Music

Music Monday: Messe de Nostre Dame 1360s

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Kyrie da Missa Image One
The Kyrie
Image Credit: wikipedia.org &
wikimedia.org
Author: manuscrito sob a
supervisão do autor

I’m still digging around in the old stuff. I found this piece and thought it interesting.

From Wikipedia:

Messe de Nostre Dame (Mass of Our Lady) is a polyphonic mass composed before 1365 by French poet and composer Guillaume de Machaut […]. Widely regarded as one of the masterpieces of medieval music, and of all religious music, it is historically notable as the earliest complete setting of the Ordinary of the Mass attributable to a single composer […].

It’s Structure:

The Messe de Nostre Dame consists of 5 movements: the Kyrie (Eleison…”Lord, have mercy”), Gloria (in Excelsis Deo…”Glory to God in the highest”), Credo (Nicene Creed), Sanctus (“Holy”) and Agnus Dei (“Lamb of God”), followed by the dismissal Ite, missa est (Mass Response: Deo Gratias or “Thanks be to God”). The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus and Agnus correspond to Vatican Mass XVII and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. Machaut’s Messe de Nostre Dame is for four voices rather than the more common three. Machaut added a contratenor voice that moved in the same low range as the tenor, sometimes replacing it as the lowest voice.

The information is rather wonky and, not only have I never studied music theory, my education on Catholic Mass is limited to a short stint as a member in an Anglican church in Austin, TX, a decade ago. That being said, what I find fascinating about this composition is that Machaut combined each part into an artistic whole, the earliest known example of it unified. Previously, the items were performed non-consecutively and, separated by prayers and chants.

[Instrumental Version of The Kyrie by Guillaume de Machaut]

[Modern Take on Kyrie by Patrick Lenk]

And, just because I could, I’m ending with Mr. Mister.

Music Monday: Ancient Music & Thoughts

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I’ve been digging around, looking for something interesting. Back in September 2019, I posted about Billboard locking down/wiping out their online charts behind a paywall. I don’t know if this is a fluke or if they got a lot of blow-back for what they did but, the charts have reappeared (their Hot 100 era). Ok. Good. Time will tell if they stay. And, I hope they did get some blow-back. Assholes.

Seikilos Column Wiki Image One
Seikilos Column (marble stele/tombstone)
Photo Credit: National Museum of Denmark
Wikipedia & Wikimedia

Now that I got that off my chest, on to other stuff.

Wikipedia has a timeline of musical events (Yeah. I know. Wikipedia is hardly a bastion of truth but, seems to be a bit less haphazard with music, plants, animals, cars and finding a U.S. town.) I stumbled across the Seikilos Epitaph, a short, little marble tombstone with poetry/lyrics/text, with musical notation, written in Greek. It is unusual and unique because it is the oldest, intact musical composition in the world. It was found in Tralles, Turkey, an ancient, Hellenistic town where Aydin exists, now. The lyrics:

Ὅσον ζῇς φαίνου
μηδὲν ὅλως σὺ λυποῦ
πρὸς ὀλίγον ἔστι[2] τὸ ζῆν
τὸ τέλος ὁ χρόνος ἀπαιτεῖ.

hóson zêis, phaínou
mēdèn hólōs sù lupoû
pròs olígon ésti tò zên
tò télos ho khrónos apaiteî.

While you live, shine
have no grief at all
life exists only for a short while
and time demands his due.

Wikipedia Inscription Image Two
Photo Credit: National Museum of Denmark
Lennart Larsen
Wikipedia & Wikimedia

The dedication was partially destroyed and could read:

Σεικίλος Εὐτέρ[πῃ]
Seikílos Eutér[pēi]
“Seikilos to Euterpe”, possibly his wife (also the name of the Muse of Music)

OR

Σεικίλος Εὐτέρ[που]
Seikílos Eutér[pou]
“Seikilos, son of Euterpes”

The inscription reads:

Εἰκὼν ἤ λίθος εἰμί. τίθησί με Σεικίλος ἔνθα μνήμης ἀθανάτου σῆμα πολυχρόνιον.
eikṑn ḗ líthos eimí. títhēsí me Seikílos éntha mnḗmēs athanátou sêma polukhrónion.
“I am a tombstone, an image. Seikilos placed me here as a long-lasting sign of deathless remembrance.”

The dating of the tombstone has proven elusive. The range is from the first century B.C to the first or second century A.D. based upon paleography.

Take a listen:

Here is another version, based upon the inscription being dedicated to a wife:
Song of Seikilos (Classic FM website)

Flashback Friday: Altamont Concert 1969

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Grace Slick Image Three
Grace Slick
Photo Credit: Bill Owens

[Note: I originally posted this, yesterday, just before midnight. In researching the data, I stumbled across Bill Owens, a photographer that was at Altamont. He was hired by the Associated Press to cover the concert. I emailed him, reference the two photos of his I posted. I hit ‘publish’ before I found his contact page and statement about photos for sale. In my haste to get this up while it was still Friday, I jumped the gun and quickly made the post private. I asked Bill what the price would be to use two of his pictures. As a photographer myself, I understand copyright issues but, I also recognize the gray area that many a blogger operate in, in the blogosphere….Fair Use (link on that, below). Anyway, this very kind gentleman has allowed my one-time use for this 50th anniversary post. He also provided me with a copy of an interview, conducted by Tony D’Souza in April 2019, covering his Altamont experience and other questions regarding his career. I will post an excerpt and attach the full interview, below. ~Vic]

Fifty years, ago, today, a free rock concert was held at the Altamont Speedway in Tracy, California. Described as “rock and roll’s all-time worst day, […], a day when everything went perfectly wrong“, the event saw violence and four deaths, the most notable being the stabbing of Meredith Hunter.

