CHART ATTACK!: 8/28/82

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Howdy, everybody! Hope you’re all enjoying the last of your summer days, while I sit indoors and listen to ten artists who are likely never be found on the Top 10 — hell, probably the Top 40 — ever again. Let’s take a look back at the week ending August 28, 1982!

10. Take It Away — Paul McCartney Amazon iTunes
9. Wasted On the Way — Crosby, Stills & Nash Amazon iTunes
8. Vacation — Go-Go’s Amazon iTunes
7. Keep the Fire Burnin’ — REO Speedwagon Amazon iTunes
6. Even the Nights Are Better — Air Supply Amazon iTunes
5. Hard to Say I’m Sorry — Chicago Amazon iTunes
4. Hold Me — Fleetwood Mac Amazon iTunes
3. Abracadabra — Steve Miller Band Amazon iTunes
2. Hurts So Good — John Cougar Amazon iTunes
1. Eye of the Tiger — Survivor Amazon iTunes

10. Take It Away — Paul McCartney

I consider myself relatively well-versed in Paul McCartney’s post-Beatles career (though I do not know a single song from Press to Play), and yet I think I need someone who knows his stuff a little better to explain what the difference is between this song — a Macca solo song from Tug of War — and a Wings song. Production-wise, this doesn’t sound much different from “Listen to What the Man Said.” But what do I know. “Take It Away” features Ringo on drums, who also appears in the video with Tug of War producer George Martin on piano. I didn’t like this song the first time I heard it, but like so many of his songs, I just can’t get it out of my head now.

9. Wasted On the Way — Crosby, Stills & Nash

In 1982, Crosby, Stills & Nash peaked here at #9 (their second highest charting single behind 1977′s “Just a Song Before I Go”), and also had a #18 hit with “Southern Cross.” Do you think they were thinking, “Hello, ’80s!”? Because that certainly didn’t happen. Not that it matters, but “Wasted On the Way” was their final Top 40 appearance.

Interesting story behind Daylight Again, the album containing the single: it was intended to be a Stills & Nash project, mainly due to Crosby’s never-ending drug problems. They went straight to the B-list for possible replacements, including Art Garfunkel and the Cryptkeeper Timothy B. Schmit, but the folks at Atlantic Records pretty much told ‘em they had to get Crosby or the album wasn’t happening. Crosby and Nash tried to hold their ground, even paying for the recording sessions out-of-pocket, but eventually relented and asked Crosby to join the project. Personally, my imagery goes straight to Crosby in a Hawaiian shirt, being dragged on his back by his ponytail into the studio while eating a slice of pizza, never quite realizing what’s happening, and the scary thing is that it might not be far from the truth.

For all that I love harmony and acoustic music, I’ve never been much of a CSN fan. One of the guitarists in my band is always asking me why I don’t care for CSN, so I was excited to tell him that I actually like this one. You know what he said? “Oh, that one’s so wimpy.” I said, “…As opposed to what?” Either way, I do think this is a nice song. I think the instrumentation on the studio version is pretty much unnecessary; I like this live version from 1982 instead. You really do get the sense that Crosby has no idea where the hell he is. Check out the part where he makes the “shhh” motion, either to an already-quiet audience or the goblins doing a rain dance in his head. It doesn’t matter, though; they sound fantastic.

8. Vacation — Go-Go’s

I was looking over the Go-Go’s chart history, thinking that surely there was a song I was forgetting about — but only two singles ever made the Top 10: this one, peaking here at #8, and “”We Got the Beat” at #2. I don’t care much for either of these songs — I prefer “Our Lips Are Sealed” (which only hit #20) and “Head Over Heels” (#11). The only thing I really remember about “Vacation” is the half-humorous, half-awkward video. Songfacts has a great interview with guitarist Jane Wiedlin where she mentions the video:

