Song#: 2085
Date: 10/13/1984
Debut: 68
Peak: 36
Weeks: 13
Genre: Pop, Rock
Pop Bits: After leaving the J. Geils Band, singer/songwriter Wolf set out on a solo career. His debut LP, Lights Out, scored a hit when its first single, the album's title-track, got to #12 Pop, #6 Rock, and #11 Dance. For a follow-up, Wolf pushed out this more pop-oriented tune. It didn't quite attract the same attention and it stalled just inside the Pop Top 40 while only getting to #22 at Rock. Although the album wouldn't be a major hit the size of J. Geils' multi-platinum Freeze Frame, it would still be a good seller reaching #24.
ReduxReview: I've always thought this was a really good pop tune and I liked its chugging synthpop arrangement. It was well-crafted and should have been a bigger hit. I'm not sure what stopped it from doing better. The whole album is really a lost gem of its time. I'm also a bit surprised this wasn't shuffled over to AC for airplay as it seems like it would have been a good fit for that format. Someday this album will finally be issued either on CD or digitally and folks can then rediscover it.
ReduxRating: 8/10
Trivia: Wolf co-wrote this tune with songwriter Peter Bliss. Bliss got his start in the business right out of high school when he signed a publishing deal with Buddah Records. After getting established, he tried for his own solo career. He signed with United Artists and was able to issue a self-titled debut album in 1977. Nothing came from it, so Bliss went back to working behind the scenes. Also in 1984, Bliss' song "Emotion" would be recorded by Barbra Streisand. It would become the title track to her album and would be released as the LPs third single (#14 AC/#79 Pop). Another Bliss song, "I Guess It's Christmas Time," would be recorded by *NSYNC for their 1998 holiday-themed album Home for Christmas.
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Thursday, June 29, 2017
Wednesday, June 28, 2017
"Heaven's on Fire" by Kiss
Song#: 2084
Date: 10/13/1984
Debut: 81
Peak: 49
Weeks: 10
Genre: Hard Rock
Pop Bits: With their album sales dwindling in the early 80s, Kiss decided to bring attention to themselves and their latest album (Lick It Up) by shedding their makeup and associated personalities. The ploy, which was highly covered on MTV, worked well with the album getting the band back to platinum status along with the title-track single hitting the charts (#19 Rock/#66 Pop). Now they had to follow it up, but this time without having some kind of gimmick to generate interest. With MTV still firmly on their side, the band chose to move in an even more commercial direction and came out with Animalize. This first single, co-written by Paul Stanley and up-n-coming songwriter/producer Desmond Child, set the tone and it became their biggest hit in years going to #11 at Rock and nearly cracking the Pop Top 40. The song would propel the album to #19 and it would eventually reach platinum status.
ReduxReview: I remember this song quite well. It was a big hit at the skating rink where I was a DJ for a couple years. It was pretty much required that I play this at each session. The kids just loved it. The rink owners were a bit on the Christian conservative side and at one point they told us to quit playing the song because it could be construed as devil-related and they were not a fan of the song's title. However, the regular crowd complained so much to them about not playing the song that they relented and allowed it back in the rotation. After playing the song so much, I got hooked on it too. The tune rocks and has a hooky chorus that is hard to deny. Kiss' track record through the 80s was spotty, but when it clicked, like this song, it worked out very well for them.
ReduxRating: 7/10
Trivia: Around this time, Kiss member Gene Simmons was also busy with other ventures including breaking into acting. His first major screen role came in 1984 when he was cast as the bad guy in the futuristic action film Runaway, starring Tom Selleck and Cynthia Rhodes. The film was written and directed by best-selling author Michael Crichton. The film was not a hit, but it did help Simmons get a few other roles including in the 1986 horror flick Trick or Treat and on an episode of Miami Vice. He would do other acting work, but for the majority of his appearances, he usually just appeared as himself.
