Bottom Feeders: The Ass End of the ’80s, Part 55

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So it’s been at least nine months, if not more, since I stopped buying ’80s albums. I made a conscious effort to stop spending the cash on records once my son was born last September. But I was recently writing up a future track by a group called Millions Like Us when I realized I knew nothing about them, and my lone 45 didn’t tell me anything either. So I ended up purchasing the CD for a simple penny over at Amazon. Let me tell you how good it feels to not only get “new” music but to get it for a measly little cent. Of course, my ears perk up as I hear cheap CDs calling me, so I end up purchasing like 40 CDs to help me complete my rock and R&B collections. In reality I don’t know how many people would get excited over this mailbox full of CDs I opened on Friday: Joe Cocker’s Unchain My Heart, David Crosby’s Oh Yes I Can, Michael Anderson’s Sound Alarm, .38 Special’s Strength in Numbers, Extreme’s Extreme, and Pete Bardens’ Speed of Light, but damn if it doesn’t get me tingly inside. Ah, the geek in me.

This week we finish up the letter L with another half post to make a clean break. Enjoy these tracks from the ass end of the Billboard Hot 100 chart during the ’80s.

Love and Money
“Halleluiah Man” — 1989, #75 (download)

Love and Money were this funky and soulful Scottish band that was only able to manage this one hit in the US. This was the lead track off their second album Strange Kind of Love. If it wasn’t for the little rap-like breakdown in the middle of the song, it would be easy to mistake this for a Tears for Fears song.

Love and Rockets
“No Big Deal” — 1989, #82 (download)

“No Big Deal” comes from the self-titled 4th album from Love and Rockets, which is all the members of Bauhaus minus Peter Murphy. As opposed to the first three Love and Rockets records, this one is a bit of a mess as Daniel Ash wrote the more poppy songs and David J had more experimental tracks. The mish-mash of sounds makes for a pretty uneven listen and it seems that Love and Rockets understood this as well, as they broke off for solo careers after touring for the album.

loverboyLoverboy
“The Kid Is Hot Tonite” — 1981, #55 (download)
“Dangerous” — 1985, #65 (download)
“Lead a Double Life” — 1986, #68 (download)
“Too Hot” — 1989, #84 (download)

Loverboy provided me with one of my favorite moments in TV history when they appeared on the 2005 show Hit Me Baby One More Time and the host announced them repeatedly as “Louverboy!” To this day, anytime we hear Loverboy my wife and I both turn to each other and say “Loooooooverboy!” It’s much funnier than it seems on paper.

Loverboy’s entire hit making career managed to stay in this decade as they had 13 Hot 100 hits starting with “Turn Me Loose” in 1981 and ending with “Too Hot” in 1989. The weird thing for me is that I think they made some pretty excellent albums, but I can really only remember their major hits. I couldn’t have identified the artist of “Dangerous” or the strangely new-wave “Lead a Double Life” if you put a gun to my head. I’ve listened to all of their albums numerous times, but there’s just something about them that doesn’t stick in my head. I do however recognize “Too Hot” which was their final single from the 1989 Greatest Hits record called Big Ones.

Nick Lowe
“I Knew the Bride (When She Used to Rock & Roll)” — 1985, #77 (download)

An absolutely fucking brilliant song by a hell of a songwriter. Nick Lowe strangely enough didn’t have much of a “solo” career as even in his native England he only had four charting singles. In the U.S. this was his second and final charting song after “Cruel to Be Kind” in 1979. He gets most of his recognition as a songwriter and producer for Elvis Costello (okay, that may just be how I recognize him most).

L’Trimm
“Cars With the Boom” — 1988, #54 (download)

Along with Paul Lekakis’ “Boom Boom,” “Cars With the Boom” is the other guilty pleasure of the mine in the letter L (I guess I like the boom). There’s nothing good about this song, L’Trimm or the Miami Bass scene that these ladies were a part of but for some reason I can’t turn this damn song off when I hear it. C’mon sing it with me – “We like the cars / The cars that go boom / We’re Tigra and Bunny and we like the boom.”

