Song#: 2252
Date: 03/16/1985
Debut: 55
Peak: 18
Weeks: 13
Genre: Pop, Blue-Eyed Soul
Pop Bits: The duo's twelfth studio LP, Big Bam Boom, reached #5 and went double-platinum thanks to two Top 10 hits including the #1 "Out of Touch." By this point, they were on a streak of seven consecutive Top 10's and were hoping this third single from the album would make it eight. Unfortunately, it wasn't meant to be. The song stalled just inside the Top 20 and ended their streak. It did about the same at AC getting to #17 while nicking the R&B chart at #85.
ReduxReview: While I like this song, I don't think it was a very good single. When I think of Hall & Oates, I think of concise, hooky, fun pop that leans toward R&B and soul. This song just meanders along and doesn't necessarily draw a listener in. In fact, I didn't really pay much attention to this song until many years later when I bought an H&O compilation. However, Big Bam Boom didn't have a lot of single contenders so this may have been the best of what was left. I didn't care for the album at all. I thought the writing wasn't up to par and the production was just kind of loud and, on occasion, obnoxious. Sadly, it was all pretty much downhill from here.
ReduxRating: 6/10
Trivia: Although this song ended a Top 10 spree, they could take solace in the fact that twelve of their
thirteen charting singles from 1981's "Kiss on My List" through to 1985's
"Method of Modern Love" hit the Top 10. Five of those songs would go to the top of the chart. Combined with their previous hits from the late 70s, their fourteen Top 10's and six #1's would lead the RIAA to declare Hall & Oates the most successful rock duo in music history. It was also around this time that they took the title of the top charting duo on the Billboard Pop chart. They surpassed the previous top duo, The Everly Brothers, who had amassed fifteen Top 10's and four #1's in their career.
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Tuesday, December 12, 2017
"Some Like It Hot" by The Power Station
Top 10 Alert!
Song#: 2251 Date: 03/16/1985
Debut: 57
Peak: 6
Weeks: 18
Genre: Rock
Pop Bits: The Power Station was a supergroup formed by Duran Duran's John and Andy Taylor when the band was on a short hiatus. Along with Chic's Tony Thompson and singer Robert Palmer, the new band set out to record a debut album. Chic's Bernard Edwards would serve as producer. The self-titled disc would feature this song that would serve as its first single. Duran Duran were ultra-hot at the time, so the involvement of two members of that band put a big spotlight on this project and that certainly helped the single climb into the Pop Top 10. In turn, the album would shoot up to #6 and would eventually go platinum.
ReduxReview: Bernard Edwards produced the hell out of this track. The drums just sounded massive and the rest of the production was dense and meaty. Palmer was a perfect choice for the vocals and the hit certainly gave a big boost to his career. It led directly to his next solo album, Riptide, which was a major hit. It was all due to his involvement with Power Station. While I wasn't a big fan of the full album, this hit was one that I played a lot back in the day. It's still a pretty great track.
ReduxRating: 8/10
Trivia: While Duran Duran took a break, John and Andy Taylor wanted to branch out and do a project with a harder edged rock sound. Initially, they came up with the idea of a band that would record all the songs, but each track would feature a different lead vocalist. Apparently, feelers went out to see if stars like Mick Jagger and Billy Idol would be interested in participating. In the meantime, they asked singer Robert Palmer to record a track and he obliged by participating in the recording of the song "Communication." Palmer then found out that the band was going to remake the T-Rex song "Get It On (Bang a Gong)" and wanted to do the vocals for it. It wasn't long before they all realized that with Palmer on board there was a real connection as a band and it was decided that Palmer would stay on and become the lead singer of the band.
