Posts Tagged ‘Michael McDonald’

Mix Six: “45s, A and B Sides”

DOWNLOAD THE FULL MIX HERE

I was getting wistful for 45s the other day and went hunting through my old Grundorf cases that I used to lug from DJ gig to DJ gig back in the day.  While flipping through those “back stacks of wax” it was somewhat shocking to see the vast amount of crappy singles I bought for God knows what reason.  Some of the singles aren’t danceable, and some are so badly scratched and cue burned that I wonder why I didn’t toss the singles out years ago. But there they were: relics of an era in the music industry long since past, but also historical markers of the ’80s, when my brother and I trudged off to gig after gig with cases of 45s and LPs on the weekends.

Oh, and regarding the, um, preponderance of crappy 45s in my collection, I offer this defense:  My brother had a 10-watt pirate radio station in his bedroom in the mid to late ’80s, and during the week we’d broadcast shows in the evening to mostly middle school kids listening at home. They would call, we would put them on the air, and often times they would request the most god-awful songs.  The next day, one of us would drive down to Tower Records, plunk down a few dollars and bring home singles that would, more often than not, be stiffs on the charts.  But for a brief moment, the pirate station sounded very current.  It was all in good fun, and the FCC never came knocking on our door (probably because we broadcast so infrequently).

So, let me cue up the 45s and let’s have a listen to the good, the bad, and the ugly of it all.

scorpions-front
“Rock You Like a Hurricane,” Scorpions
(download)

My junior year of high school was the first time I had ever heard of the Scorpions.  To me, they were a stoner band — only because the stoners at my school listened to them — but if there was such a category as “stoner pop” back in 1982, I think the Scorps, Def Leppard and bands of that ilk would fit that bill. With their infectious hooks in the chorus, the melodic guitars and Klaus Meine’s theatrical voice, it’s a recipe for a kind of hard rock that avoids a lot of dissonant chords. Plus, the lyrics  in this tune are standard issue cock rock, or as Eddie Van Halen once explained it: “Boy meets girl. Boy inserts penis.” (more…)

CHART ATTACK!: 1/15/83


Welcome back to CHART ATTACK!, all new for 2009! This year we’ll be doing much like we’ve done in the past: ripping apart Billboard Top 10 charts for years ranging from the early ’70s to the early ’90s. You know the drill: some of ‘em are going to be great; some will be abysmal; some will feature way too many appearances by stupid Andy Gibb. (Not this week — just his brothers.)

This week, we’re looking at early 1983, a fairly diverse week featuring punk, pop, R&B, adult contemporary and whatever category you want to stick “Dirty Laundry” into. Also, here are a few of the odd words you’ll find in this week’s chart: Sharif, Serengeti, she-cat, and Vegemite. We’re also featuring three songs that, in some way or another, essentially were given a second chance on the charts this week.  Which ones?  Stay tuned as we attack January 15, 1983!

10.  Heartbreaker — Dionne Warwick Amazon iTunes
9. Rock the Casbah — The Clash Amazon iTunes
8. Baby, Come to Me — Patti Austin (with James Ingram) Amazon iTunes
7. Africa — Toto Amazon iTunes
6. Mickey — Toni Basil Amazon iTunes
5. Sexual Healing — Marvin Gaye Amazon iTunes
4. Maneater — Daryl Hall & John Oates Amazon iTunes
3. Dirty Laundry — Don Henley Amazon
2. The Girl is Mine — Michael Jackson/Paul McCartney Amazon iTunes
1. Down Under — Men at Work Amazon iTunes

10. Heartbreaker — Dionne Warwick (download)

“Africa” holds my spot for the best song on this relatively solid Top 10, but “Heartbreaker” is in second place.  It has very little to do with Dionne Warwick; while her vocal is fine, I think I’d also be okay with a number of other female vocalists singing. It’s more about the chorus, which is not only unmistakably catchy but contains just the right amount of Bee Gees — the fantastic backing vocals with none of the ridiculous falsetto wailing that Barry prefers to use at every turn.  And once again we have to give credit to Mr. Gibb for wisely handing out his songs to other vocalists at a time when the Bee Gees were certainly less welcome on the charts.  This one wasn’t initially his idea, though: in ‘82, Barry had planned on collaborating with a few different female vocalists for an album he was working on, but Clive Davis asked him if he’d write an album of material for Warwick.  He did so, and though Warwick didn’t really care for “Heartbreaker,” she recorded it anyway — and it wound up being her biggest solo hit of the decade.  I can’t believe I love “Heartbreaker” more than Dionne Warwick.  Anyway, the Bee Gees eventually recorded their own version in 2002:

The original demo can also be found on YouTube (or on iTunes).  Beware, though: Barry sings the whole thing utilizing the aforementioned falsetto wailing.

9. Rock the Casbah — The Clash

One can only imagine what Joe Strummer thought about spending time in the Top 10 next to Dionne Warwick. Even worse, only a few weeks later he’d wind up stuck next to Eddie Rabbitt and Crystal Gayle. The Clash’s Top 40 singles were far and few between — we’re talking this one and “Train in Vain (Stand By Me).” (”Should I Stay or Should I Go” reached #45.)

“Rock the Casbah” was born out of a piano part composed by drummer Topper Headon, and it’s Headon who plays bass, drums and piano on the track. The origins of the lyrics have been disputed, but the story I’ve heard the most is that Strummer was inspired by a news report of Iranians being flogged for owning disco music. I don’t see why that’s so wrong.

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