The concert featured (in order of appearance): Santana, Jefferson Airplane, The Flying Burrito Brothers and Crosby, Stills, Nash & Young, with the Rolling Stones taking the stage as the final act. The Grateful Dead were also scheduled to perform following CSNY but, declined to play shortly before their scheduled appearance due to the increasing violence at the venue.

Approximately 300,000 attended the concert, and some anticipated that it would be a “Woodstock [West Coast verson]”. Woodstock was held in Bethel, New York, in mid-August, less than four months earlier. Filmmakers Albert and David Maysles shot footage of the event and incorporated it into the 1970 documentary film titled Gimme Shelter.

[Source]

Naked Guy Image Two
The naked guy.
Photo Credit: Bill Owens

[It’s] not every day that a rock and roll band’s performance, let alone the Rolling Stones’, is accompanied by a knifing, stomping murder within a scream of the stage.

“The violence,” Keith Richard told the London Evening Standard, “just in front of the stage was incredible. Looking back, I don’t think it was a good idea to have [Hells] Angels there. But, we had them at the suggestion of the Grateful Dead. The trouble is, it’s a problem for us either way. If you don’t have them to work for you as stewards, they come, anyway and cause trouble. But, to be fair, out of the whole 300 Angels working as stewards, the vast majority did what they were supposed to do, which was to regulate the crowds as much as possible without causing any trouble. But, there were about ten or twenty who were completely out of their minds…trying to drive their motorcycles through the middle of the crowds.”

The Maysles Brothers, the film company which had shot the whole Stones’ tour, complete with its violent climax at Altamont, had gotten some remarkable footage of Hunter’s killing.

[Source]

Robert Hiatt, a medical resident at the Public Health Hospital in San Francisco, was the first doctor to reach 18-year-old Meredith Hunter after the fatal wounds. He was behind the stage and responded to Jagger’s call from the stage for a doctor. When Hiatt got to the scene, people were trying to get Hunter up on the stage, apparently in the hope that the Stones would stop playing and help could get through quicker.

The Stones & The Hells Angels Image
Stones on stage with Hells Angels.
Photo Credit: allthatsinteresting.com

Three others […] died (two in a hit-and-run accident, another by drowning) and, countless more were injured and wounded during the course of this daylong “free” concert. It was such a bad trip that it was almost perfect. All it lacked was mass rioting and the murder of one or more musicians.

All these things happened, and worse. Altamont was the product of diabolical egotism, hype, ineptitude, money manipulation and, at base, a fundamental lack of concern for humanity.

[Source]

Interview with Bill Owens:
bill@billowens.com
Bill Owens: Altamont 1969 (Amazon)
50 Years After Altamont: The End of the 60s (The New York Times April 15, 2019)

Bill Owens took iconic photos of the Hells Angels beating concertgoers with pool cue sticks at the Rolling Stones’ performance during the Altamont Speedway Free Festival four months after Woodstock on December 6, 1969. Altamont, which included violence almost all day and one stabbing death, is considered by historians as the end of the Summer of Love and the overall 1960’s youth ethos. This series of photos include panoramas of the massive, unruly crowd, Grace Slick and Carlos Santana on stage with the press of humanity so close in, they’re clearly performing under duress.

Of that day, Owens has written: “I got a call from a friend, she said the Associated Press wanted to hire me for a day to cover a rock and roll concert. I road my motorcycle to the event. I had two Nikons, three lenses, thirteen rolls of film, a sandwich, and a jar of water.”

Owens was so fearful of retribution by the Hells Angels that he published the photos under pseudonyms. Some of the negatives were later stolen…Owens believes by the Angels. He continues to have conflicted feelings about Altamont. He had no interest in violence and took no pride in photographing it.

In 1972, Owens released a book of black and white photography called Suburbia, also, now, an American icon. Irascible, stubborn, funny, grouchy, ornery and deeply rooted in small town life, Owens is built like a middleweight puncher and wears his hair as though he was a Marine. Indeed, Owens was never a hippie but, a clean-cut newspaper photographer, husband and father, who joined the Peace Corps to serve his country and “do good.” Turning 80 this September, Owens has also had noted careers as a craft beer brewer and pub owner, a magazine publisher many times over and, is now a distiller. His books include Suburbia, Working, Leisure and many others. He is the recipient of a Guggenheim and two NEAs. His work is collected in leading museums the world over, including the Smithsonian. Recent coverage of Owens includes an April retrospective in the New York Times (link above) of his Altamont photos for the event’s impending 50th anniversary. The photos are available for viewing at Owens’ website (link above and below).

I first met Owens at the defunct Rostel Gallery in remote and far northern Dunsmuir, CA, in late August or early September of 2008 (I remember because my daughter had just been born and the event was the first outing of her life), where they were showing images from Suburbia. These are images of people embarking on a new, modern way of life that they look excited by, but also confused, as though technology and the modish styles of the time were costumes they were still getting comfortable in. Owens’ photograph of a young suburban boy wearing cowboy boots, carrying a toy rifle and riding a Big Wheel, “Ritchie,” has always haunted me, though I couldn’t say precisely why.

