Hi everyone! It’s Friday and it’s time to look back at another Billboard Top 10 from — holy crap, this is from 29 years ago. Anybody else feel really old? Thankfully, I think this is a pretty good week for the charts: good variety, strong songs all around, and some really fantastic videos. Join me, won’t you, as we take a stab at October 11, 1980!
10. Give Me the Night — George Benson 9. Real Love — The Doobie Brothers 8. Xanadu — Olivia Newton-John/Electric Light Orchestra 7. I’m Alright — Kenny Loggins 6. Late in the Evening — Paul Simon 5. Drivin’ My Life Away — Eddie Rabbitt 4. All Out of Love — Air Supply 3. Upside Down — Diana Ross 2. Woman in Love — Barbra Streisand 1. Another One Bites the Dust — Queen
George Benson on roller skates, y’all. Does it get any better?
If you feel like this song’s groove sounds vaguely familiar, it’s probably because it was written by Rod Temperton, former keyboardist for Heatwave, and the man behind much of Off the Wall (and, later, Thriller). Every time I hear a Rod Temperton jam, I’m once again astounded that sounds like this came from a white guy. “Give Me the Night” peaked at #4, making it Benson’s most successful hit, with the awesome, awesome “Turn Your Love Around” right behind it, peaking at #5 in 1981. I’m disappointed that “Lady Love Me (One More Time) only made it to #30. I don’t have much more to say about this song — I’m too busy groovin’.
9. Real Love — The Doobie Brothers
If you buy the Michael McDonald: The Ultimate Collection CD (and you should!) and you import it into iTunes, there’s a good chance that the song titles for the Doobie Brothers tracks will come up like this: “Real Love (ft. The Doobie Brothers).” Now, on one hand, that’s incorrect: these tracks, and others like it, were released under “The Doobie Brothers,” and changing it is akin to changing “Lennon/McCartney” to “McCartney/Lennon.” (Okay, it’s nothing like that, but I just wanted to compare the Doobies to the Beatles for a second.) But in all honesty, these are Michael McDonald tracks featuring the Doobie Brothers. Other than keeping the album as a consistent “Michael McDonald” album, I’m not sure what the reason was for this alteration, other than McD just trying to find one more way to piss off Jeff “Skunk” Baxter. And if that’s the case — bravo, McD! I thought you ran out of ways to irritate Skunk a long time ago. Of course, Baxter was out of the band by the time both this song — and its accompanying album, One Step Closer — were released, and the band was nearing dissolution anyway due to the increased friction that came from essentially being McD’s backing band. Still, “Real Love” is a great song from this era of the Doobies. It’s no “What a Fool Believes” or “Minute By Minute,” but it’s got plenty of soul and a typically great vocal by McD.
This is something we’ve been talking about doing for a long time — in fact, we really thought we’d be debuting the Popdose Podcast over a year ago. It wasn’t until we were finally able to trick our friend Dave Lifton into shuttering his long-running and wildly popular Wings for Wheels series that our plans came together — with the technical savvy necessary to edit our nonsensical jabbering into pure audio entertainment, and a strong enough personality to keep the entire podcast from dissolving into a giggling fit of mom jokes, Dave was the crucial final ingredient we were waiting for all along.
So open up your pod, baby, and let us in — and remember, this is only our debut. Even television classics like According to Jim didn’t enjoy their finest moments until they’d had a little time to hit their stride, and you have no idea what we have in store for you during the coming months. (Note: neither do we.) Like what you hear? Hate it? Drop us a line in the comments and let us know. And now, without further ado…
The Popdose Podcast, Episode 1: Donkey Eatin’ a Pony (1:09:49, 64.9 MB), featuring Jeff Giles, Jason Hare, and Dave Lifton. You can also subscribe to the podcast’s RSS feed.
38:20 Jason Hare credits Terje Fjelde’s awesome Popdose podcast contributions, then discusses Mariah Carey appearing on Oprah and covering Foreigner. Digressions continue into Mariah’s “All I Want for Christmas is You,” Journey, The Saw Lady, and Wing.