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Date: 10/13/1984
Debut: 81
Peak: 49
Weeks: 10
Genre: Hard Rock
Pop Bits: With their album sales dwindling in the early 80s, Kiss decided to bring attention to themselves and their latest album (Lick It Up) by shedding their makeup and associated personalities. The ploy, which was highly covered on MTV, worked well with the album getting the band back to platinum status along with the title-track single hitting the charts (#19 Rock/#66 Pop). Now they had to follow it up, but this time without having some kind of gimmick to generate interest. With MTV still firmly on their side, the band chose to move in an even more commercial direction and came out with Animalize. This first single, co-written by Paul Stanley and up-n-coming songwriter/producer Desmond Child, set the tone and it became their biggest hit in years going to #11 at Rock and nearly cracking the Pop Top 40. The song would propel the album to #19 and it would eventually reach platinum status.
ReduxReview: I remember this song quite well. It was a big hit at the skating rink where I was a DJ for a couple years. It was pretty much required that I play this at each session. The kids just loved it. The rink owners were a bit on the Christian conservative side and at one point they told us to quit playing the song because it could be construed as devil-related and they were not a fan of the song's title. However, the regular crowd complained so much to them about not playing the song that they relented and allowed it back in the rotation. After playing the song so much, I got hooked on it too. The tune rocks and has a hooky chorus that is hard to deny. Kiss' track record through the 80s was spotty, but when it clicked, like this song, it worked out very well for them.
ReduxRating: 7/10
Trivia: Around this time, Kiss member Gene Simmons was also busy with other ventures including breaking into acting. His first major screen role came in 1984 when he was cast as the bad guy in the futuristic action film Runaway, starring Tom Selleck and Cynthia Rhodes. The film was written and directed by best-selling author Michael Crichton. The film was not a hit, but it did help Simmons get a few other roles including in the 1986 horror flick Trick or Treat and on an episode of Miami Vice. He would do other acting work, but for the majority of his appearances, he usually just appeared as himself.
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Tuesday, June 27, 2017
"The Medicine Song" by Stephanie Mills
Song#: 2083
Date: 10/13/1984
Debut: 84
Peak: 65
Weeks: 6
Genre: R&B
Pop Bits: Mills was last on the Pop chart in 1981 when she and duet partner Teddy Pendergrass took "Two Hearts" to #40. Since that time, she released two albums that sold okay, but failed to produce any significant crossover hits. Each album featured two Top 20 R&B entries, but nothing clicked at Pop. Her eighth album, I've Got the Cure, had better results when this lead-off single became her fourth R&B Top 10 (#8) and her first (and only) #1 on the Dance chart. The song was popular enough to cross over to Pop for a few weeks. The hit helped the album reach #10 on the R&B chart.
ReduxReview: This rolling jam has some beefy 80s production and an outstanding vocal performance by Mills. She really elevates this song, especially on the outro where her improv call-outs are often quite thrilling. While she had a good career at R&B, it's too bad she didn't do better at Pop. I think some of the material she did just wasn't on the same level as her talent. She needed songs that could support that voice and I don't think she got them a good chunk of the time. This one was not a bad match, but it still wasn't quite up to par for Mills. Had most any other artist done the song, it would have been far less interesting. Mills took it to another level and made it her own. That's talent.
ReduxRating: 7/10
Trivia: Mills' previous charting R&B single was "How Come U Don't Call Me Anymore?," a track from her album Merciless. That song was written and originally performed by Prince. He issued the tune as the b-side to his hit "1999." Mills would take the tune to #12 on the R&B chart. Her performance on the album would earn her a Grammy nomination for Best Female R&B Vocal Performance. Later in 2002, Alicia Keys would cover the song (as "How Come You Don't Call Me") and issue it as a single. It would reach #30 R&B and #59 Pop.
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Date: 10/13/1984
Debut: 84
Peak: 65
Weeks: 6
Genre: R&B
Pop Bits: Mills was last on the Pop chart in 1981 when she and duet partner Teddy Pendergrass took "Two Hearts" to #40. Since that time, she released two albums that sold okay, but failed to produce any significant crossover hits. Each album featured two Top 20 R&B entries, but nothing clicked at Pop. Her eighth album, I've Got the Cure, had better results when this lead-off single became her fourth R&B Top 10 (#8) and her first (and only) #1 on the Dance chart. The song was popular enough to cross over to Pop for a few weeks. The hit helped the album reach #10 on the R&B chart.