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Monday, December 11, 2017
"Don't Come Around Here No More" by Tom Petty & the Heartbreakers
Song#: 2250
Date: 03/16/1985
Debut: 64
Peak: 13
Weeks: 14
Genre: Rock
Pop Bits: Following the band's tour in support their 1982 album Long After Dark, they decided to take a little bit of a break. When they got back to begin their next album, the plan was to do a conceptual double LP titled Southern Accents. However, that all changed when Petty met up with Eurythmics member Dave Stewart. Stewart had been working on a song that was potentially for Stevie Nicks (see below), but instead Stewart got hooked up with Petty and the pair hammered out this song plus two others. The three songs changed the album and although it would still be called Southern Accents, it would be a single LP minus the original concept. This first single certainly made a statement with its psychedelic feel. It was truly something different for Petty and unlike anything that was on the radio at the time. The odd track caught on and got to #2 at Rock while just missing out on the Pop Top 10. It was Petty's best performing single on the Pop chart since 1979's #10 "Don't Do Me Like That." The hit would help propel the album to #7 and it would eventually go platinum.
ReduxReview: I liked Tom Petty well enough back in the day, but I had never bought any of his records up to this point. Southern Accents was the first one I did buy and that was based largely on this single. Of course I adored Eurythmics, so the prospects of Dave Stewart merging with Petty was pure catnip. This song was truly odd and I loved it. The skittery drum sound, the sitar, the halting background vocals ("Stop!"), and the jammin' outro made this stand out on the radio. The bizarre video for the tune just added to the atmosphere. It was something completely unexpected from Petty and it still remains an interesting and much discussed entry in his catalog.
ReduxRating: 8/10
Trivia: While stories on this song's creation vary, Stewart relayed his version via his 2016 memoir. A quick synopsis is that after a Eurythmic's gig in L.A., Stevie Nicks dropped by his dressing room and invited him back to her house for a party. It got late and Stewart stayed the night. Later in the early morning, Nicks joined him in bed and they had a little fun and Stewart left afterward. A few days later, Stewart had some time off and was invited to stay at Jimmy Iovine's house. Oddly, at the time Iovine was working with Nicks on her second album. (Stewart didn't know at the time, but Nicks and Iovine had been a couple in years prior.) Stewart played Iovine a demo of a song he had been working on. Iovine though it would be great for Nicks and called her in. Nicks arrived and began working on lyrics. When it came time to record her vocal, Iovine was not please with her lyrics. Apparently, they were oddly Shakespearean and Iovine wanted her to change some things. An argument ensued, which included Nicks blurting out that she had slept with Stewart a few days before. Nicks then took off and that left Stewart alone with Iovine and wondering what Iovine's reaction to the revelation might be. However, Iovine just shrugged it all off and told Stewart that they should get Tom Petty to come over and finish the song. Petty did and the two songwriters hit it off. 2) This song had a very memorable video filmed for it that was based off of Alice in Wonderland. It was nominated for five MTV Music Video awards, including Video of the Year, and won one for Best Special Effects. Near the end of the video, the body of the Alice character turns into a cake and the others start cutting slices and eating her. Apparently, that scene caused a little controversy with some feminist groups and also a few who thought it was too much. Despite that, the video was a hit on MTV and it certainly helped the single sell.
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Date: 03/16/1985
Debut: 64
Peak: 13
Weeks: 14
Genre: Rock
Pop Bits: Following the band's tour in support their 1982 album Long After Dark, they decided to take a little bit of a break. When they got back to begin their next album, the plan was to do a conceptual double LP titled Southern Accents. However, that all changed when Petty met up with Eurythmics member Dave Stewart. Stewart had been working on a song that was potentially for Stevie Nicks (see below), but instead Stewart got hooked up with Petty and the pair hammered out this song plus two others. The three songs changed the album and although it would still be called Southern Accents, it would be a single LP minus the original concept. This first single certainly made a statement with its psychedelic feel. It was truly something different for Petty and unlike anything that was on the radio at the time. The odd track caught on and got to #2 at Rock while just missing out on the Pop Top 10. It was Petty's best performing single on the Pop chart since 1979's #10 "Don't Do Me Like That." The hit would help propel the album to #7 and it would eventually go platinum.