Well, we were at the A&M sound stage, and it was a big budget video, because of course by that time we were really popular, because it was our second album, and our first album had sold like, I don’t know, over 2 million copies or something. So we had a lot of money to do the video, which was the first time for us, because the other videos we just spent, like $5,000 on or something. And it was fun, but it was a way of working that we weren’t accustomed to. And I remember it being a really long day, like a 14-hour day, and about 8 hours into it we all were getting really bored and restless, so we started drinking. But by the time they actually shot the scene where we’re on the water skis, skiing one-handed and waving and stuff, we were all really looped. It’s so funny, if you look at us, look in our eyes in those parts, we’re all like cross-eyed drunk.

7. Keep the Fire Burnin’ — REO Speedwagon (download)

One day far in the future, my grandkids will all gather ’round the fire (or whatever has replaced fire by then) and say to me, “Tell us a story about the old days, Pappy!” And I’ll tell them the story of a band who was signed to Epic Records (they were a “record company,” children!) in 1971. This band managed to release six albums, plus a live album, before one reached the Top 40 — as well as nine singles, many which didn’t even reach the Hot 100, before reaching #1. It took them nine years to find popular success, and yet they were never dropped from their major record label.

I’d like to think that my grandkids will “ooooh” and “aaaah” over this story, but more than likely, they’ll be bored to tears. (Never mind the awkward “What’s a record label?” question.) So this is the part of the story where I will don an eye patch (if I’m not wearing one already), jump up and yell “ARRRRRRRRRR!” And the kids will scream and go, “Pappy, are you some kind of scary pirate?” and I’ll respond, “No, children, I’m Kevin Cronin! I overpronounced everything! ARRRRRRRR!”

Of the successful Speedwagon singles (four Top 10 hits altogether), it’s kind of a sad note that “Keep the Fire Burnin’” is by far the most aggressive of the bunch. And it’s not a bad song. In fact, I’ll go on record as saying that the last 55 seconds rock pretty hard. But it’s still a sort of awkward rocker, mainly because, like “Keep On Loving You,” Cronin’s overpronunciation make the rhymes so painfully evident. Have Cronin and Dennis DeYoung ever worked together? If not, they should. They could strip the rock from anything.

Some people really do love the Speedwagon; check out Rob Smith’s excellent Death By Power Ballad post on one of their more recent releases.

6. Even the Nights Are Better — Air Supply

I don’t need to tell you this, because you already know it, but I am a full, un-ironic fan of Air Supply — pretty much all Air Supply. (What you don’t already know is that although we owned all of their albums growing up, I really don’t remember most of the songs that weren’t singles — just trying to clean up my reputation here.) And you also probably already know that I loved the Air Supply concert I saw in 2007. And I’m not the only one; Steve Spears of the awesome Stuck in the ’80s blog recently discussed his experiences rocking out at one of their concerts. They actually do kind of rock. Remember the beginning of “Even the Nights Are Better”?

Well, this is what it sounds like when they play it live these days:

RAWK!

I can’t be sure, but I think there’s a good possibility this change in style is due to bassist/rock god Jonni Lightfoot. Jonni will probably find this post during a Google search soon, so Jonni, if you’re reading this, please chime in and let us know if you’re responsible for bringin’ the balls to the Supply.

Here’s why “Even the Nights Are Better” rocks. The guys who wrote it — Ken Bell, Terry Skinner and J.L. Wallace — wrote a song that’s actually quite complex. If you’re a musician, here’s the sheet music. Check out how, after the guitar solo, the song very subtly changes keys, and renders the song virtually impossible to sing. Unless, of course, you’re Russell Hitchcock, and that’s why Air Supply gets the credit in my book, even if they had nothing to do with the song’s composition. And you can bet Hitchcock still sings it in the original key. That’s another reason why they rock. And finally, they get credit for an incredibly awkward music video, where the two guys walk around a relatively deserted Coney Island (Graham is inexplicably wearing a suit), talking to each other until they come across two girls riding bicycles. They sneak into a carnival, which suddenly is operational but only for the four of them, and then, at the end, Graham and Russell double team ‘em under the boardwalk.