Continue reading the interview HERE (PDF)

Set List
Death of Meredith Hunter
Reactions
Let It Bleed (Rolling Stone Magazine January 21, 1970)
Rock & Roll’s Worst Day (Rolling Stone Magazine February 7, 1970)
Altamont Rock Festival: ’60s Abruptly End (Livermore History March/April 2010)
Altamont Rock Festival of 1969: The Aftermath (Livermore History January/February 2011)
Biggest Rock Concert Ends (The Bulletin December 8, 1969)
Bill Owens Site (Associated Press Photographer at Altamont)
Ruling On Fair Use (American Photography May 3, 2019)


 

Music Monday: REM 1994

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R.E.M. Image One
Photo Credit: hotpress.com

Twenty-five years ago, this week (November 26/December 2, 1994) the song Bang and Blame by R.E.M. debuted on the Billboard Alternative Songs chart (Page 119/called Modern Rock Tracks in 1994), entering at #8, making it to #1 on December 17. Released October 31, it was the second single from the album Monster, their ninth studio album. Co-produced by the band and Scott Litt, all song writing credits are the band members. The song also made it to #1 in Canada on February 20, 1995, and peaked in the top ten in the Billboard Mainstream Rock chart (Album Rock Tracks in 1994), Billboard Mainstream Top 40 chart and, in Finland, Iceland and Poland.

Rain Phoenix (sister of River & Joaquin) and Lynda Stipe (Michael’s sister) sang backing vocals. Recordings were difficult with Mike Mills and Bill Berry‘s illnesses and, the deaths of Kurt Cobain and River Phoenix. The album is dedicated to Phoenix.

Television Episodes (song used)

R.E.M. Official Website


 
Lyrics (from LyricFind):
If you could see yourself now, baby
It’s not my fault, you used to be so in control
You’re going to roll right over this one
Just roll me over, let me go
You’re laying blame
Take this as no, no, no, no, no

You bang, bang, bang, bang, bang
Then blame, blame, blame
You bang, bang, bang, bang, bang
It’s not my thing, so let it go

If you could see yourself now, baby
The tables have turned, the whole world hinges on your swings
Your secret life of indiscreet discretions
I’d turn the screw and leave the screen
Don’t point your finger
You know that’s not my thing

You came to bang, bang, bang, bang, bang
To blame, blame, blame
Bang, bang, bang, bang, bang
It’s not my thing, so let it go now

You’ve got a little worry
I know it all too well
I’ve got your number
But so does every kiss and tell
Who dares to cross your threshold
Happens on you way
Stop laying blame
You know that’s not my thing
You know that’s not my thing

You came to bang, bang, bang, bang, bang
Then blame, blame, blame
Bang, bang, bang, bang, bang
It’s not my thing so let it go, you
Bang, bang, bang, bang, bang
Then blame, blame, blame
Bang, bang, bang, bang, bang
It’s not my thing so let it go

You kiss on me
Tug on me
Rub on me
Jump on me
You bang on me
Beat on me
Hit on me
Let go on me
You let go on me

National Jukebox Day

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National Jukebox Day Image

Hey, hey, hey…PAR-TAY! I love a jukebox and I had no idea there was a national celebration day. ~Vic

From National Day Calendar:

On the day before gathering around the turkey, gather around the nearest jukebox to celebrate National Jukebox Day! As Americans flock to their hometowns for Thanksgiving, many will head out to neighborhood bars and restaurants. They’ll catch up with friends and family and, celebrate by playing great songs on their local jukebox.

Jukebox Image Two
Image Credit: pinterest.com

The name jukebox is thought to originate from places called juke houses or jook joints. In the early 1900s, people congregated in these establishments to drink and listen to music. Throughout history, the jukebox continued to evolve with the times. While the Blue Grass Boys played to sold-out audiences in the Grand Ole Opry, guys and gals danced the night away by playing their song over and over, again, on the jukebox at a local pub. With the advancement of technology, today’s jukebox is more versatile than ever before. Throughout each era, from big band, jazz, country and blues, to rock & roll, acoustic, and electric, and everything in between, the jukebox has played it all.

History

In 1889, Louis Glass and his partner William S. Arnold invented the first coin-operated player in San Francisco. They were both managers of the Pacific Phonograph Co. Formally known as the nickel-in-the-slot machine, the player included a coin operation feature on an Edison phonograph. However, it played a limited selection of songs without any amplification.

When recording artists first crooned into microphones and cut records into vinyl, an aspiring inventor in a Chicago music store worked nights to build a box that would play both sides of the record. The Automatic Entertainer was introduced by John Gabel and included 24 song selections.

The 1930s were considered the start of “The Golden Era” for jukeboxes as manufacturers including Rudolph Wurlitzer Co., The J. P. Seeburg Corp., The Rock-Ola Manufacturing Corp. and Automatic Musical Instrument Co., competed to produce them for diners, saloons and other entertainment locations.

Jukebox Image Three
Photo Credit: justjukin.co.uk

1946 ushered in “The Silver Age” for jukeboxes as market demand for the newest and greatest technology soared. Fashionable and sleek, jukeboxes weren’t just music players, they were centerpieces often flamboyant with color and chrome. Neon and sci-fi became a tremendous influence on style as well.

Modern Era

The 1960s was the start of a new modern age for jukeboxes. Designs of coin-operated models went through radical changes, not only because of the availability of new materials, such as plastic but also because of the need to accommodate customer demand for more song selection.

In 1989, compact-disc mechanisms replaced the older record style players as newer technology became affordable and rapidly implemented among the general population. Jukeboxes started to become more of a novelty than a necessity.

TouchTunes founded National Jukebox Day to celebrate the iconic jukebox and the powerful memories it evokes in people.

Elvis

 

Terry Stafford (Elvis sound-alike)

 

Foreigner

 

Alan Jackson

Music Monday: Pearl Jam 1994

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Pearl Jam Image One
Photo Credit: vinylthriftchaser.wordpress.com

Twenty-five years ago, this week (November 19/25, 1994), the song Spin the Black Circle by Pearl Jam debuted on the Billboard Mainstream Rock chart (Page 79/ called Album Rock Tracks in 1994), entering at #16 (also its peak). Released November 8, it was the first single from their third album Vitalogy. Produced by Brendan O’ Brien, it was written by Eddie Vedder and Stone Gossard.