ReduxReview: I liked Tom Petty well enough back in the day, but I had never bought any of his records up to this point. Southern Accents was the first one I did buy and that was based largely on this single. Of course I adored Eurythmics, so the prospects of Dave Stewart merging with Petty was pure catnip. This song was truly odd and I loved it. The skittery drum sound, the sitar, the halting background vocals ("Stop!"), and the jammin' outro made this stand out on the radio. The bizarre video for the tune just added to the atmosphere. It was something completely unexpected from Petty and it still remains an interesting and much discussed entry in his catalog.
ReduxRating: 8/10
Trivia: While stories on this song's creation vary, Stewart relayed his version via his 2016 memoir. A quick synopsis is that after a Eurythmic's gig in L.A., Stevie Nicks dropped by his dressing room and invited him back to her house for a party. It got late and Stewart stayed the night. Later in the early morning, Nicks joined him in bed and they had a little fun and Stewart left afterward. A few days later, Stewart had some time off and was invited to stay at Jimmy Iovine's house. Oddly, at the time Iovine was working with Nicks on her second album. (Stewart didn't know at the time, but Nicks and Iovine had been a couple in years prior.) Stewart played Iovine a demo of a song he had been working on. Iovine though it would be great for Nicks and called her in. Nicks arrived and began working on lyrics. When it came time to record her vocal, Iovine was not please with her lyrics. Apparently, they were oddly Shakespearean and Iovine wanted her to change some things. An argument ensued, which included Nicks blurting out that she had slept with Stewart a few days before. Nicks then took off and that left Stewart alone with Iovine and wondering what Iovine's reaction to the revelation might be. However, Iovine just shrugged it all off and told Stewart that they should get Tom Petty to come over and finish the song. Petty did and the two songwriters hit it off. 2) This song had a very memorable video filmed for it that was based off of Alice in Wonderland. It was nominated for five MTV Music Video awards, including Video of the Year, and won one for Best Special Effects. Near the end of the video, the body of the Alice character turns into a cake and the others start cutting slices and eating her. Apparently, that scene caused a little controversy with some feminist groups and also a few who thought it was too much. Despite that, the video was a hit on MTV and it certainly helped the single sell.
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"Rock and Roll Girls" by John Fogerty
Song#: 2249
Date: 03/16/1985
Debut: 65
Peak: 20
Weeks: 12
Genre: Rock
Pop Bits: After nearly a decade without releasing any new material, Fogerty returned with his third solo album Centerfield. He was warmly greeted by fans who sent the LP's first single, "The Old Man Down the Road" to #1 Rock/#10 Pop. This second single would nearly replicate that success. It would reach #5 at Rock while making into the Pop Top 20. A week after this song debuted on the Pop chart, the album would reach #1. Although it would only remain at the top for one week, it would end up being a double-platinum seller.
ReduxReview: You can't get much simpler than this. Three major chords and a melody. Sometimes this old time rock formula can get tedious real quick, but luckily Fogerty wrote a melody that drew you in and kept you interested. I've never been a fan of this type of basic rock 'n' roll, but Fogerty's skill as a writer and performer held my attention on this one.
ReduxRating: 7/10
Trivia: Double Shot! 1) In addition to writing all the songs and producing the album, Fogerty also played every instrument on the tracks. By this moment in time, advances in recording technology made it possible for artist to do everything themselves. For artists that relied on synths, keyboards, and drum machines, it wasn't all that difficult. Fogerty was a bit unique in that he was basically a one-man band playing guitar, bass, drums, sax, synth, etc. 2) On the inner sleeve of the album, it is printed "This album is dedicated to Gossamer Wump - and dreams that survive." Fogerty relayed in an interview that the name came from a children's record his brothers had when he was a kid. Fogerty could draw parallels between Gossamer's story and what he had been doing in the ten years following his second solo album. Apparently, the original Gossamer Wump LP issued on Capitol in 1949 is now a collector's item.