54:31 Popdose Endorsements (official title yet to be determined; offer your suggestions in the comments!): Jeff endorses fun. (song clip: “Benson Hedges”)
57:06 Popdose Endorsements: Dave endorses Robbie Fulks (song clip: “Papa Was A Steel-Headed Man”)
Popdose is extremely lucky to have some of the best female writers on our staff, but let’s face it: this place is pretty much a smelly sausage factory. There’s just a lot of us dudes here, writing, grabbing our genitals, eating gross food, and spitting on the floor. It’s disgusting and I want out, because it’s an offense to my delicate sensibilities. But that’s a story for another post. My point is, I think it’s time we did something for the ladies. Or for the men who like to smell pretty. Let’s give away some perfume!
As people eat more meals outside the home, they consume more calories, less fiber, and more fat. Commodity prices have fallen so low that the fast food industry has greatly increased its portion sizes, without reducing profits, in order to attract customers. The size of a burger has become one of its main selling points. Wendy’s offers the Triple Decker; Burger King, the Great American; and Hardee’s sells a hamburger called the Monster. The Little Caesars slogan “Big! Big!” now applies not just to the industry’s portions, but to its customers. Over the past forty years in the United States, per capita consumption of carbonated soft drinks has more than quadrupled. During the late 1950s the typical soft drink order at a fast food restaurant contained about eight ounces of soda; today a “Child” order of Coke at McDonald’s is twelve ounces. A “Large” Coke is thirty-two ounces-and about 310 calories. In 1972, McDonald’s added Large French Fries to its menu; twenty years later, the chain added Super Size Fries, a serving three times larger than what McDonald’s offered a generation ago. Super Size Fries have 610 calories and 29 grams of fat. At Carl’s Jr. restaurants, an order of CrissCut Fries and a Double Western Bacon Cheeseburger boasts 73 grams of fat — more fat than ten of the chain’s milk shakes.
Thanks for joining me for Bottom Feeders, where we take a look at approximately 20 songs each week that charted no higher than #41 on the Billboard Hot 100 chart in the ‘80s. We continue with artists whose names begin with the letter M, in our trek through the ass end of the decade.
Although I believe the album in which “Kayleigh” originates, Misplaced Childhood, is quite good, I never really got into Marillion. So let me instead direct you to their official website which not only is extremely well put together but gives you a wonderful look at the album from the makers themselves.
In a weird one, in May alone, my iPod shuffled to this song six times. So what, you say? Here’s the thing, I probably listen to my iPod on shuffle two hours every weekday — one hour at work and the 30 minute ride to and from work and I listened to the new Marilyn Manson record on that drive for a week straight. So I’m going to estimate that I’ve shuffled for 34 hours that month. I have 9,230 songs on my iPod. Given a generous 12 songs per hour that’s 408 songs played or just a little below 4.5 percent if every song was unique. And “Kayleigh” has come up a whopping six times! Meanwhile I have over 2,000 songs that haven’t ever been shuffled to once even though I’ve owned it for two years. Why this fascinates me, I don’t know, but it does.
Marshall Tucker Band
“It Takes Time” — 1980, #79 (download)
It may sound silly, but I like the Marshall Tucker Band if for no other reason than the fact that there is no one named Marshall Tucker in the band (and yes, as I edit this, this really does sound quite silly). According to their website, Marshall Tucker was actually the man that rented their home right before the band moved in. I’m about to move in the next year or so. I think I’ll leave my name around the house with hopes that the next person will be some aspiring doom metal guitarist with no name for his band. If you see a band from Pennsylvania popping up in the next few years called Electric Steed — I’m that guy!
Cratedigger is a regular (well, maybe semi-regular) column in which I’ll discuss some of my favorite vinyl.
The Royal Scam was released almost exactly 33 years ago. It is, in my opinion, the best Steely Dan album. Maybe I feel that way because it’s the band’s most guitar-oriented effort, thanks in no small measure to the contributions from jazz-guitar great Larry Carlton. The music started to get pretty smooth for Steely Dan after The Royal Scam. Although I really enjoy their next album, Aja, it’s clear that some of the edge is gone, musically speaking. And when the edge went away, mainstream success arrived.
As is always the case with Steely Dan records, The Royal Scam is beautifully recorded, with longtime partner Gary Katz on board as producer. In addition to mainstays Donald Fagen on keyboards and vocals, Walter Becker on bass, and Carlton, there is a very impressive lineup of musicians, including drummers Bernard Purdie and Rick Marotta, bassist Chuck Rainey, guitarists Dean Parks, Elliot Randall, and Denny Dias, and background vocalists Michael McDonald and Tim Schmit. Add a handful of great songs to the stew that these musicians created, and you pretty much have the perfect storm.