Okay, maybe that doesn’t happen, but why doesn’t that happen? It seems like the logical conclusion. Also, there’s lot of discussion between the four in this video that we’re not hearing. Someone needs to go ahead and record dialogue over this video; preferably the guys who do the literal videos.

And because I’m a nut, here’s another version by Air Supply — a live version from 1983. Why Graham plays a 12-string acoustic on this song, I’ll never know. Is it even turned on?

5. Hard to Say I’m Sorry — Chicago (download)

I hesitate to mention this, but “Hard to Say I’m Sorry” was actually the theme song to a movie entitled Summer Lovers. From Grease and The Blue Lagoon director Randal Kleiser, this movie featured Peter Gallagher and Daryl Hannah as a couple who get involved in a three-way with Russell Hitchcock Valérie Quennessen. It bombed. And the reason I hesitate to mention this is that I’m pretty sure this movie is going to show up in my mailbox any day now. Jeff already sent me The Van and A Night in Heaven after I wrote about them. I just hope he’s not reading this.

Despite the movie’s failure, “Hard to Say I’m Sorry” was a massive hit for the band, and a much-needed one as well; Columbia had dropped them in 1981 after they had gone three years without a Top 40 hit. Chicago 16 (on Warner Brothers) was the first album to feature Bill Champlin, but more notably David Foster, whose writing and production completely turned the band around. Chicago 16 featured session musicians (including members of Toto), outside songwriters, and less of the horns, but there was really no arguing that a pop direction was the only way Chicago was going to find any continued success. And you can crucify me for it, but I love this song. As a kid, I was always irritated that radio stations would edit out the second half of the song, “Get Away”; the mark of a “cool” station for me was one that would play the entire thing.

So, that being said, here’s the music video…with “Get Away” edited out. This video amuses me; it’s clearly meant to highlight Champlin’s new contribution to the band, and it also features Cetera playing bass. I find this interesting because it’s probably one of the last times he was identified as a bassist in a music video. Also, I don’t think there’s any actual real bass on this song.

I much prefer this live video from 1982. Cetera misses a few notes, but overall, it’s a pretty great performance.

Incidentally, I discussed this song way back in CHART ATTACK! #3; I totally forgot I did this, but I somehow blended “Hard to Say I’m Sorry” with the Postal Service’s “Such Great Heights. Check it out, yo.

4. Hold Me — Fleetwood Mac

“Hold Me” was the biggest hit off of 1982′s Mirage, and a co-write between Christine McVie and Robbie Patton, who opened for Fleetwood Mac in 1979. Mick Fleetwood stated in his autobiography that he believed the song was about Christine’s relationship with Dennis Wilson. You can read one person’s interpretation of the song, as well as hear a pretty good live version (considering the heavy production on the original) here. My favorite part of the interpretation is when the person discusses the line “So slip your hand inside my glove”: “There was a lone opinion that possibly this line is sexual in nature.” Har!

There are so many things that I love about “Hold Me.” The first is that I can’t hear Stevie Nicks anywhere on it. I love that it’s a duet between Christine and Lindsey, which was less common than a duet between Lindsey and Stevie. Within the duet, a couple of excellent choices are made: Lindsey sings some of the lines at his own pace, rather than conforming to Christine’s, and his vocal is occasionally thrown to the front of the mix, blurring the lines in terms of who’s singing lead. I love the production and instrumentation overall, especially the percussion; I want it to be a cowbell, but I know it’s probably a woodblock. Maybe Stevie’s playing the woodblock.

“Hold Me” is played on VH1 Classic all the time. If I turn it on in the middle of the night, and “Hold Me” is on, I know it’s time to go to sleep. My brain can’t handle whatever weird shit is going on in this video.

