Posts Tagged ‘Kim Carnes’

Lost in the ’70s: The Sugar Bears

Breakfast was the most important meal of the day for a child of the ’70s.  Not because of the nutritional intake it provided to get a kid going in the morning, but because of the awesome toys and prizes shoved deep into boxes of sugar-coated oats!  Each brand of cereal boasted an array of prizes – anything from plastic cars to iron-on transfers, and my favorite, actual records you could cut out from the back of the box and listen to on your Close ‘N Play phonograph.

While Honeycomb boasted records by the Archies and Bobby Sherman, Sugar Crisp (this was back when having “sugar” in the name of your product was a good thing) took marketing to a new level by creating their own pop group based on the brand, the Sugar Bears.  Featuring mascot Sugar Bear, along with new companions – the Ringo-ish drummer Shoobee Bear, the purposefully named Doobee Bear, and the tranny hooker-looking Honey Bear – the Sugar Bears fronted bubblegum pop as sickly sweet as the frosted oats within the box.

What’s surprising is how competent and downright enjoyable the Sugar Bears material was.  While not quite a superstar line-up, the actual non-bear people behind the music included a former member of the First Edition, a songwriter who wrote for artists as diverse as Sinatra and Ricky Nelson, and a female singer/songwriter just starting out in her career, who just a short ten years later would have one of the biggest hits of the ’80s.

In fact, reception to the throwaway songs on the cut-out records was so strong, Big Tree Records ended up compiling the lot along with some new material into a full-length album, Presenting The Sugar Bears.  Big Tree even worked a single to Top 40 radio, “You Are The One,” (download) which made it halfway up the Hot 100.  Take that, Dig ‘Em.  I don’t see your single charting anywhere.

It didn’t hurt that “You Are The One” was classic bubblegum radio fodder.  I love the fuzz guitar during the chorus, which is strangely out of place amidst all the strings and horn section.  That’s ’70s AM radio pop for you, I suppose.  What I never quite understood as a child was why Sugar Bear, who had such a cool, super-jazzy, low speaking voice, ended up singing like a wimpy, cut-rate Andy Kim.  I mean, when he sang, “Can’t get enough of that Sugar Crisp” in the commercials, it sounded nothing like this bland Whitey Whiterson.  Sorry, credited vocalist Mike Settle, formerly of the First Edition.  There’s a reason Kenny broke out. (more…)

Into the Ear of Madness: Week 19 — I Have a Style, But It’s Very Subtle

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Over the next year Terje Fjelde has agreed to listen to nothing but David Foster on his iPod. He’s loaded the thing with over 1,200 songs produced, arranged, composed, and/or played by the man. A deal with the devil? He keeps wondering.

I have a style, but it’s very subtle.”
David Foster, March 1985

“What About Me,” by Kenny Rogers, Kim Carnes & James Ingram, from Kenny Rogers’s “What About Me,” 1984

It may be a little-known fact that David Foster is one of the dominant forces in the history of the modern duet pop ballad, but throughout the last 25 years he has peppered the charts with duets in all flavors, in addition to trios, quadruples, quintripets and whatnots. Oh, yes. It started in the early ’80s, when he played a couple of duet sessions, like, “Baby, Come to Me” and “How Do You Keep the Music Playing?” with Patti Austin and James Ingram and “Love All the Hurt Away” with Aretha Franklin and George Benson.

In 1983, after he produced the Bob Seger tune “We’ve Got Tonight” for Kenny Rogers and Sheena Easton, all hell broke loose in terms of power duets. “We’ve Got Tonight” was a monster hit and ever since that, Foster has written and produced up to several duets every single year: John Travolta/Olivia Newton-John, David Foster/Newton-John, Paul Anka/Peter Cetera, Julio Iglesias/Stevie Wonder, Lou Rawls/Tata Vega… and let’s not forget Chicago’s Grammy-winning “Hard Habit to Break,” which is a duet between Peter Cetera and Bill Champlin.

There’s no point carrying on, really — I could continue for days.

Then there’s “What About Me,” Foster and Rogers’ follow-up single to the insanely successful “We’ve Got Tonight.” They topped it in all possible ways. Written by Foster, Rogers and Richard Marx, there’s pretty much a modulation for every verse, chorus and bridge. There are strings, horns, splashing cymbals and toms and a plethora of keyboards. There are not two, but three lead vocalists, all of them had enjoyed substantial chart success in the preceding years and all of them, amusingly, are wondering “what about me?”

So what about “What About Me?” (more…)

Bottom Feeders: The Ass End of the ’80s, Part 15

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A few weeks ago I was at a record show for a few hours flipping through thousands of $1 records. I fully admit that I am a nosy person — I like listening to conversations going on around me, and it’s almost impossible to avoid them in this setting. I pick up some of the worst-looking albums you could possibly imagine, so I usually don’t make fun of people for their purchasing choices, but sometimes it’s inevitable. The best time to do this is when people are flipping through records and loudly talking to their friends or family like they’re experts on every artist, album, and song ever made. They seem to be trying to impress the seller or other seekers to the point where we somehow magically ignore the fact that Debbie Gibson’s debut is in their hands. This brings me to my first character. We’ll call him “The Shrink.”

The Shrink was probably in his mid-20s and was there with a buddy around the same age. The friend picked up Michael Bolton’s The Hunger and held it up for show. The Shrink then went off on a tangent that I’ll attempt to re-create as much as possible here. He said, “Is that a greatest-hits album? If that’s a greatest-hits album you should put it back, because greatest-hits albums don’t truly reflect where an artist’s head is at the time, and that’s why you should be buying a ‘real record.’ Why would you want just pieces of albums thrown together when your purpose should be to listen to the artist’s mind-set in one period of time?”

Of course I had to let out a little chuckle, not just because of the Shrink completely ripping the greatest-hits concept — which I clearly am not against — but because a harmless Michael Bolton record is what set him off. I’m pretty sure there were no signs given off that this was indeed a greatest-hits record, because if it was, wouldn’t there be some sort of indication on the record sleeve?

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