The album gets off to a great start with my favorite Dan song, “Kid Charlemagne.” Despite the dark nature of the lyrics, loosely inspired by the life of acid chemist Owsley Stanley, the music is joyous, and Carlton’s guitar solos are simply astonishing. When I’m asked to name the best guitar solos ever, Carlton’s work on this song is at the top of my list.
The wonderfully melodic “Caves of Altimira” follows, before giving way to a sinister tale of murder and obsession, “Don’t Take Me Alive,” which is once again distinguished by Carlton’s fine guitar work. Side A closes with “Sign In Stranger,” which is something of a precursor to what we’d be hearing more of on future Steely Dan records in the sense that its jazz influence is more pronounced, followed by side-closer “The Fez” (”I’m never gonna do it without the fez on”), which is just downright funny. (more…)
Rock ‘n’ roll and Gospel music have a long and contentious history, traditionally operating at odds to one another; and while it’s tempting to view that divide as entirely racial, that’s a needlessly reductive reading; and so we must guard against the temptation to find racial subtext everywhere.
Let’s look instead at the evidence. Both genres arise from the same musical wellsprings. Both depend on a certain level of ecstasy, although the sources, sacred and profane, are very different. And on a personnel level, there seems to be a competition for resources; Gospel artists who cross over to a mainstream audience often end up leaving sacred music behind, and — more rarely — secular artists such as Little Richard and Al Green have abandoned pop (temporarily or not) after a religious awakening.
When the two forms are hybridized, all too often it becomes a race competition to reach bottom, as lowest-common-denominator signifiers are shoehorned into one genre, like troweling makeup onto a drag queen — only less convincing. There’s more to rock music than a few power chords; there’s more to Gospel than tambourines and wailing vocals.
The multi-artist compilation Oh Happy Day: An All-Star Music Celebration — out this week from EMI/Vector — brings together Gospel and pop performers, and showcases a few ways to try to split the musical difference. Three Doors Down demonstrate what might be called the Foreigner option. The only God being revered in their “Presence of the Lord” is Eric Clapton; it’s played as a straight rocker, with the Soul Children of Chicago choir mixed low, providing color texture — felt, more than heard.
Hi, everybody! This week’s CHART ATTACK! takes us back a whopping 22 years, and wow, do I feel old, considering I remember hearing just about every single one of these songs on the radio when they first came out. The songs this week aren’t that bad, actually, but as you’ll soon see, almost all of them are linked together in…well…just about the worst way possible. Stay tuned as we review the Top 10 from April 11, 1987!
“The Finer Things” is just one of the many collaborations between Winwood and his writing partner for most of the ’80s, Will Jennings. Jennings co-wrote almost all of Winwood’s hits, including “While You See a Chance,” which clearly inspired the opening of this song — all synths, baby! I’m usually anti-synth, but if it’s Steve Winwood, I’m okay with it. “The Finer Things” was the second biggest hit from Back in the High Life, peaking at #8.
Jennings, as I’ve mentioned in previous posts, is quite the accomplished songwriter: in addition to his work with Winwood, he wrote/co-wrote songs such as “Tears in Heaven,” “Up Where We Belong” and “My Heart Will Go On.” There’s a nice interview with him over at Songfacts.
I had no idea I had ever heard this song before until I reached the chorus, although to be fair, it’s not like I can really remember the verses of “Everybody Have Fun Tonight,” either. While this song did make it to the Top 10 (peaking here at #9), it wasn’t a strong enough hit to make the overall Hot 100 for 1987. I do like this mention of the song over at Wikipedia, though (emphasis mine): “The single was a hit for Wang Chung in the United States, and it provided the band with their second (and so far, last) top-10 hit.” Isn’t that cute? Who knows, everybody — Wang Chung may be making a comeback! Simple Minds, you’re on deck!
Not much to say about “Let’s Go!” — It follows the same format as their previous hit: stupid lyrics, catchy chorus. But, uh, hey: if you liked Kids Incorporated, this should be a happy day for you. They covered it!
8. Midnight Blue — Lou Gramm
I remember what my father said. He said, “Son, life is simple. It’s either cherry red, or midnight blue.”
