for and it seemed to spell doom for the album. However, their next single would turn things around big time and take them into the most successful period of their career.
ReduxReview: With at least three surefire crossover hits on the album, the fact that Perry thought this sluggish track should be the lead single just boggles my mind. It almost sunk the whole project. Luckily, radio support was already mounting for "Automatic" and that song would save the album. I mean, this is a nice tune and makes for a good album track, but I wouldn't consider this single-worthy. At best, maybe the third or fourth single. Definitely not the first one from a dance-oriented project. I dunno. In the long run it didn't really matter as things worked out. It was just a bummer that we had to endure this lackluster single before getting to the good stuff.
ReduxRating: 5/10
Trivia: On their Richard Perry produced albums, the lead vocal duties were typically assigned by Perry with each sister getting a chance up front. With the exception of June heading up their #3 hit "He's So Shy," the balance of their major hits were handled by Anita. What's unique about this single is that the lead vocal part is shared by all three. With each sister taking a solo turn, audiences really got a chance to compare and contrast the tones of their voices.
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Tuesday, May 10, 2016
"On the Dark Side" by Eddie and the Cruisers
Song#: 1642
Date: 10/08/1983
Debut: 94
Peak: 64
Weeks: 9
Genre: Rock, Soundtrack
Pop Bits: Director Martin Davidson optioned P.F. Kluge's book Eddie and the Cruisers and in 1983 production began on his film adaptation. The plot centered around a mythic bar band and Davidson wanted to find a real band to do the music for the film. He was looking for a band that had elements of doo-wop, The Doors, and Springsteen. It all was found in the Rhode Island group Beaver Brown. Led by John Cafferty, the band were east coast favorites who released a single that sold well in the region. However, it wasn't enough to attract major label attention. Then along came the opportunity to do music for the film. Cafferty was hired on to write songs for the film and he and Beaver Brown recorded those originals plus some covers for the soundtrack. With Michael Paré performing as Eddie, the film was released in September 1983. It was not well-received by critics and audiences ignored it too. It was a box office dud. The soundtrack was released and this first single, credited to the fictional Eddie and the Cruisers, got issued to promote the album and the movie. It didn't do all that well the whole project dropped out of sight quickly. However, that would not be the end of the story. Eddie and the Cruisers would experience a revival in 1984 that would lead to this song becoming a hit.
ReduxReview: I remember when the film came out. I was interested at first, but after a critical drubbing, I ignored it. I also remember that the soundtrack was getting beaten down too because Cafferty and his band came off like cheap Springsteen/E-Street clones. Although I think the comparisons to Springsteen were not too far off the mark, they didn't deserve to be dismissed as unremarkable knock-offs. They were a solid band and this song, written specifically for the film, was their peak moment. I didn't catch it the first time around, but I did enjoy the tune when it got revived the next year. The opening of the song really grabbed my attention and it made me stay for the John Mellencamp/Mitch Ryder-ish rock out.
ReduxRating: 8/10
Trivia: Beaver Brown's first single was issued in 1980. Released by the indie label Coastline, the single consisted of two songs - "Wild Summer Nights" and "Tender Years." Due to the band's popularity on the east coast, the single did very well in the region and sold around 10k copies. You'd think that would be enough for a major label to sign them, but labels were reluctant because their sound and Cafferty's voice were too often compared to Bruce Springsteen. Luckily, Eddie and the Cruisers came along and gave them a shot. The two songs from their first single were a good fit for the fictional Eddie and the Cruisers, so Cafferty and his band re-recorded them for the film's soundtrack.
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Date: 10/08/1983
Debut: 94
Peak: 64
Weeks: 9
Genre: Rock, Soundtrack
Pop Bits: Director Martin Davidson optioned P.F. Kluge's book Eddie and the Cruisers and in 1983 production began on his film adaptation. The plot centered around a mythic bar band and Davidson wanted to find a real band to do the music for the film. He was looking for a band that had elements of doo-wop, The Doors, and Springsteen. It all was found in the Rhode Island group Beaver Brown. Led by John Cafferty, the band were east coast favorites who released a single that sold well in the region. However, it wasn't enough to attract major label attention. Then along came the opportunity to do music for the film. Cafferty was hired on to write songs for the film and he and Beaver Brown recorded those originals plus some covers for the soundtrack. With Michael Paré performing as Eddie, the film was released in September 1983. It was not well-received by critics and audiences ignored it too. It was a box office dud. The soundtrack was released and this first single, credited to the fictional Eddie and the Cruisers, got issued to promote the album and the movie. It didn't do all that well the whole project dropped out of sight quickly. However, that would not be the end of the story. Eddie and the Cruisers would experience a revival in 1984 that would lead to this song becoming a hit.