Mike McCready had difficulty with the leads and Jeff Ament didn’t like the punk sound at the time. Per Vedder, the lyrics reflect a love of vinyl records but, there could be interpretations of similarities with drug addiction.

From Jon Pareles with The New York Times (December 4, 1994):

The most [Vedder] will do is proselytize against the extinction of the LP, as he does in “Spin the Black Circle,” one of the few songs from Seattle in which a needle has nothing to do with heroin.

From Al Weisel with Rolling Stone (December 15, 1994):

Vitalogy has a number of gripping songs that match the soaring anthems of Ten. The first three tracks are a promising start: “Last Exit,” “Not for You” and especially “Spin the Black Circle,” a revvedup thrash tribute to vinyl, rock harder than anything Pearl Jam have ever done.

Pearl Jam Image Two
Image Credit: pinterest.com

From David Browne with Entertainment Weekly (December 9, 1994):

Pearl Jam still hasn’t developed an individual style to match that of its profoundly uptight singer, Eddie Vedder. Guitarists Stone Gossard and Mike McCready continue to play sloppy, characterless riffs. [T]heir punk song, ”Spin the Black Circle,” is a little flabby, like dinosaur rockers trying to prove they’re into Green Day.

The song peaked at #18 November 26 on the Billboard Hot 100 and was the first Pearl Jam single to enter this chart. It also peaked at #11 on the Billboard Alternative chart (called Modern Rock Tracks in 1994). It peaked in the top five in Australia, New Zealand and Norway.

The single won Best Hard Rock Performance at the 38th annual Grammy Awards. Vedder famously remarked:

I don’t know what this means. I don’t think it means anything.


 
Lyrics (From LyricFind)
See this needle
Oh see my hand
Drop, drop, dropping it down
oh so gently
here it comes
touch the flame
Turn me up
won’t turn you away

Spin, spin
spin the black circle
Spin, spin
spin the black, spin the black
Spin, spin
spin the black circle
Spin, spin
whoa

Pull it out
a paper sleeve
Oh my joy
only you deserve conceit
Oh I’m so big
and my whole world
I’d rather you
rather you, than her

Spin, spin
spin the black circle
Spin, spin
spin the black, spin the black
Spin, spin
spin the black circle
Spin, spin
whoa

Oh you’re so warm
oh, the ritual
as I lay down your crooked arm

Spin, spin
spin the black circle
Spin, spin
spin the black, spin the black
Spin, spin
spin the black circle
Spin, spin

[Repeat: x5]
Spin the black

circle

Spin the black circle
Spin the black circle

Music Monday: TLC 1994

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TLC Image One
Image Credit: hellogiggles.com

Twenty-five years ago, this week, the song Creep by TLC debuted on the Billboard Hot 100, entering the chart at #71. Written and produced by Dallas Austin, it was the first single released from their second studio album CrazySexyCool. It is based on member Tionne “T-Boz” Watkins‘s experience with infidelity. The lyrics portray the singers as women who cheat on their unfaithful lovers for attention.

You’re with a guy and he’s not showing you attention, so another guy comes along and you’re like, “Hey, if you were where you were supposed to be, he couldn’t be showing me attention right now!” I was in the middle of this drama, because the other guy was [my boyfriend’s] friend and my boyfriend was just not getting it together.

[From T-Boz]

The idea was controversial. [M]ember Lisa “Left Eye” Lopes was opposed to it. She threatened to wear black tape over her mouth in the song’s music video to express her disagreement with its message, and its selection as CrazySexyCool’s lead single, [in] part because of the group’s history of advocating for safe sex.

The women sing about infidelity, revenge, status and power plays, not as victims but as contenders. [W]hen they’re cheated on, they cheat, too.

[From Jon Parales @ The New York Times, advocating for the concept.]

TLC Image Two
Photo Credit: leilanisays.wordpress.com

The song made it to #1 and remained for four weeks. It also made it to #1 on the Billboard Hot R&B/Hip-Hop chart and the Billboard Rhythmic chart.

Lisa Lopes passed away April 25, 2002, from injuries in a car crash. She was 30 years old.

[I have to confess that I have never heard this song. The middle 90s was the time I stopped listening to Top 40 and moved to Alternative Rock stations. ~Vic]

Accolades
Legacy
Cover Versions


 

Lyrics via LyricFind:
(Creep) oh ah, oh ah, oh ah yeah,
(Creep) oh ah, oh ah, oh ah yeah,

(Creep) oh ah, oh ah, oh ah yeah,
(Creep) oh ah, oh ah, oh ah yeah,

The twenty second of loneliness
And we’ve been through so many things.
I love my man with all honesty,
But I know he’s cheating on me.
Look him in the eyes,
But all he tells me is lies to keep me near.

I’ll never leave him down though I might mess around.
It’s only ’cause I need some affection, oh.
So I creep, yeah, just creepin’ on,
On the down low, ‘cept nobody is supposed to know.
So I creep yeah, ’cause he doesn’t know what I do
And no attention goes to show oh.

So I creep.
The twenty third of loneliness
And we don’t talk, like we used to do.
Now this is pretty strange,
But I’m not buggin’ ’cause I still feel the same.
I Keep giving loving till the day he pushes me away.
Never go a stray.

If he knew the things I did, he couldn’t handle me.
And I choose to keep him protected, oh.
So I creep, yeah, just creepin’ on,
But I’ll know. ‘cept nobody is supposed to know.
So I creep, yeah, ’cause he doesn’t know what I do,
And no attention goes to show oh.

So I creep, yeah, just creepin’ on,
But I’ll know. ‘cept nobody is supposed to know.
So I creep, yeah, ’cause he doesn’t know what I do,
And no attention goes to show.