3. Abracadabra — Steve Miller Band

You suck so bad, Steve Miller.

I kind of want to leave it at that, but I guess I should explain. Does anybody write dumber lyrics than Steve Miller? I mean, “Take the Money and Run” actually makes me angry. Like, blood-boiling angry. This song ain’t much better. I mean, what’s stupider? “Every time you call my name, I heat up like a burnin’ flame,” or “Keep me burnin’ for your love, with the touch of a velvet glove”? Can we just agree that they’re both dumb, maybe? This song is so dumb that Sugar Ray covered it. When your song is in Sugar Ray’s wheelhouse, you know you’re in trouble.

But here’s the thing that kills me: this song is awesome. I’ve said it before, but Steve Miller, dumb-ass lyricist that he is, writes a killer hook. And “Abracadabra” has great music and an even better chorus. I think this is why he’s forgiven for his crimes against songwriting. He gives the people songs that allow ‘em to sing and dance. So fine. You win this round. But if I ever have to write about “Take the Money and Run,” there will be blood.

“Abracadabra” reached #1 for two non-consecutive weeks, giving Miller his first chart-topper since 1976′s equally idiotic “Rock’n Me.” It was also his last #1; his last Top 40 hit, actually. I wonder if, like Crosby, Stills & Nash, he was thinking, “Man, and I thought the ’70s were good? ’80s, here I come, armed with more dumbass lyrics! Abracadabra, bitches!”

Here’s the video, which is filled with awkward ’80s effects, bad magic (a chicken turns into a baby?) and, thankfully, very little Steve Miller.

2. Hurts So Good — John Cougar

In the liner notes to his (first) greatest hits collection, The Best That I Could Do 1978-1988, Mellencamp says: “I literally dreamt up that song in the shower in my house in Bloomington and I was still dripping wet when I got dressed, walked out of my bedroom and said to my old song writing friend George Green, ‘Hey! I just thought of a great chorus that goes “Sometimes love don’t feel like it should. You make it hurt so good!”‘ In the time it took to dry off, we’d written the verses together and finished it.”

John Cougar, I’d like to introduce you to my good friend Steve Miller.

I actually won’t knock Cougar Cougar Mellencamp Mellencamp too much, because as I think I’ve mentioned before, I have an irrational fear of him beating me up. He’s the only rock star I’m actually afraid of, and this is coming from someone who once mouthed off to Henry Rollins. (Okay, Rollins kind of scares me too.) Like many of his songs, this one is a strong, rootsy rocker (you have to use the word “rootsy” or “roots” when talking about Mellencamp, right?), and “Hurts So Good” was his first entry in the Top 10, followed by another nine. I didn’t realize how many singles he had in the Top 10. That’s impressive. Now I’m just kissing up in case his management reads this and sends him after me. I’m sorry for making fun of your lyrics, John. Well, actually, wait. I do have one question. I’m all for the whole “hurts so good” philosophy (well, not all for it, but I see where you’re coming from), but I don’t get “sometimes love don’t feel like it should.” I mean, how do you use the word “should” in that sentence and still make it sound like a positive experience? I understand “sometimes love don’t feel like you thought it would” doesn’t scan correctly, but I’d be more in favor of this song if you had chosen different lyrics. Maybe you should’ve taken a longer shower. (Full circle!!)

Anybody want to see the “Hurts So Good” video? Me neither. Moving on.

1. Eye of the Tiger — Survivor

Seriously? One of the best commercials ever. Seriously.