ReduxReview: I remember when the film came out. I was interested at first, but after a critical drubbing, I ignored it. I also remember that the soundtrack was getting beaten down too because Cafferty and his band came off like cheap Springsteen/E-Street clones. Although I think the comparisons to Springsteen were not too far off the mark, they didn't deserve to be dismissed as unremarkable knock-offs. They were a solid band and this song, written specifically for the film, was their peak moment. I didn't catch it the first time around, but I did enjoy the tune when it got revived the next year. The opening of the song really grabbed my attention and it made me stay for the John Mellencamp/Mitch Ryder-ish rock out.
ReduxRating: 8/10
Trivia: Beaver Brown's first single was issued in 1980. Released by the indie label Coastline, the single consisted of two songs - "Wild Summer Nights" and "Tender Years." Due to the band's popularity on the east coast, the single did very well in the region and sold around 10k copies. You'd think that would be enough for a major label to sign them, but labels were reluctant because their sound and Cafferty's voice were too often compared to Bruce Springsteen. Luckily, Eddie and the Cruisers came along and gave them a shot. The two songs from their first single were a good fit for the fictional Eddie and the Cruisers, so Cafferty and his band re-recorded them for the film's soundtrack.
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Monday, May 9, 2016
"Never Say Die (Give a Little Bit More)" by Cliff Richard
Song#: 1641
Date: 10/08/1983
Debut: 95
Peak: 73
Weeks: 7
Genre: Pop
Pop Bits: In 1983, Richard was celebrating his 25th year as a recording artist. His very first single, "Move It," credited to Cliff Richard and the Drifters (not the US R&B Drifters), hit the UK chart in 1958 and reached #2. Over the next 25 years, Richard would rack up fifty-four UK Top 10 singles with ten of those going to #1. He was the UK chart king. His career in the US wasn't nearly that prolific, but he did manage to gather three Top 10 hits during a late 70s/early 80s resurgence. To celebrate the anniversary, Richard recorded a new album titled Silver. In addition to the regular LP, a limited edition box set was created with a second album title Rock 'n' Roll Silver that contained new recordings of rock classics like "Tutti Frutti." He also did a new version of his first hit "Move It." To promote Silver, this first single was issued and it did well reaching #15 on the UK chart. A second single, "Please Don't Fall in Love," would become his 55th Top 10 hit peaking at #7. In the US, his anniversary wasn't a big deal and so a modified version of Silver was released and retitled Give a Little Bit More. The title-track song was issued as a single, but disappeared after a few weeks on the Pop chart while going to #23 at AC. It would be Richard's final Pop chart single in the US. A follow-up single, a remake of Richie Valens' 1958 #2 hit "Donna" would get to #17 at AC to become his last AC chart song.
ReduxReview: I like this song, but it sounds like it arrived a few years too late. It has a real late-70s Bee Gees/pop-R&B feel to it. Whatever decade it could have been released in, I don't think it was strong enough to really conquer the Pop chart. It's a worthy Top 40 entry, but that's about it. Richard gets a little lost in the production as well. It could have been anyone singing this. A likable song, but nothing outstanding.
ReduxRating: 6/10
Trivia: Double Shot! 1) Despite being shut out of the US charts in the following years, Richard would continue to score hits in the UK. He would gather seventeen more Top 10's there with four of those going to #1. His last UK Top 10 (thus far) came in 2008 when "Thank You for a Lifetime" hit #3. That song and subsequent album celebrated his 50th year in music. 2) This song (and the US album) should not be confused with his 1981 single "Give a Little Bit More." That single just missed out on the US Top 40 reaching #41. It went to #20 in the UK.
