Song#: 2150
Date: 12/08/1984
Debut: 82
Peak: 78
Weeks: 5
Genre: Rock
Pop Bits: This Oakland, California, band got on the charts with their first single, "Satisfy Me." It got to #30 Rock and #64 Pop. It was taken from their self-titled debut album as was this second single. Unfortunately, it couldn't find an audience and after a few short weeks the song disappeared. Although the two singles and the album were not exactly big sellers, their label (Capitol) sent them off to make a new LP, which they did. However, changes at the label caused the LP to get shelved and the band dropped. The band would break up in the wake of the disappointment. Their second album remained vaulted until it finally saw the light of day in 2016 as Billy Satellite II.
ReduxReview: It's amazing what can be done with a song when it gets done by an experienced artist and producer with a big budget. There was potential in this Billy Satellite original and Eddie Money certainly tapped into it (see below). The band's original is much more subdued and never really takes off. It's kind of a bland mid-tempo ballad. You can hear that there was something good in the song, especially with the chours, but the production and arrangement just lacked any zeal. It's not a bad record, but when you hear Eddie Money's take, the difference is nite 'n' day.
ReduxRating: 5/10
Trivia: This song certainly wasn't a big hit for the band, but another artist would make it one in a couple of years. Eddie Money would record a version of this song for his 1986 album Can't Hold Back. The track would be issued as the LP's second single and it would get to #3 Rock and #14 Pop. The song was also recorded by former Journey keyboardist Gregg Rolie for his 1985 debut solo album. It was not issued as a single.
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Saturday, September 2, 2017
Friday, September 1, 2017
"Don't Wait for Heroes" by Dennis DeYoung
Song#: 2149
Date: 12/08/1984
Debut: 86
Peak: 83
Weeks: 4
Genre: Pop, Rock
Pop Bits: DeYoung scored his first (and only) Pop Top 10 post-Styx solo hit with "Desert Moon." It was the first single from his debut solo album of the same name. For a follow-up, DeYoung had a track in mind that he wanted out next, but his label (A&M) wanted this more theatrical album opener to be issued. The label got its way, but it might have been the wrong choice. The tune was unable to find an audience and ended up disappearing from the Pop chart quickly. It was unable to chart at Rock. A third single, "Dear Darling (I'll Be There)," was released, but got nowhere. The album would reach #24, but without the support of additional hits, the album stopped short of the gold mark. DeYoung's multi-platinum days with Styx didn't transition over to his solo career.
ReduxReview: The theatrical side of DeYoung comes out in this song. It sounds like something that would have been heard in The Karate Kid or some other against-the-odds 80s flick. It also wouldn't be out of place in a odd Broadway rock musical. It certainly was not a good choice for a single. It probably would have been better if "Dear Darling" was issued instead. It was a far stronger single choice from an album that had very few good candidates. I wasn't a fan of this song when it came out and it hasn't improved with age.
ReduxRating: 4/10
Trivia: Another track on the album titled "Please" was done in a duet with singer Rosemary Butler. Butler first began her music career in a couple of all-female bands including the hard rock outfit Birtha. That band got signed to Dunhill Records and issued two albums in 1972 and 1973. Despite having a good following, it didn't translate into album sales and the group disbanded in 1975. Butler then became an in-demand backup singer and worked with artists like Bonnie Raitt, James Taylor, Linda Ronstadt, Jackson Browne, and many others. In 1983, Butler embarked on a solo career and recorded an album for Capitol titled Rose. Unfortunately, it didn't get anywhere, but her session singing was still going strong and DeYoung pegged her for the duet.
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Date: 12/08/1984
Debut: 86
Peak: 83
Weeks: 4
Genre: Pop, Rock
Pop Bits: DeYoung scored his first (and only) Pop Top 10 post-Styx solo hit with "Desert Moon." It was the first single from his debut solo album of the same name. For a follow-up, DeYoung had a track in mind that he wanted out next, but his label (A&M) wanted this more theatrical album opener to be issued. The label got its way, but it might have been the wrong choice. The tune was unable to find an audience and ended up disappearing from the Pop chart quickly. It was unable to chart at Rock. A third single, "Dear Darling (I'll Be There)," was released, but got nowhere. The album would reach #24, but without the support of additional hits, the album stopped short of the gold mark. DeYoung's multi-platinum days with Styx didn't transition over to his solo career.
ReduxReview: The theatrical side of DeYoung comes out in this song. It sounds like something that would have been heard in The Karate Kid or some other against-the-odds 80s flick. It also wouldn't be out of place in a odd Broadway rock musical. It certainly was not a good choice for a single. It probably would have been better if "Dear Darling" was issued instead. It was a far stronger single choice from an album that had very few good candidates. I wasn't a fan of this song when it came out and it hasn't improved with age.