We could talk forever about “Eye of the Tiger.” Actually, Jim Peterik has talked forever about “Eye of the Tiger”; he discusses the song extensively on the Songfacts page. But you can break it down like this: basically, Survivor owes its success to the fact that Queen had not yet become the corporate whores they are today. See, Stallone was working on Rocky III, and had cut one scene to “Another One Bites the Dust.” Queen, however, weren’t willing to give up the rights to the song. (Yet.) Stallone had heard some tracks from Survivor’s Premonition album, and contacted the group to write a song in a similar vein. Peterik took many of the lyrics, such as “eye of the tiger,” “went the distance,” and “insert your own sports cliché here” directly from the movie. Personally, my favorite line is “So many times, it happens too fast, you trade your passion for glory.” I want to try and work this into as many conversations as possible — like, when they’re really having a heart-to-heart with me, I’d work it in, as sincerely as possible. “You know how it is, man. So many times. It happens so fast. You trade your passion for glory…y’know?” Boy, it’s a good thing I’m not a therapist. I’d be using it daily.

Also, far be it from me to tell Jim Peterik how to write an anthem, but I think “you trade your passion for pussy” would have been a better lyrical choice.

I don’t need to tell you that “Eye of the Tiger” was friggin’ huge. It held the #1 spot for six weeks, won the Grammy Award for Best Rock Performance by a Duo or Group with Vocal, and was nominated for an Academy Award. Still, it would be three years before they reached the Top 10 again (with a different singer, no less), and the closest they came to topping the chart was a #2 hit with “Burning Heart,” also an awesome soundtrack song, this time from Rocky IV.

We have plenty of readers — hell, we have plenty of contributors! — who still listen to Survivor. I’m not really a fan, but I did listen to their last album, Reach, and while I thought that a few songs were just attempts to recreate “Eye of the Tiger,” they were actually good attempts. Check out “Fire Makes Steel,” for example.

I could show you the original video, but instead, I’d like to point you to the version by the PS22 Chorus. And if this is your first introduction to the brilliance of PS22, lucky you.

And just like that, we’ve finished another awesome week of CHART ATTACK! Hope you enjoyed. See you back here soon, hopefully with 100% less Steve Miller!




  • David_E

    WOOOOODBLOOOOCCCCK!

  • http://jabartlett.wordpress.com jabartlett

    Two observations:

    REO's label kept them for nine years without a national hit because the kids in the Midwest were buying enough of their albums to make up for the rest of the country's indifference. A two-disc best-of package was a smash in these parts in 1979, well before “Hi Infidelity,” and the band played a tour full of sold-out dates behind it.

    I saw Air Supply in 1982 or 1983–and it was one of the loudest shows I've ever been to. I wasn't expecting that at all, and neither were a lot of the 30- to 40-year-old couples in the audience, some of whom hurried their children out of the arena lest they get the hell rawked out of them.

  • http://twitter.com/michaelparr Michael Parr

    Christine and I watched Summer Lovers last year, it's absolutely awful but does feature quite a bit of naked Daryl Hannah trouncing around and was filmed in Santorini, Greece (so the scenery is breathtaking).

  • zandria1

    That list brought back a lot of memories!!!

  • http://popdose.com MatthewBolin

    “….bringin’ the balls to the Supply”

    Jason, Jason, Jason. How could you write something that leaves you so open & vulnerable to one of Jeff “you mom” jokes?

  • http://www.popdose.com DwDunphy

    You're right about those REO Midwest sales, but the underlying point is that the record label still cared about Midwest sales. Today, you have to debut at number one in New York and LA or you're off the company roll. The rest of the country is as meaningless to the labels as is the age of Tommy Mottola's next wife, whoever she will be.

    I've slagged Cronin several times for his over-pronunciation but, man, Cetera nearly rivaled him on “Hard To Say I'm Sorry” – “Aff-tur-rrrrhall that-a-we've bin thah-roo…”

  • http://www.popdose.com DwDunphy

    Judging from most of that music video, Graham and Russell seem to bring 'em to each other.

  • KellyStitzel

    A couple of things:

    1. I think Mirage is such an underrated Fleetwood Mac album. It came out when Buckingham and Nicks were embarking on solo careers and I think it just gets forgotten, even though it has some really fantastic songs, like “Hold Me,” “Love in Store,” “Only Over You” and “Empire State.”