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Date: 10/08/1983
Debut: 95
Peak: 73
Weeks: 7
Genre: Pop
Pop Bits: In 1983, Richard was celebrating his 25th year as a recording artist. His very first single, "Move It," credited to Cliff Richard and the Drifters (not the US R&B Drifters), hit the UK chart in 1958 and reached #2. Over the next 25 years, Richard would rack up fifty-four UK Top 10 singles with ten of those going to #1. He was the UK chart king. His career in the US wasn't nearly that prolific, but he did manage to gather three Top 10 hits during a late 70s/early 80s resurgence. To celebrate the anniversary, Richard recorded a new album titled Silver. In addition to the regular LP, a limited edition box set was created with a second album title Rock 'n' Roll Silver that contained new recordings of rock classics like "Tutti Frutti." He also did a new version of his first hit "Move It." To promote Silver, this first single was issued and it did well reaching #15 on the UK chart. A second single, "Please Don't Fall in Love," would become his 55th Top 10 hit peaking at #7. In the US, his anniversary wasn't a big deal and so a modified version of Silver was released and retitled Give a Little Bit More. The title-track song was issued as a single, but disappeared after a few weeks on the Pop chart while going to #23 at AC. It would be Richard's final Pop chart single in the US. A follow-up single, a remake of Richie Valens' 1958 #2 hit "Donna" would get to #17 at AC to become his last AC chart song.
ReduxReview: I like this song, but it sounds like it arrived a few years too late. It has a real late-70s Bee Gees/pop-R&B feel to it. Whatever decade it could have been released in, I don't think it was strong enough to really conquer the Pop chart. It's a worthy Top 40 entry, but that's about it. Richard gets a little lost in the production as well. It could have been anyone singing this. A likable song, but nothing outstanding.
ReduxRating: 6/10
Trivia: Double Shot! 1) Despite being shut out of the US charts in the following years, Richard would continue to score hits in the UK. He would gather seventeen more Top 10's there with four of those going to #1. His last UK Top 10 (thus far) came in 2008 when "Thank You for a Lifetime" hit #3. That song and subsequent album celebrated his 50th year in music. 2) This song (and the US album) should not be confused with his 1981 single "Give a Little Bit More." That single just missed out on the US Top 40 reaching #41. It went to #20 in the UK.
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"My Town" by Michael Stanley Band
Song#: 1640
Date: 10/01/1983
Debut: 72
Peak: 39
Weeks: 10
Genre: Rock
Pop Bits: Although they had yet to breakthrough nationally in a major way, this hugely popular Cleveland band seemed primed to do so at any moment. Their albums were consistent sellers and they got into the Pop Top 40 in 1980 with their single "He Can't Love You." Their fourth album for EMI America, You Can't Fight Fashion, seemed to be another solid set that had a chance to really advance their career. Set in motion by this first single which became their second Top 40 entry (and #11 Rock), the album did well and topped out at #64 - their best showing yet. It was all good, but it still wasn't the one that put them over the top.
ReduxReview: Just my opinion, but this should have been the album that made them national stars. I think most critics think their 1980 Heartland LP was their best and perhaps it was. But Fashion is a meaty album that contained some of the band's best songs and had terrific production by Bob Clearmountain. It just sounded like it should have been a hit. I think they really kicked it up a notch in order to break out of the Midwest, but it still just wasn't quite enough. I think the main problem was that they just didn't have that one specific song that would be a major hit. This song is a worthy single, but rock anthems weren't necessarily burning up the charts at the time. Still, this one could have done a bit better and got them closer to country-wide name recognition.
ReduxRating: 7/10
Trivia: Stanley wrote this anthem as an homage to his hometown of Cleveland, Ohio. Apparently, over 100 versions of this song were edited to be played in different cities around the world. Although the original lyrics didn't mention Cleveland by name, for the other versions the name of the city was inserted into the lyrics. These versions would be used for airplay in the specific cities. However, if you went to buy the single, it would be the original version. The city shout-outs were not available.
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Date: 10/01/1983
Debut: 72
Peak: 39
Weeks: 10
Genre: Rock
Pop Bits: Although they had yet to breakthrough nationally in a major way, this hugely popular Cleveland band seemed primed to do so at any moment. Their albums were consistent sellers and they got into the Pop Top 40 in 1980 with their single "He Can't Love You." Their fourth album for EMI America, You Can't Fight Fashion, seemed to be another solid set that had a chance to really advance their career. Set in motion by this first single which became their second Top 40 entry (and #11 Rock), the album did well and topped out at #64 - their best showing yet. It was all good, but it still wasn't the one that put them over the top.