Lulu
“If I Were You” — 1981, #44 (download)

You know, I can’t even put together words for Lulu after listening to L’Trimm. I’m sure you’ll listen if you care at all about her final hit song.

Cheryl Lynn
“Shake It Up Tonight” — 1981, #70 (download)
“Encore” — 1984, #69 (download)

Two very different sounds here for Cheryl Lynn. “Shake It Up Tonight” is a disco tune produced by Ray Parker Jr. “Encore” is a pure ’80s club hit and if you can’t tell by the opening bars, was written by Jimmy Jam & Terry Lewis.

Jeff Lynne
“Video!” — 1984, #85 (download)

Here’s the only charting track for Jeff Lynne under his own name. “Video!” features the ELO frontman’s unmistakable sound and was a tough one to find for my collection, as it was only released on the Electric Dreams soundtrack. Naturally, I couldn’t go without providing the video for “Video!”:

QUICK HITS
Best song: Nick Lowe, “I Knew the Bride (When She Used to Rock & Roll)”
Worst song: Lulu, “If I Were You”

Next week we marvel at the magnificence of the letter M.

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  • No Lulu hate allowed. It may be a bad song but you have to love Lulu. She was a good sport about being a running punch line on ABSOLUTELY FABULOUS years later.
  • WHarrisBullzEye
    Plus, she saw the merit in covering Bowie's "The Man Who Sold The World" 19 years before Nirvana helped American teenagers discover the song.
  • Wow. "Cars with the Boom" didn't hit the Top 40? I remember that song being HUGE. Good times.
  • magnolia7281
    and of course the fabulous noo yawk accents those girls had just MADE that track. awesome roller-rink song.
  • Ray
    I actually remember their single before this one (didn't make the pop charts), it was an answer record to Salt-N-Pepa called "Grab It" ("Grab it like you want it!" "So take a lesson and I hope you learn, that if you PUSH IT it might not return...").
  • David_E
    Oooo, I was about to throw Lynne's "Every Little Thing" from Armchair Theater in your lap, but I see that charted in ... 1990.

    Curse you, latter part of the title "Bottom Feeders: The Ass End of the '80s" !
  • Mary in Texas
    I was thinking the same thing about "Every Little Thing, David_E; glad I read your comment before posting!
  • Pete
    Wow, I love ELO but had no idea this Lynne tune existed. I can kinda see why.
  • magø
    Wow. Thanks so much for reminding me about Love And Money!
    In college, I was a huge fan of that British white-funk-pop sound from the late '80's - Hipsway, Curiosity Killed The Cat, The Blow Monkeys - with its glassy production, pop horns, shimmery keys, big drums... Love And Money were right there with the best of 'em!
    Nice one!
  • Mary in Texas
    Mago -- So glad to see your comment re: Curiosity Killed the Cat and The Blow Monkeys. LOVED them!! I lived in London in the late '80s and got to see both groups perform live. In fact, I was in the "crowd scene" of a CKTC concert that was filmed to air on U.S. TV, but of course CKTC never made it big here so I guess the video is lost in space. Ahh, memories... :)
  • Eric S.
    Here's my theory on Loverboy. Many of the big singles (including "Turn Me Loose", "When It's Over" and "Queen of the Broken Hearts") are credited to Paul Dean and Mike Reno. Others are Dean with a different writing partner ("Hot Girls in Love", "The Kid is Hot Tonite").

    When you start looking at the album tracks, it's guest writers and songs by committee. A lot of the guest writers are good: Bryan Adams, Jim Vallance, Bruce Fairbairn, Jon Bon Jovi, Richie Sambora, Jonathan Cain and R.J. "Mutt" Lange, but I think it's why the albums aren't very cohesive. Many of the tracks are credited to three to five writers and it's rarely just the band members.

    Thirteen Hot 100 hits in a decade is impressive, but it's pretty obvious that Reno and Dean aimed for the singles while the band took whatever help it could get to fill out the albums.