    2. My uncle gave me a cassette copy of Eye of the Tiger when I was five and I would listen to the title track over and over. I was obsessed with it for a good month before I kicked it to the curb in favor of Neil Diamond's “America.” I was a very strange child.

  • http://www.popdose.com DwDunphy

    I think, around this time, people were burned out on The Mac. Radio was still playing almost the entire Rumours album, you had “Tusk” and “Think About Me” also circulating, and folks who bought Tusk on the weight of those two songs were in for a shock. Maybe they thought the rest of Mirage would be just as out-there beyond “Hold Me”.

    Jason, now that you've pointed out that “Eye Of The Tiger” was rhythmically based on “Another One Bites The Dust” I'm going to have that mental mash-up in my head for the rest of the day.

  • Matt

    It STILL bugs me when radio stations cut off “Get Away.” Any time I'm flipping around the stations and find that song, I listen specifically to see what they'll do. One station in particular plays Get Away about 50% of the time, but besides them I'd say that stations play it no more than 20% of the time at most. Which is a shame in my book.

  • jmbuckingham

    Wow…nostalgia! Great review and fun, thanks.

  • http://www.drcastrato.blogspot.com drcastrato

    No snark on Cetera's “Tux-with-no-shirt” outfit? I guess, though, once you start down that path, there's way too much about him to criticize, such as the robotic un-blinking eyes and brick of hair. Good song though.

    I think I've mentioned this before, but both John Cougar and John Mellencamp have been banned from my home and car radios. Family rule. He's not the worst artist ever or anything, he's just disliked.

    Thanks for the great Attack!

  • KellyStitzel

    I forgot to mention that Henry Rollins is my secret boyfriend.

  • JohnHughes

    That is impossible, since he is my husband and he would never, ever cheat on me.

  • MichaelFortes

    Jason, perhaps part of the reason “Take It Away” sounds so much like Wings to you is that, originally, the album that became Tug of War was intended as Wings' follow-up to Back to the Egg. The band was actually rehearsing songs that ended up on both Tug of War and Pipes of Peace up until Lennon was murdered. The following January, Paul formally disbanded Wings and, voila, it's a new solo project.

  • KellyStitzel

    That's why it was a secret…well, until I spilled the beans.

    I mean, look at this happy couple: http://farm4.static.flickr.com/3225/2315461641_

  • Brian

    A chicken turns into a baby…it's like the opposite of MASH.

  • VAsmacky

    The final line-up of Wings actually rehearsed some of the songs that ended up on “Tug of War.” It was supposed to be a Wings album, but McCartney finally said “Screw this” and dissolved the band.

  • EightE1

    Plus it took years for me to figure out the “We can help one another be strong” line in “Keep the Fire Burnin'.” No over-pronunciation there. No siree.

    Rob
    EightE1

  • Matt

    Another good one. Your Mellencamp commentary was hysterical.

  • EightE1

    He was so smitten with you, he spilled something down the front of his fleece.

  • EightE1

    I remember having to look up the word “impresario” in the dictionary the first time I heard “Take It Away.” It means a promoter or manager. In McCartney's case, though, it probably also meant “weed dealer.”

    Best chart week ever. Not a bad song in the bunch. My inner 12-year-old is dancing. And my inner 12-year-old can get DOWN, yo.

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  • JPH

    “Not that it matters, but “Wasted On the Way” was their final Top 40 appearance.”

    Wasn't “Southern Cross” actually the follow-up to “WOTW”? Thus, making “Southern Cross” their final Top 40 appearance?

  • http://www.jasonhare.com jasonhare

    You are absolutely correct. Wikipedia had those two switched, and I didn't cross-check with my huge Billboard spreadsheet. Damn you, Wikipedia! Thanks for the correction.

  • http://www.jasonhare.com jasonhare

    …and there's the answer! Thanks!