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Date: 03/16/1985
Debut: 65
Peak: 20
Weeks: 12
Genre: Rock
Pop Bits: After nearly a decade without releasing any new material, Fogerty returned with his third solo album Centerfield. He was warmly greeted by fans who sent the LP's first single, "The Old Man Down the Road" to #1 Rock/#10 Pop. This second single would nearly replicate that success. It would reach #5 at Rock while making into the Pop Top 20. A week after this song debuted on the Pop chart, the album would reach #1. Although it would only remain at the top for one week, it would end up being a double-platinum seller.
ReduxReview: You can't get much simpler than this. Three major chords and a melody. Sometimes this old time rock formula can get tedious real quick, but luckily Fogerty wrote a melody that drew you in and kept you interested. I've never been a fan of this type of basic rock 'n' roll, but Fogerty's skill as a writer and performer held my attention on this one.
ReduxRating: 7/10
Trivia: Double Shot! 1) In addition to writing all the songs and producing the album, Fogerty also played every instrument on the tracks. By this moment in time, advances in recording technology made it possible for artist to do everything themselves. For artists that relied on synths, keyboards, and drum machines, it wasn't all that difficult. Fogerty was a bit unique in that he was basically a one-man band playing guitar, bass, drums, sax, synth, etc. 2) On the inner sleeve of the album, it is printed "This album is dedicated to Gossamer Wump - and dreams that survive." Fogerty relayed in an interview that the name came from a children's record his brothers had when he was a kid. Fogerty could draw parallels between Gossamer's story and what he had been doing in the ten years following his second solo album. Apparently, the original Gossamer Wump LP issued on Capitol in 1949 is now a collector's item.
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Sunday, December 10, 2017
"Everybody Wants to Rule the World" by Tears for Fears
#1 Alert!
Song#: 2248 Date: 03/16/1985
Debut: 70
Peak: 1 (2 weeks)
Weeks: 24
Genre: Rock, Pop
Pop Bits: This duo made a big splash in their UK homeland with their debut album The Hurting. It would reach #1 and spawn three Top 10 singles. In the US, their indie new wave sound didn't fully catch on with both the album and a single ("Change") only reaching #73 on their respective charts. Back in the UK, the duo recorded a new song that would introduce a new, more commercial-leaning sound. "Mothers Talk" would be issued nearly six-months ahead of their second album, Songs from the Big Chair, and it would reach #14. Then things really broke wide for them with their next single, the UK #1 "Shout." With big results posting in the UK, it was time to get the US involved. However, instead of issuing the UK hit "Shout," it was decided that this track would be released as the first single. It seemed to be a wise move as the song slowly caught on and eventually made its way to the top of the Pop chart. It would also hit #1 at Dance, #2 AC, and #2 Rock.
ReduxReview: Anyone who listened to or was a fan of The Hurting certainly got a surprise with Songs from the Big Chair. While I think the duo retained their basic style, Songs was a definite stab at big commercial pop/rock, which was certainly a change from the more indie-style new wave synthpop found on Hurting. For me, it was a big improvement. Although I did like a few songs on Hurting, overall I didn't connect with it. However, I did like the grander sound on Songs and the tracks were far more commercial and catchy. This first single was a perfect example. From the opening licks to the steady groove to the memorable chorus, there was no way this was going to miss. I know some folks hate it when a more indie style band goes for commercial success, but in the case of Tears for Fears, I think it was the right path and it paid off handsomely for them.
ReduxRating: 9/10
Trivia: Double Shot! 1) The duo re-recorded this song in 1986 as "Everybody Wants to Run the World." It was done as a benefit single for the sports-themed African famine relief effort Sports Aid. It was issued as a single and reached #5 on the UK chart. There were many exhibition sporting events held for the Sports Aid charity and the final event was a 10k run called "Race Against Time." The race was organized in 274 cities around the world and all the races were ran at the exact same time on May 25, 1986. It still remains the biggest organized sporting event that has ever taken place. 2) Singer/songwriter Lorde recorded a version of this song for the "inspired by" soundtrack to the film The Hunger Games: Catching Fire. It reached #27 on the Hot Rock Songs chart in 2014.
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