    Also, thanks for jogging my memory about Michael Anderson's "Sound Alarm". A great song and CD that I'm going to have to dig out again.
  • Mary in Texas
    Hey Dave,
    LOVE "I Knew the Bride..." Haven't heard it in ages, so I'll be adding it to my playlist tomorrow.
  • I'm actually surprised it doesn't get more spins these days...it's such a fabulous song.
  • ElCartero
    Listening to it now, though, I'm startled about how thoroughly it rips off Chuck Berry's "You Never Can Tell". I half expected to hear "C'est la vie, say the old folks..." at the end of a couplet.
  • kingofgrief
    "Hallelujah Man": So no American chart love for "Candybar Express"? That's odd, considering it's the single that first comes to mind when I think of Love and Money...even if I never remember how it goes. Rate Your Music describes them as "Sophisti-Pop", described as "[a] style of Pop that originated in the 1980s and is mainly defined by the influence of Jazz and Soul and its slick, smooth production". Considering the two top-related releases in this genre (Prefab Sprout's Steve McQueen and The Blue Nile's Hats) are big personal faves, I think an investment in some Love and Money LPs are in order.

    "No Big Deal": At my first record-store gig, I used the number of sold-back copies of this album (within a year of its release) as a clue not to bother. Still love "So Alive", though, and I'll pick up the "No Big Deal" 12" if it ever floats my way. I have a promo EP of some tracks that Ash recently did with Thomas Froggatt of She Wants Revenge; haven't listened to them yet.

    "Lead a Double Life": when you refer to a Loverboy cut as "strangely new wave", you have my attention. I bet you I could get away with this during my Classic Club Hour next to Devo or Hilly Michaels' "Calling All Girls". I'm grabbing this one on my next iTunes spree.

    I'd be a bigger Nick Lowe fan if he wasn't so arrogant in his disdain for prog-rock. (And Rick Astley, re "All Men Are Liars".)

    "Cars With the Boom": I always think of hearing this on the radio with my friend Dave and laughing at the "boom" sound effect at the beginning...which sounded like a weak fart on my inadequately-bassed stereo. It gives me a chuckle to this very day. (I scored the promo CD single a few years back!)

    "If I Were You": no Lulu hate here, but I prefer "The Boat That I Row" (one of my fave Neil Diamond covers) or its B-side from some movie.

    "Shake It Up Tonight": I don't know if I remember this from urban radio at the time or from the Club Columbia CD I purchased about two years ago. Either way, it rang a bell.

    "Encore": Oops, there's a skip at :32. Break out the Discwasher. ;) Yes, the Jam/Lewis fingerprints are obvious.

    "Video!": the titular object of which I remember from the syndicated music program Hot! This could rank with the best 80s-era ELO if not for all the sound effects. All the same, I'd like to know if there was ever an extended mix.
  • What he said about "Candybar Express." I need to write that one up for White Label Wednesday...
  • I was sort of joking about looking forward to Loverboy when I brought them up two weeks ago. Sort of. How on earth have I never heard "Lead a Double Life" before?(maybe because it only reached #68 when I was in 5th grade and hasnt been spun since?) Seriously though, it sounds like the bastard child of Devo and Sisters of Mercy. I have a feeling this is gonna go into regular rotation for me, and I might even spin it on a Thursday night if I'm feeling adventurous, red headbands be damned.

    That said, I will never ever NOT mark out for "Working For the Weekend" when I hear it. Seriously, that opening cowbell countoff, and I jump right out of my seat, no matter where I'm at, what I'm doing, or who I'm with.

    I dig Love and Rockets, and this song is no exception, though "So Alive" is obviously their best song.

    L'Trimm. Didn't we cover JJ Fad last month?

    That's all I got.... Madness next week? And Madonna, if all her songs didn't breach the top 40? Oh god...dare I say...MECO? *shudder*
  • M's a big letter - so we've got a while until Meco. *shudder* is a good way of putting it. Madonna's lowest charting song in the '80s was "Oh, Father" which peaked at #20.

    At least JJ Fad had Dr. Dre on their side.
  • /ian
    are we ready for Shamus M'Cool next week?
  • No, my weird alphabet puts him under MC...so it will be a few...but you'll know. You'll know.
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