ReduxRating: 4/10
Trivia: Another track on the album titled "Please" was done in a duet with singer Rosemary Butler. Butler first began her music career in a couple of all-female bands including the hard rock outfit Birtha. That band got signed to Dunhill Records and issued two albums in 1972 and 1973. Despite having a good following, it didn't translate into album sales and the group disbanded in 1975. Butler then became an in-demand backup singer and worked with artists like Bonnie Raitt, James Taylor, Linda Ronstadt, Jackson Browne, and many others. In 1983, Butler embarked on a solo career and recorded an album for Capitol titled Rose. Unfortunately, it didn't get anywhere, but her session singing was still going strong and DeYoung pegged her for the duet.
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Thursday, August 31, 2017
"Eye on You" by Billy Squier
Song#: 2148
Date: 12/08/1984
Debut: 89
Peak: 71
Weeks: 8
Genre: Rock
Pop Bits: Squier's album Signs of Life would be his third platinum seller. It did well thanks to the #1 Rock hit "Rock Me Tonight" (#15 Pop). He might have had another multi-platinum LP like his previous two had the follow-up singles done better. This third one stalled at Rock at #29 while circling the basement of the Pop chart for a couple months. The lack of support curtailed album sales and kept it at platinum level. That's not bad at all, but unfortunately it would be his last album to receive any kind of sales certification. It was all downhill from here.
ReduxReview: Signs of Life was not a good album. The three singles from the LP, including this one, were about the best Squier had to offer. Yet even with this one, it nearly becomes iffy due to all the fancy synth accoutrements. Producer Jim Steinman and Squier were not a match made in heaven. I just don't think Steinman knew how to produce a straight-ahead rock tune. He just fiddle with stuff too much, which is apparent on this song. It's not a bad tune and actually parts of it sound like something Robert Plant might have done for one of his solo efforts. However, it's not a great single and it pretty much tanked.
ReduxRating: 5/10
Trivia: The Signs of Life album was produced by Jim Steinman and on two tracks Steinman brought in some of his cohorts to supply backing vocals; Rory Dodd and Eric Troyer. Dodd got some attention a couple years earlier due to his backing vocals on the #1 Bonnie Tyler hit "Total Eclipse of the Heart," which was written/produced by Steinman. Troyer had also worked with Steinman previously, but before their meeting he had attempted a solo career. He didn't make it big, but he did at least get one song on the Pop chart. "Mirage" would scrape the chart at #92 in 1980.
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Date: 12/08/1984
Debut: 89
Peak: 71
Weeks: 8
Genre: Rock
Pop Bits: Squier's album Signs of Life would be his third platinum seller. It did well thanks to the #1 Rock hit "Rock Me Tonight" (#15 Pop). He might have had another multi-platinum LP like his previous two had the follow-up singles done better. This third one stalled at Rock at #29 while circling the basement of the Pop chart for a couple months. The lack of support curtailed album sales and kept it at platinum level. That's not bad at all, but unfortunately it would be his last album to receive any kind of sales certification. It was all downhill from here.
ReduxReview: Signs of Life was not a good album. The three singles from the LP, including this one, were about the best Squier had to offer. Yet even with this one, it nearly becomes iffy due to all the fancy synth accoutrements. Producer Jim Steinman and Squier were not a match made in heaven. I just don't think Steinman knew how to produce a straight-ahead rock tune. He just fiddle with stuff too much, which is apparent on this song. It's not a bad tune and actually parts of it sound like something Robert Plant might have done for one of his solo efforts. However, it's not a great single and it pretty much tanked.
ReduxRating: 5/10
Trivia: The Signs of Life album was produced by Jim Steinman and on two tracks Steinman brought in some of his cohorts to supply backing vocals; Rory Dodd and Eric Troyer. Dodd got some attention a couple years earlier due to his backing vocals on the #1 Bonnie Tyler hit "Total Eclipse of the Heart," which was written/produced by Steinman. Troyer had also worked with Steinman previously, but before their meeting he had attempted a solo career. He didn't make it big, but he did at least get one song on the Pop chart. "Mirage" would scrape the chart at #92 in 1980.
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Wednesday, August 30, 2017
"Tragedy" by John Hunter
Song#: 2147
Date: 12/08/1984
Debut: 90
Peak: 39
Weeks: 16
Genre: Rock
Pop Bits: Hunter honed his skills in the 70s playing Chicago clubs with his band Hounds (see below). After that band split, Hunter spent time songwriting and figuring out his next move. He decided to try again for music stardom, but this time he was going to do it on his own. He recorded a demo and then began shopping it to labels. Clive Davis at Arista bit first and it seemed like Hunter was set to join the roster. Unfortunately, someone he brought in to negotiate the deal screwed things up and it all fell through. Undeterred, he soldiered on and soon he was picked up by Private I Records, which had distribution through Columbia (his former band's label). Hunter then readied his debut solo album Famous at Night. This first single was issued and it did pretty well breaking into the Pop Top 40. Unfortunately, none of the follow-ups could get on the chart. The single did well enough for Private I to flip the bill on another LP and in 1986 Hunter issued More Than Meets the Eye. It came and went quickly, as did Hunter's contract.