ReduxReview: This rolling jam has some beefy 80s production and an outstanding vocal performance by Mills. She really elevates this song, especially on the outro where her improv call-outs are often quite thrilling. While she had a good career at R&B, it's too bad she didn't do better at Pop. I think some of the material she did just wasn't on the same level as her talent. She needed songs that could support that voice and I don't think she got them a good chunk of the time. This one was not a bad match, but it still wasn't quite up to par for Mills. Had most any other artist done the song, it would have been far less interesting. Mills took it to another level and made it her own. That's talent.
ReduxRating: 7/10
Trivia: Mills' previous charting R&B single was "How Come U Don't Call Me Anymore?," a track from her album Merciless. That song was written and originally performed by Prince. He issued the tune as the b-side to his hit "1999." Mills would take the tune to #12 on the R&B chart. Her performance on the album would earn her a Grammy nomination for Best Female R&B Vocal Performance. Later in 2002, Alicia Keys would cover the song (as "How Come You Don't Call Me") and issue it as a single. It would reach #30 R&B and #59 Pop.
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Monday, June 26, 2017
"Had a Dream (Sleeping with the Enemy) by Roger Hodgson
Rated 10 Alert!
Spotlight Alert!
Date: 10/13/1984
Debut: 85
Peak: 48
Weeks: 15
Genre: Rock
Pop Bits: Even if you are not familiar with his name, you will most likely recognize Hodgson's voice and songs. As a member of the band Supertramp, Hodgson wrote and sang the lead on some of their most memorable hits including "The Logical Song" (#6), "Give a Little Bit" (#15), "Take the Long Way Home" (#10), "Goodbye Stranger" (#15), and 1982's "It's Raining Again" (#11). However, during the making of Supertramp's album ...Famous Last Words..., Hodgson felt like he needed to branch out on his own. After Famous was finished, Hodgson decided to record a solo album. He intended to release it after the Supertramp LP, but in the end he wasn't happy with the results and scrapped it. Hodgson then officially left Supertramp after the band was done touring for the album and set out to re-record his solo album. Once completed to his satisfaction, his debut album In the Eye of the Storm, was released and this first single was issued. The song did very well at Rock getting to #5. At Pop it didn't do as well and the single stalled before it could reach the Top 40. It would end up being Hodgson's only solo Pop entry. The album also featured the song "In Jeopardy," which was able to get to #30 at Rock.
ReduxReview: I can't remember what drew me to this album. I wasn't a big fan of Supertramp and I don't remember seeing a video for the song. I can only imagine that I must have heard it on the radio at some point. Or, I might have been intrigued by the song title or album cover. Whatever it was, I'm so glad I found it. This opening track quickly became a huge favorite of mine. I played it constantly for a long time and I loved to crank it up in the car on a summer day with the windows down. My love for the song hasn't diminished over time. I still play the song and other tracks on the album several times a year. Weirdly enough, I just listened to the album a couple of days ago without knowing the song was coming up on the chart! The dramatic opening, the quiet midsection, the vocal harmonies, the arrangement, and the guitar solos are all just bangin'. It is still one of my favorite songs of all time. I can understand why it wasn't such a big pop hit, but at least Rock embraced it at the time and gave it life. To me, the song is just brilliant. Because of that and the fact that I think it is an overlooked gem from the time period, I'm gonna put a Spotlight on the song and hope others discover it.
ReduxRating: 10/10
Trivia: For those younger folks who are unfamiliar with Supertramp, chances are they know a recent song that was based on one of the band's most famous album tracks. The title track to their multi-platinum 1979 album Breakfast in America was transformed into the song "Cupid's Chokehold" by the hip-hop/alt rock band Gym Class Heroes, which featured vocals by Fall Out Boy's Patrick Stump. That song reached #4 on the Pop chart in 2006. Roger Hodgson wrote the original song for Supertramp's album and performed the lead vocals. It was issued as a single, but in the US it failed to chart at Pop. However, a live version of the song hit the chart in 1980 and got to #62.