What the hell does that mean? Is that really the best advice you got from your father? ‘Cause that’s shitty advice. Really shitty advice. It’s just unhelpful. Is there some double entendre I’m missing here?
Do not be alarmed! Do not adjust your set! Chartburn hasn’t gone away — it’s just sharing space with some more Friday features, including the the New Radio Roundtable, in which your intrepid Chartburn panel discusses some of the songs going for adds at various formats. And away we go!
Adult Contemporary: Airborne Toxic Event, “Sometime Around Midnight”
Zack Dennis: This song takes itself way too seriously. The band has some terrific buzz, and aside from an excess of gloss, they seem to be pushing the right buttons on the alternative pop machine. But after listening to it a couple of times the excess of emotion starts to wear thin for me.
Beau Dure: In the beginning, I figured this was a bad Explosions in the Sky impression. By the end, I thought it was a pretty good Joy Division impression. I’d tone down the chiming guitar at the beginning, but beyond that, it’s an impressive track. The jealousy builds over the course of the song and boils over at the end, and the singer handles the material far better than most of the fifth-rate Eddie Vedder clones in rock these days.
Dw. Dunphy: I wouldn’t turn this off if I heard it on the radio. It’s equal parts Explosions In The Sky and Arcade Fire, but I kept waiting for the sky to open up on this and only got shouting. Still, with a name like Airborne Toxic Event, I was expecting something much…crappier. We’ll call this a pleasant surprise, if nothing more.
David Medsker: You could usually tell the crappy bands from the good ones by their names alone, but the line is getting blurrier by the day. I wrote off ATE by their name too, and then I heard the album and thought, “Shit, these guys are good.” What am I going to use as a benchmark now? Does this mean I actually have to listen to everyone first before making a judgment on their talent? Fuck.
Jeff Giles: Californian singers who try to sound like they’re British always piss me off; in fact, I still haven’t forgiven Billie Joe of Green Day. But I’ve always been a sucker for rock ‘n’ roll that at least makes the effort to try and sound majestic, and this track gets pretty huge (definitely in an Explosions in the Sky-type way — good call, Beau). Also, Pitchfork gave their album 1.6 out of 10, so I’m inclined to give the band the benefit of the doubt.
Zack: I take umbrage to this song being compared to anything Explosions in the Sky. Their songs go through a variety of changes (tempo, volume, chord structure, atmosphere) while all the Airborne Toxic Event song does is build some tension and get a bit louder. (more…)
Howdy, everybody! Happy Friday and welcome back to another edition of CHART ATTACK! This week’s mix is relatively eclectic, yet — as was often the case in the early ’80s — completely inoffensive. And you’ll find references to John Lennon in four of this week’s singles. On with the chart — let’s look at February 14, 1981!
I love Steely Dan. And I love “Hey Nineteen.” And although I’ve never had any misconception about this song’s subject, it was only when listening to this song the other day that I realized: Donald Fagen both looks and sounds like a skeevy, dirty old man, and “Hey Nineteen” is, in fact, not helping his image. And despite the fact that Fagen was only 32 when this song was recorded, it’s not a stretch to hear it and imagine him being, say, 50. SKETCHY. Here’s a picture of Donald Fagen with Japanese musician Juri Panda Jones. Look at this while listening to “Hey Nineteen,” willya?
Right?
Something else weird happened to me while I was listening to “Hey Nineteen” recently. Whenever I sing along with it, I always avoid the lead line (except for “that’s ‘retha Franklin”). I just sing the backing vocals. And, when I sing them, I sing them like…you guessed it.
Oh, picture of 3 Time Grammy Award Winner Michael McDonald, how I’ve missed you.
Anyway, so yeah, I always sing those backing vocals like McD. But when listening to the song the other day, I realized: I don’t hear McD as a prominent voice. I mean, I think I hear him in there, and I know he sang backing vocals on Gaucho, but you know that I have a tendency to hear a little bit of McD in everything, so I could just be crazy.
Steely Dan only had a few Top 10 hits ( “Do It Again” and “Rikki Don’t Lose That Number,” and what the hell, we’ll give “Peg” credit for reaching #11, only because of McD), but this was their last one, peaking here at #10 for only two weeks.
Although I believe the album in which “Kayleigh” originates, Misplaced Childhood, is quite good, I never really got into Marillion. So let me instead direct you to their 