ReduxReview: This had a very brief stay in the Top 40, so I'm not surprised that I don't remember it. Although, if I had heard it a few times, I'm still not sure I'd remember it. The song is actually quite good and I like the chorus, but I don't think it was strong enough to really make headway on the chart. A mid-tempo rock tune was gonna have a hard time cutting through the din of synths, new wave, and hard rock. I think it did about as well as it could.
ReduxRating: 6/10
Trivia: Hunter founded and fronted the Chicago band Hounds. They were popular on the club circuit and eventually it led them to a deal with Columbia Records. Their debut LP, Unleashed, was issued in 1978. The first single from that album, a remake of The Rolling Stones' "Under My Thumb," failed to hit the Pop chart, but did bubble under at a low #110. That didn't really excite Columbia, but somehow the band was able to record a second album titled Puttin' on the Dog. It performed worse than their debut and that was enough for Columbia. The band was sent packin' and soon after they broke up.
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Date: 12/08/1984
Debut: 90
Peak: 39
Weeks: 16
Genre: Rock
Pop Bits: Hunter honed his skills in the 70s playing Chicago clubs with his band Hounds (see below). After that band split, Hunter spent time songwriting and figuring out his next move. He decided to try again for music stardom, but this time he was going to do it on his own. He recorded a demo and then began shopping it to labels. Clive Davis at Arista bit first and it seemed like Hunter was set to join the roster. Unfortunately, someone he brought in to negotiate the deal screwed things up and it all fell through. Undeterred, he soldiered on and soon he was picked up by Private I Records, which had distribution through Columbia (his former band's label). Hunter then readied his debut solo album Famous at Night. This first single was issued and it did pretty well breaking into the Pop Top 40. Unfortunately, none of the follow-ups could get on the chart. The single did well enough for Private I to flip the bill on another LP and in 1986 Hunter issued More Than Meets the Eye. It came and went quickly, as did Hunter's contract.
ReduxReview: This had a very brief stay in the Top 40, so I'm not surprised that I don't remember it. Although, if I had heard it a few times, I'm still not sure I'd remember it. The song is actually quite good and I like the chorus, but I don't think it was strong enough to really make headway on the chart. A mid-tempo rock tune was gonna have a hard time cutting through the din of synths, new wave, and hard rock. I think it did about as well as it could.
ReduxRating: 6/10
Trivia: Hunter founded and fronted the Chicago band Hounds. They were popular on the club circuit and eventually it led them to a deal with Columbia Records. Their debut LP, Unleashed, was issued in 1978. The first single from that album, a remake of The Rolling Stones' "Under My Thumb," failed to hit the Pop chart, but did bubble under at a low #110. That didn't really excite Columbia, but somehow the band was able to record a second album titled Puttin' on the Dog. It performed worse than their debut and that was enough for Columbia. The band was sent packin' and soon after they broke up.
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Tuesday, August 29, 2017
"Loverboy" by Billy Ocean
Top 10 Alert!
Song#: 2146 Date: 12/01/1984
Debut: 56
Peak: 2
Weeks: 21
Genre: R&B, Dance
Pop Bits: After years of trying to get a big breakout hit, Ocean finally did it with "Caribbean Queen," the first single from his fifth album Suddenly. The song was a smash hitting #1 Pop, R&B, and Dance. He followed it up with this next single, which would become his second to top the Dance chart. He nearly did the same at Pop, but got blocked at the #2 position. The tune was less successful at R&B where it could only get to #20.
ReduxReview: I didn't care for this song when it came out. Although I enjoyed the mysterious opening and verse, I wasn't a fan of the chorus. It was actually a good one that folks remembered, but I just didn't like it. I chose to ignore the tune because of it. The song sounds better these days and it is hard to deny the hook. It's not a favorite of mine, but I don't mind it so much these days.
ReduxRating: 6/10
Trivia: Ocean's given name is Lester Sebastian Charles. He was born in Trinidad and later moved with his family to England. When he started his music career, he used the name Les Charles. He recorded a couple of singles early in the 70s, but neither panned out. He then fronted a band called Scorched Earth. They also recorded a single that resulted in very little attention. After a couple of years with them, he decided to attempt another solo career. This time around he chose to go by the name Billy Ocean. The initial story for how he got his new last name was that it came from the place where he had been living at the time in the UK, Ocean Estate, however in an interview Ocean said that wasn't correct. He apparently took it from a football team called Oceans 11 from his home country Trinidad and Tobago. He recorded his debut self-titled album in 1976 and grabbed a minor Pop chart entry with "Love Really Hurts Without You" (#22). It would take another eight years before he would take the charts by storm.
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