So I creep, oh ah, oh ah, oh ah yeah
So I creep, oh ah, oh ah, oh ah yeah
So I creep, oh ah, oh ah, oh ah yeah
Baby, oh ah, oh ah, oh ah yeah

So I creep, yeah, just creepin’ on,
But I’ll know.

So I creep, yeah, ’cause he doesn’t know what I do,
And no attention goes to show.
So I creep, yeah, just creepin’ on,
But I’ll know.
So I creep, yeah, ’cause he doesn’t know what I do,
So I creep, ‘cept nobody is supposed to know.

Shutterbug Sunday: Volume Records

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Volume Records Image One
Front Door
Taken: 05-03-2019

This place is a neat little find in downtown Hillsborough. It is a retro flashback to times when folks could go to a record store and buy albums & 45s. These were the years prior to CDs and, in some instances, prior to cassettes. Tony, the owner, has been in business for two years, now and is doing quite well. It’s a cozy place with a couch, chairs, stools, window seats and a charming little bar. He keeps 12 beers on tap, three ciders in bottles or cans and, provides some wine and soft drinks. All are welcome and he is closed on Mondays. He is a charming fellow and agrees that today’s music with its digital format has no soul in comparison to the tracks laid down in analog. Those days are long gone even though albums are making a comeback. I’d like to see the industry go back to analog tracks. Digital doesn’t have the texture. Put the needle on the record, put the needle on the record…

All photos are my personal collection. ~Vic

Volume Records Image Two
Neat record/glass symbol.
Volume Records Image Three
Come in for a pint…or five.
Volume Records Image Four
Old rabbit ear TV and ash tray tower with Jimi looking on.
Taken: 11-10-2019
Volume Records Image Five
Lots to read above the couch.
Volume Records Image Six
Ziggy! We miss you.
Volume Records Image Seven
There are some books.
The picture is U2…Achtung Baby!
Volume Records Image Eight
SO many records. And, this isn’t all of them.
Cat’s Cradle poster…of course.
Volume Records Image Nine
Plenty of beer.
Volume Records Image Ten
My cider for the evening.
I didn’t get out of here without at least three albums…
Jefferson Starship, Little River Band and The Babys.
What can I say. The vinyls were pristine.

Music Monday: Skyy 1989

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Skyy Image
Image Credit: youtube.com

Thirty years ago, today, Real Love by the R&B band Skyy debuted on the Billboard Hot R&B/Hip-Hop chart (called Hot Black Singles back in 1989), entering at #80. The third release from the album Start of a Romance, it spent 16 weeks on the chart, reaching #1 for one week and, also peaked at #47 on the Billboard Hot 100 chart.


 
Lyrics (via LyricFind):
I said I would get over you
Now I’m here out on my own
Trying to live my life
And now you wanna come back
But I don’t need no brand new lies, listen up

I want a love that’s serious
No time to play love games
I don’t wanna be nobody’s fool
So if you wanna be with me
You gotta give it up

Real love
I know I wanna have one
Real love
Gonna try and get some

Real love
Everybody needs one
Real love
Got to have real love

All my friends are telling me
I should give you another try
But I don’t need opinions
To deal with what I have on my mind, listen up

I want a love that’s serious
No time to play love games
I don’t wanna be nobody’s fool
So if you wanna be with me
You gotta give it up

Real love
I know I wanna have one
Real love
Gonna try and get some

Real love
Everybody needs one
Real love
Got to have real love

Real love

Oh, oh, ah
Oh, oh, ah
Oh, oh, ah (Oh, yeah)
Oh, oh, ah

Oh, oh, ah
Oh, oh, ah
Oh, oh, ah (Give it up)
Oh, oh, ah

Real love
I know I wanna have one
Real love
Gonna try and get some

Real love
Everybody needs one
Real love
Got to have real love

Real love
I know I wanna have one
Real love
Gonna try and get some

Real love
Everybody needs one
Real love
Got to have real love

Real love

Ow, ow, ow

Real love
I know I wanna have one
Real love
Gonna try and get some

Real love
Everybody needs one
Real love
Got to have real love

Real love
Real love (Huh…uh…uh…)
Real love (I don’t need opinions)
(Don’t need your advice)

(Real love)
(Got to give real love)
Real love

Music Monday: Keith Whitley 1989

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Keith Whitley Image
Image Credit: countryrebel.com

Thirty years ago, today, It Ain’t Nothin’ by American country singer Keith Whitley debuted on the Billboard Hot Country chart, entering at #59. The second release from the album I Wonder Do You Think of Me, it was written by Tony Haselden and Keith was a co-producer. Released posthumously, it spent 17 weeks on the chart and became a #1 hit January 13, 1990, seven months after his death. It also reached #1 on Canada’s RPM Country chart February 3, 1990.


 

Lyrics (via LyricFind):
My boss is the boss’s son and that makes for a real long day.
When that day is finally done I’m facing 40 thousand cars on the interstate.
Feeling lower than a well diggers shoes
knee deep in a mess of blues.
But those blues just fade away
When I hear my baby say.

[Chorus]
It ain’t nothin a little bit of love won’t fix
It ain’t nothin but a scratch, a little bit of love can’t stitch.
It ain’t nothin a little bit of love can’t heal.
Your love makes me feel.
No matter what hands me — it ain’t nothin, it ain’t nothin.
It was written all over her face she was about to climb the walls.
She said you gotta get me out of this place cause even
Cindarella got to go to the ball.
If you multiply hell times three that’s what this day has been like for me.
I said honey we’ll do the town.
Just don’t let it get you down.
Cause……

[Chorus]
[Chorus]
It ain’t nothin, it ain’t nothin, it ain’t nothin, naugh it ain’t nothin, it ain’t nothin

Music Monday: Gloria Estefan 1989

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Gloria Estefan Image One
Photo Credit: 45cat.com

Thirty years ago, today, Get On Your Feet by Cuban-American singer/songwriter/actress/businesswoman Gloria Estefan debuted on the Billboard Adult Contemporary chart, entering at #29. Released from the album Cuts Both Ways, it was written by John DeFaria, Jorge Casas and Clay Ostwald. It peaked at number five after seventeen weeks on the chart.