  • http://twostepcub.blogspot.com twostepcub

    Thanks Jason, for a great trip back on a stormy Friday night here in New Jersey. It pulled all the strings, since last week was my birthday and 1982 was the year I started buying music and listening religiously to Casey Kasem (I think I would've had a heart attack then if I heard the now-famous expletive rant he went on about his long distance dedications).

    I had no idea about Dennis Wilson possibly being the inspiration for “Hold Me”. Christine was always my favorite Mac'er, and she was missed when I saw them last spring in Philly.

    “Abracadabra” may have been inane, but it still was miles above the rest of the album (cassette, in my case).

    I actually was fond of “Vacation”, probably because I bought that album at the time. I didn't get BATB till I was an adult.

    When I was younger I thought Kevin Cronin was some crazy Irish guy who fronted a rock band.

    And in my day I could rock my Lowery organ with both “Hard to Say I'm Sorry” AND “Get Away”…that is SOOO sad.

    Thanks again..
    Cheers!

  • JonCummings

    OK, you know what? I wasn't gonna go after Jason on this, because I didn't want to get all 5th-grade-teacher on him. But now that I can take out THREE of you bitches at once:

    It's ENUNCIATION when you're talking about whether someone makes his words sound more or less clear. You can't over-pronounce a word.

    Class dismissed. Have a nice weekend. I'm gonna give Jason's address to my son to give to Cronin's daughter (her locker is still just a couple away from his this year) to give to him, and he's gonna come poke out your eyeballs with his spiky bleach-blond hair.

  • JonCummings

    This chart dovetails nicely with a little colloquy Dave Steed initiated in his comments on Wednesday, about when '80s music “started” and “ended.” He said he had seen a blog theorizing that the '80s didn't start musically until '83–and this chart is full of the kind of stuff that got shunted aside later in the decade. Consider that seven months after this chart, the top three would be “Billie Jean,” “Do You Really Want to Hurt Me” and “Hungry Like the Wolf”–and the next #1 song after that was “Come on Eileen.” Now THAT's '80s.

    A couple other points: Jason, if you've heard nothing off “Press to Play,” you have to at least go hear “Stranglehold”: http://www.youtube.com/watch?v=eL3xivMu6Jc. And “Take the Money and Run” is frickin' “War and Peace” compared to “Abracadabra.” I have no idea how I talked myself into leaving “Abracadabra” off my worst-#1s-of-the-'80s list. It must have been the last song onto the lifeboat.

    “Summer Lovers” is truly, stupendously awful, but it must have one of the longest listings in the “Bare Facts Guide,” so that's a plus.

  • :::theroux

    I think Jane Weidlin was giving us the business in that there interview. It's hard enough to water-ski, but to water-ski drunk?

  • slappyfrog

    I love how Graham is rawking out with the acoustic in the background of the live Air Supply clip….would LOVE LOVE LOVE a hard rock cover compilation of Air Supply tunes, that'd be awesome!

  • David_E

    I pronounce you the winner.

    Or enunce you. Whatever.

  • http://playitandbedamned.blogspot.com/ rob

    “The Onion” recently had a hysterical headfline recently about Wikipedia celebrating the countr's 750th anniversary.

    I thought I'd add that for no good reason.

    And Jason? I'll get you back for another one of your Steve Miller digs. Mark my words. You will kneel down one day and pay your respects to the “Gangster of Love”

  • EightE1

    Dunphy made me do it! I knew it was enunciation! I did! I knew it all …

    Aw hell. You got me, Jon.

    Though, you do bring up an interesting side-idea — if Kevin Cronin were a superhero, perhaps his power would be poking out villains' eyeballs with his spiky bleach-blond hair. What would Tommy Shaw's super power be?

  • http://www.popdose.com DwDunphy

    Rebuttal: you ain't no boss'a me.

  • Maxus

    Face it, Hare… the awkward question: “What’s a band?”