ReduxReview: Just my opinion, but this should have been the album that made them national stars. I think most critics think their 1980 Heartland LP was their best and perhaps it was. But Fashion is a meaty album that contained some of the band's best songs and had terrific production by Bob Clearmountain. It just sounded like it should have been a hit. I think they really kicked it up a notch in order to break out of the Midwest, but it still just wasn't quite enough. I think the main problem was that they just didn't have that one specific song that would be a major hit. This song is a worthy single, but rock anthems weren't necessarily burning up the charts at the time. Still, this one could have done a bit better and got them closer to country-wide name recognition.
ReduxRating: 7/10
Trivia: Stanley wrote this anthem as an homage to his hometown of Cleveland, Ohio. Apparently, over 100 versions of this song were edited to be played in different cities around the world. Although the original lyrics didn't mention Cleveland by name, for the other versions the name of the city was inserted into the lyrics. These versions would be used for airplay in the specific cities. However, if you went to buy the single, it would be the original version. The city shout-outs were not available.
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Sunday, May 8, 2016
"Take Another Picture" by Quarterflash
Song#: 1639
Date: 10/01/1983
Debut: 76
Peak: 58
Weeks: 6
Genre: Rock
Pop Bits: Quarterflash's second LP, Take Another Picture, got them a third Top 20 hit when it's first single, "Take Me to Heart," reached #14 (#6 Rock/#28 AC). They were hoping this next title-track single would keep up the momentum, but it faltered before getting into the top half of the chart. The lack of a significant follow-up slowed the sales of the album, which had peaked at #34 - a significant drop from the #8 platinum showing of their debut album.
ReduxReview: Quarterflash's Marv Ross did have a knack for writing some solid, tight pop/rock tunes. His best efforts were on their debut LP, but he did some good work on their second album including this title track. While it's not as catchy as their previous hits, I think it works well. Rindy Ross sells it with her vocals and sax while the band jams all the way through. While not a fantastic single, it's still a good song that probably should have moved up into the Top 40.
ReduxRating: 6/10
Trivia: The producer of Quarterflash's first two albums was John Boylan. He had been involved in the music business since the late 60s and at one point became Linda Ronstadt's manager early in her career. He was instrumental in getting Don Henley and Glenn Fry to play in Ronstadt's backing band. Soon after, the Eagles were born. Boylan would go on to produce many artists with one of his best successes being the co-producer of Boston's hugely successful 1976 debut album. He would also branch out into children's music and worked on projects by The Chipmunks and the Muppets. He produced the album Elmopalooza in 1998, which netted him a Grammy award for Best Musical Album for Children.
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Date: 10/01/1983
Debut: 76
Peak: 58
Weeks: 6
Genre: Rock
Pop Bits: Quarterflash's second LP, Take Another Picture, got them a third Top 20 hit when it's first single, "Take Me to Heart," reached #14 (#6 Rock/#28 AC). They were hoping this next title-track single would keep up the momentum, but it faltered before getting into the top half of the chart. The lack of a significant follow-up slowed the sales of the album, which had peaked at #34 - a significant drop from the #8 platinum showing of their debut album.
ReduxReview: Quarterflash's Marv Ross did have a knack for writing some solid, tight pop/rock tunes. His best efforts were on their debut LP, but he did some good work on their second album including this title track. While it's not as catchy as their previous hits, I think it works well. Rindy Ross sells it with her vocals and sax while the band jams all the way through. While not a fantastic single, it's still a good song that probably should have moved up into the Top 40.
ReduxRating: 6/10
Trivia: The producer of Quarterflash's first two albums was John Boylan. He had been involved in the music business since the late 60s and at one point became Linda Ronstadt's manager early in her career. He was instrumental in getting Don Henley and Glenn Fry to play in Ronstadt's backing band. Soon after, the Eagles were born. Boylan would go on to produce many artists with one of his best successes being the co-producer of Boston's hugely successful 1976 debut album. He would also branch out into children's music and worked on projects by The Chipmunks and the Muppets. He produced the album Elmopalooza in 1998, which netted him a Grammy award for Best Musical Album for Children.
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