From Songfacts:

DeFaria is a guitarist/composer who has worked on a number of movies and TV shows. Casas and Ostwald are longtime collaborators with Gloria and Emilio Estefan and members of the late ’80s iteration of Miami Sound Machine (Casas the bass player, Ostwald on keyboards).

Estefan had several bigger hits but, Get On Your Feet became her signature song and the name of her 1989 tour, her first as a solo artist. That tour was cut short in March 1990 when she was badly injured in a tour bus accident. Estefan fractured vertebrae in her spine and had two metal rods placed in her back during surgery. During her recovery, this song took on new meaning, as it was a long struggle for Estefan to literally get back on her feet.

Trivia Bits
♦ The song was covered by Fantasia Barrino on the third season of American Idol during a Gloria Estefan-themed episode.
♦ The song was on the soundtrack to the movie Let It Be Me, starring Campbell Scott and Jennifer Beals (1995).
♦ The song was used in the fourth season episode of Parks and Recreation: The Comeback Kid.
♦ Gloria performed this song with Sheila E. during the seventh season edition of the American Idol charity fundraiser Idol Gives Back.

The Broadway Musical
Interview With John DeFaria


 
Lyrics (via LyricFind):
You say I know it’s a waste of time
There’s no use trying
So scared that life’s gonna pass you by
Your spirit dying
Not long ago
I could feel your strength and your devotion
What was so clear, is now overcast
With mixed emotions
Deep in your heart is the answer
Find it, I know it will pull you through

Get on your feet
Get up and make it happen
Get on your feet
Stand up and take some action

I think it’s true that we’ve all been through
Some nasty weather
Let’s understand that we’re here
To handle things together
You gotta keep looking onto tomorrow
There’s so much in life
That’s meant for you

Get on your feet
Get up and make it happen
Get on your feet
Stand up and take some action
Get on your feet
Don’t stop before it’s over
Get on your feet
The weight is off your shoulder

Get up and make it happen
Stand up, stand up, stand up and take some action
Gotta get on your feet, yeah, yeah
Don’t stop before it’s over
Get on your feet
The weight is off your shoulder
Get on your feet
Get up, get up, get up and make it happen
Get on your feet
Stand up, stand up and take some action
Get on your feet
Get up, stand up
Don’t stop before it’s over
You got to get on your feet yeah yeah
The weight is off your shoulder

Music Monday: Bob Dylan 1989

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Bob Dylan Image One
Photo Credit: alldylan.com

Now that I have access to some old Billboard magazines, thirty years ago, today, Everything Is Broken, by American singer/songwriter, author and visual artist Bob Dylan, debuted on the Billboard Mainstream Rock chart (called Album Rock Tracks back in 1989), entering at #23. Released from the album Oh Mercy, his 26th studio album, the song is a reflection of Dylan’s detachment from his world. It peaked at number eight after eight weeks on the chart.

From Wikipedia:

The track found on Oh Mercy is an April 1989 re-working of a take recorded the previous month. Originally recorded as “Broken Days” in March 1989, Dylan had re-written the song entirely by April, giving it its current name.

In an interview with Nigel Williamson (the author of The Rough Guide to Bob Dylan) and Oh Mercy’s producer, Daniel Lanois, he described how Dylan would rework his songs over and over again:

“I sat next to him for two months while he wrote [Oh Mercy] and it was extraordinary. Bob overwrites. He keeps chipping away at his verses. He has a place for all his favorite couplets and those couplets can be interchangeable. I’ve seen the same lyrics show up in two or three different songs as he cuts and pastes them around, so, it’s not quite as sacred ground as you might think.”

Bob Dylan Image Two
Image Credit: wikipedia.org & wikimedia.org

From All Dylan:

“Most of them [the songs on “Oh Mercy”] are stream-of-consciousness songs, the kind that come to you in the middle of the night, when you just want to go back to bed. The harder you try to do something, the more it evades you. These weren’t like that.”
~Bob Dylan (to Edna Gundersen, September 21, 1989)

“While it would be unfair to compare ‘Oh Mercy’ to Dylan’s Sixties recordings, it sits well alongside his impressive body of work.”
~Clinton Heylin (Behind The Shades)

[While] promoting The Traveling Wilburys in the fall of 1988, George Harrison discussed some of Dylan’s upcoming work. Harrison [was] enthused about Dylan’s new songs…informing a skeptical world that the experience of recording the Wilburys had given him the urge to write again.

[Bono], lead singer of U2, paid Dylan a visit at his home. When he asked Dylan if he had written any new songs, Dylan showed him the ones stored in his drawer. Bono urged him to record the songs but, Dylan was reluctant.