  • http://www.popdose.com DwDunphy

    That is the most ridiculous, insane, retarded thing I've ever heard. I LOVE IT. Could we get a reformed Winger to do “The One That You Love”?

  • http://www.jasonhare.com jasonhare

    You guys haven't heard of Hair Supply?

    http://www.myspace.com/hairsupply

  • slappyfrog

    I'd buy two if it had Winger on it.

    I have a theory that the only difference between a lot of 80s pop (Air Supply, Chicago) and 80s hard rock is the speed of the guitar playing and the mixing where guitars are buried in one, put in front on the other.

    To my untrained ear, much of the music sounds very similar.

  • slappyfrog

    You, sir, are a very bad man!

    To me that sounds like ironic hipster douchebag….I want straight, legit covers: Winger, Jani Lane-era Warrant, Trixter, could you imagine Bon Jovi's histrionics?

    I also enjoy how the “band” Hair Supply has lost control of their domain. ^rolls eyes^

    The ironic cover band is big in my area, but, irritates the cripes out of me because they sound NOTHING like the originals….there's a popular Police cover band (Stung) that I saw at Slim's and they were a three piece playing Police songs but weren't even trying to get the vocals to sound close. Blech.

  • Ray

    It still bugs me that radio stations still play this song incessantly, never mind that most of them cut off the ending. After all, this song (along with America';s SISTER GOLDEN HAIR) has rightfully earned the title as “LITE ROCK SONG FROM HELL!!!!!!!!”

  • MatthewF

    Is this the most soft rock top 10 ever?

    We must never lose our yearnin' to keep the fires burnin'!

    Sweet merciful jesus.

  • http://www.popdose.com DwDunphy

    “This isn't Beatlemania. This ain't even Crapplemania!”

  • slappyfrog

    Assuming that was a pop culture reference I didn't recognize, I utilized The Google but got no results…I did get this suggestion: “Did you mean: “This isn't Beatlemania. This ain't even Grapplemania!” “

    Which I found both humorous and vaguely disturbing, just like the proposed cover album. Circle of life or something like that?

  • http://www.popdose.com DwDunphy

    You have to understand that I'm not that existential. I was inferring that a crappy tribute band would be more Crapplemania than Beatlemania.

    I know, it's not terribly funny, but whenever I get the chance to use the word “crap”, I'm on it!

  • slappyfrog

    Oh, it was funny, just figured it was something I missed.

    Slappy's rule #17:
    “If one is given more credit than one deserves, one should graciously accept and hope no one figures it out”

    LOL

  • slappyfrog

    Oh, it was funny, just figured it was something I missed.

    Slappy's rule #17:
    “If one is given more credit than one deserves, one should graciously accept and hope no one figures it out”

    LOL

  • Rick

    “Hurts So Good” is a blatant rip of the Stones' “Start Me Up”, which was a big hit the year before.

  • RZ

    I just wish “Abracadabra” came with an instrumental version. I loved the synth sequence at the end (on the version played on AOR station — the Top 40 single ends with the lyrics). But the lyrics are among the worst in pop music history.

    Our “oldies” station (which plays music up to 1992, three years after the station signed on its oldies format) uses a lot of happy, “have fun at the office” jingles. I recently heard the jingle “the station that picks you up and makes you feel good!” — which was immediately followed by CSN's “Wasted On the Way.” Downer, man…

  • RZ

    I just wish “Abracadabra” came with an instrumental version. I loved the synth sequence at the end (on the version played on AOR station — the Top 40 single ends with the lyrics). But the lyrics are among the worst in pop music history.

    Our “oldies” station (which plays music up to 1992, three years after the station signed on its oldies format) uses a lot of happy, “have fun at the office” jingles. I recently heard the jingle “the station that picks you up and makes you feel good!” — which was immediately followed by CSN's “Wasted On the Way.” Downer, man…