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Sunday, June 25, 2017
"After All" by Al Jarreau
Song#: 2081
Date: 10/13/1984
Debut: 88
Peak: 69
Weeks: 9
Genre: Adult Contemporary
Pop Bits: After one album where he used the single name moniker of Jarreau, Al Jarreau restored his full name for his seventh album High Crime. He also kept on producer Jay Graydon, who had worked on Jarreau's three previous albums including the Grammy-winning Breakin' Away. Jarreau and Graydon also co-wrote (with other writers) eight of the LP's ten track including this first single, which was co-written with hit producer David Foster. The ballad was a solid fit for AC and it got to #6 on that chart. It also got to #26 at R&B. However, the song couldn't make much headway through the din of 80s Pop and it stalled early on that chart. Despite not have a major Pop or R&B hit, the album would do well getting to #2 Jazz, #12 R&B, and #49 Pop. Eventually, it would be another gold seller for him.
ReduxReview: Zzzzzz. Okay, this is not a bad song, but I just find it sleepy and boring. It's like Jarreau and Graydon were trying to imitate lesser Carole Bayer Sager compositions. Although I do kinda know what happened during this phase of Jarreau's career (he had hits, Grammy wins, platinum album, etc., and the label pushes...), I still don't understand why he was doing sub-par material like this. Yes, Breakin' Away had a certain Pop sheen, but below it was Jarreau's jazzy roots and the more he tried to become even more commercial, the more he lost what made him special. Even his performance here sounds like he is barely awake. It's just disappointing coming from an artist the caliber of Jarreau.
ReduxRating: 4/10
Trivia: Even though a good chunk of his 80s output included more Pop/R&B-oriented songs, he would continue to have support from jazz fans. Over the years, nineteen of Jarreau's albums would reach the Top 10 on the Jazz Albums chart with six of them hitting #1. It was most likely this support that would help his next two albums, 1986's L is for Lover and 1988's Heart's Horizon, go gold even though neither album had a single reach the Pop chart. However, Heart's Horizon did featured one R&B hit with the song "So Good" reaching #2.
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Date: 10/13/1984
Debut: 88
Peak: 69
Weeks: 9
Genre: Adult Contemporary
Pop Bits: After one album where he used the single name moniker of Jarreau, Al Jarreau restored his full name for his seventh album High Crime. He also kept on producer Jay Graydon, who had worked on Jarreau's three previous albums including the Grammy-winning Breakin' Away. Jarreau and Graydon also co-wrote (with other writers) eight of the LP's ten track including this first single, which was co-written with hit producer David Foster. The ballad was a solid fit for AC and it got to #6 on that chart. It also got to #26 at R&B. However, the song couldn't make much headway through the din of 80s Pop and it stalled early on that chart. Despite not have a major Pop or R&B hit, the album would do well getting to #2 Jazz, #12 R&B, and #49 Pop. Eventually, it would be another gold seller for him.
ReduxReview: Zzzzzz. Okay, this is not a bad song, but I just find it sleepy and boring. It's like Jarreau and Graydon were trying to imitate lesser Carole Bayer Sager compositions. Although I do kinda know what happened during this phase of Jarreau's career (he had hits, Grammy wins, platinum album, etc., and the label pushes...), I still don't understand why he was doing sub-par material like this. Yes, Breakin' Away had a certain Pop sheen, but below it was Jarreau's jazzy roots and the more he tried to become even more commercial, the more he lost what made him special. Even his performance here sounds like he is barely awake. It's just disappointing coming from an artist the caliber of Jarreau.
ReduxRating: 4/10
Trivia: Even though a good chunk of his 80s output included more Pop/R&B-oriented songs, he would continue to have support from jazz fans. Over the years, nineteen of Jarreau's albums would reach the Top 10 on the Jazz Albums chart with six of them hitting #1. It was most likely this support that would help his next two albums, 1986's L is for Lover and 1988's Heart's Horizon, go gold even though neither album had a single reach the Pop chart. However, Heart's Horizon did featured one R&B hit with the song "So Good" reaching #2.
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