Notable Cover Versions:
Kenny Wayne Shepherd
Sheryl Crow


 
Lyrics [via LyricFind]
Broken lines, broken strings
Broken threads, broken springs
Broken idols, broken heads
People sleeping in broken beds
Ain’t no use jiving
Ain’t no use joking
Everything is broken

Broken bottles, broken plates
Broken switches, broken gates
Broken dishes, broken parts
Streets are filled with broken hearts
Broken words never meant to be spoken
Everything is broken

Bridge: Seem like every time you stop and turn around
Something else just hit the ground

Broken cutters, broken saws
Broken buckles, broken laws
Broken bodies, broken bones
Broken voices on broken phones
Take a deep breath, feel like you’re chokin’
Everything is broken

Every time you leave and go off someplace
Things fall to pieces in my face

Broken hands on broken ploughs
Broken treaties, broken vows
Broken pipes, broken tools
People bending broken rules
Hound dog howling, bull frog croaking
Everything is broken

Music Monday: Billboard Rant

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Well, well, well…silly me. I was planning to do a post on a fresh Billboard chart entry for the week of September 23, 1989. After having done a Hot 100 entry and an Alternative Rock entry, I was looking at Adult Contemporary, Hot R&B, Hot Country and Mainstream Rock. Ladies…Gentlemen…if you so desire to look at Billboard’s history charts other than the Hot 100 chart, YOU ARE SHIT OUT OF LUCK. You can’t look at ANY of their charts, even the new ones, except the Hot 100…UNLESS YOU PAY THEM. This has happened, just in the last week.

I’m not paying these assholes $12/$13 a month just to LOOK at their damn charts. I was attempting to showcase ALL music pieces instead of just the number ones or stuff on the Hot 100, only. Not every song debuts on the Hot 100. Most country music goes straight to the country chart. Most rock, what new rock there is left to listen to on the radio, goes to rock charts. Now, I have no way of knowing what debuted when…or where. If anyone out there knows where I can get this information, let me know. FUCK THEM.

This situation tells me that Billboard magazine is in trouble and hemorrhaging money.

Billboard Screen Capture
Screen Capture from the site.

Music Monday: The Alarm 1989

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The Alarm Image One
Photo Credit: 45cat.com

Shaking things up a bit and being different. ~Vic

Thirty years ago, today, Sold Me Down the River by The Alarm, a Welsh alternative rock/new wave band from Rhyl (formed 1981), debuted on the Billboard Alternative Rock chart, entering at number ten. The first release from the album Change, their fourth studio album, it peaked at number three after five weeks. It made it to number two on the Billboard Mainstream Rock chart in October, staying there for two weeks and number 43 on the UK Singles Chart, starting September 10.

I confess. I’ve never heard of this band. They are still active (Band Website).

From LyricFind:

There’s a fire beneath my skin
There’s a fever that makes me ill
Got a love, a love that kills
I’ve got twenty-four hours to live, come back

I’m begging you please, come back
Come back
I’m down on my knees, come back
I’m begging you please

I don’t know why and I don’t understand
How you sold me down the river
I don’t know why, I don’t understand
How you sold me down the river
Sold me down the river

There’s a rose across my chest
Got your name written on it
Love’s the drug that I live by
Give me a shot before I die, come back

I’m begging you please, come back
Come back
I’m down on my knees, come back
I’m begging you please

I don’t know why, I don’t understand
How you sold me down the river
I don’t know why, I don’t understand
How you sold me down the river
Sold me down the river

Oh yeah, sold me down the river now

Sold me down the river tonight
Hoo-hoo

I’ve got twenty four hours
I don’t know why, I don’t understand
How you sold me down the river
Sold me down the river

Tune Tuesday: Janet Jackson 1989

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Janet Jackson Image One
Image Credit: timeout.com

Thirty years ago, Miss You Much by Janet Jackson debuted on the Billboard Hot 100 chart the week of September 2, entering at position 42 (changing to chart entries and releases instead of number ones to cover more pieces of music). Released August 22 as the lead single from the album Janet Jackson’s Rhythm Nation 1814, it reached number one the week of October 7 and stayed there for four weeks. It also reached number one on the Dance Club chart the same week, staying for two weeks. It hit number one on the Hot R&B chart the week of October 14, staying two weeks and was number one in South Africa. Billboard went on to declare that the song was Janet’s biggest Hot 100 single. The song was written and produced by writing team “Jimmy Jam” Harris and Terry Lewis.

Janet Jackson GIF Two
GIF Credit: giphy.com

 

Grammy Award & Nominations (32nd Annual 1989)
American Music Awards
Billboard Awards
Soul Train Awards
Brit Awards Nomination


 
Lyrics [Via LyricFind]
Shot like an arrow going through my heart
That’s the pain I feel
I feel whenever we’re apart
Not to say that I’m in love with you
But who’s to say that I’m not
I just know that it feels wrong,
When I’m away too long
It makes my body hot
So let me tell ya baby

I’ll tell your mama
I’ll tell your friends
I’ll tell anyone whose heart can comprehend
Send it in a letter baby
Tell you on the phone
I’m not the kinda girl
Who likes to be alone
I miss ya much (boy-oh-I miss you much)
I really miss you much (M-I-S-S you much)
I miss ya much (boy-oh-I miss you much)
Baby I really miss you much (M-I-S-S you much)

I’m rushing home
Just as soon as I can
I’m rushing home to see
Your smiling face
And feel your warm embrace
It makes f-feel so g-g-g good
So I’ll tell you baby

I’ll tell your mama
I’ll tell your friends
I’ll tell anyone whose heart can comprehend
Send it in a letter baby
Tell you on the phone
I’m not the kinda girl
Who likes to be alone
I miss ya much (boy-oh-I miss you much)
I really miss you much (M-I-S-S you much)
I miss ya much (boy-oh-I miss you much)
Baby I really miss you much (M-I-S-S you much)

I miss you much
I really really miss you much
I miss you much
I’m not ashamed to tell the world
I miss you

I’ll tell your mama
I’ll tell your friends
I’ll tell anyone whose heart can comprehend
Send it in a letter baby
Tell you on the phone
I’m not the kinda girl
Who likes to be alone
I miss ya much (boy-oh-I miss you much)
I really miss you much (M-I-S-S you much)
I miss ya much (boy-oh-I miss you much)
Baby I really miss you much (M-I-S-S you much)

Flashback Friday: Disco Demolition Death 1979

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Disco Demolition Image One
Photo Credit: dailyherald.com

Forty years ago, today, the Disco Demolition took place at Chicago’s Comiskey Park. What started out as a baseball promotion turned into a mêlée that damaged the field.

[..] disco didn’t quite die a natural death by collapsing under its own weight. Instead, it was killed by a public backlash that reached its peak on this day in 1979 […]. That incident, which led to at least nine injuries, 39 arrests and, the cancellation and forfeit of a Major League Baseball game, is widely credited […] or, blamed for […] dealing disco its death blow.

The event was the brainchild of Steve Dahl and Garry Meier, popular disk jockeys on Chicago’s WLUP “The Loop” FM. […] many […] rock DJs were displaced by disco [but], only Dahl was inspired to launch a semi-comic vendetta aimed at “the eradication and elimination of the dreaded musical disease.”

On May 2, the rainout of a game between the Chicago White Sox and the Detroit Tigers led to the scheduling of a doubleheader on July 12. Dahl and Meier approached the White Sox with a rather unorthodox idea for an attendance-boosting promotion […]. […] allow Dahl to blow up a dumpster full of disco records between games of the doubleheader. White Sox executive Mike Veeck embraced the idea […].

[…] organizers […] grossly [underestimated] the appeal of the 98-cent discount tickets offered to anyone who brought a disco record to the park to add to the explosive-rigged dumpster. WLUP and the White Sox expected perhaps 5,000 more fans than the average draw of 15,000 or so […]. What they got, instead, was a raucous sellout crowd of 40,000+ and an even more raucous overflow crowd of as many as 40,000 more outside on Shields Avenue.

What followed was utter chaos, as fans by the thousands stormed the field, […] began to wreak havoc, shimmying up the foul poles, tearing up the grass and lighting vinyl bonfires on the diamond while the stadium scoreboard implored them to return to their seats. Conditions were judged too dangerous for the scheduled game to begin and the Detroit Tigers were awarded a win by forfeit.

[Source]

Disco Demolition Image Two
Photo Credit: wbbm780.radio.com

In the weeks before the event, Dahl invited his listeners to bring records they wanted to see destroyed to Comiskey Park. Owner Bill Veeck was concerned the promotion might become a disaster […]. His fears were substantiated when he saw the people walking towards the ballpark that afternoon. […] many carried signs that described disco in profane terms.

Some leapt turnstiles, climbed fences and entered through open windows. Attendees were supposed to deposit their records into a large box [but], once the box was overflowing, many people brought their discs to their seats. Many of the records were not collected by staff and were thrown like flying discs from the stands. Tigers designated hitter Rusty Staub remembered that the records would slice through the air and land sticking out of the ground. He urged teammates to wear batting helmets when playing their positions. “It wasn’t just one, it was many. Oh, God almighty, I’ve never seen anything so dangerous in my life.” Attendees also threw firecrackers, empty liquor bottles and lighters onto the field. The game was stopped several times because of the rain of foreign objects.

Dozens of hand-painted banners with such slogans as “Disco Sucks” were hung from the ballpark’s seating decks. Dahl set off the explosives, destroying the records and tearing a large hole in the outfield grass. […] the first of 5,000 to 7,000 attendees rushed onto the field […]. The batting cage was destroyed and, the bases were pulled up and stolen. Among those taking to the field was 21-year-old aspiring actor Michael Clarke Duncan […]. Duncan slid into third base, had a silver belt buckle stolen and went home with a bat from the dugout. Some attendees danced in circles around the burning vinyl shards.

Chicago police in full riot gear arrived (9:08pm) to the applause of the baseball fans remaining in the stands. Those on the field hastily dispersed upon seeing the police. Tigers manager Sparky Anderson refused to allow his players to take the field […] due to safety concerns. Anderson […] demanded that the game be forfeited to the Tigers. He argued that, under baseball’s rules, a game can only be postponed due to an Act of God, and that, as the home team, the White Sox were responsible for field conditions.

Disco Demolition Image Three
DJ Steve Dahl
Photo Credit: npr.org

Cultural Significance

NPR Article

Daily Herald Article

Chicago Sun-Times Article

New York Times Article

Tune Tuesday: Vern Gosdin 1984

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Vern Gosdin Image One
Photo Credit: notediscover.com

Thirty-five years ago, today, the #1 song on the Billboard Hot Country chart was I Can Tell By The Way You Dance (You’re Gonna Love Me Tonight) by Vern Gosdin from the album There Is A Season. Released on March 26 as the lead single, it was written by Sandy Pinkard (of Pinkard & Bowden) and Robb Strandlund.

The song, later on, also made it to #1 on Canada’s RPM Country chart.

Official Website

“The Voice” Passes Away [CMT]

2017 Inductee Nashville Songwriters Hall of Fame


 
Lyrics:
I can see every time I look into your eyes
You don’t care a thing about those other guys
Without words you make me understand what’s on your mind
The rhythm of your body close to mine

I can tell by the way you dance
That you’re gonna love me tonight
Sometimes it’s cold sometimes it’s hot
Love’s either right or it’s wrong
Feels so good, love you a lot
Right here beside me is where you belong
I don’t care if everybody knows the way I feel
Until the dream of holding you is real

I can tell by the way you dance
That you’re gonna love me tonight
Sometimes it’s cold sometimes it’s hot
Love’s either right or it’s wrong
Feels so good, love you a lot
Right here beside me is where you belong
I don’t care if everybody knows the way I feel
Until the dream of holding you is real

I can tell by the way you dance
That you’re gonna love me tonight
I can tell by the way you dance
That you’re gonna love me tonight
I can tell by the way you dance
That you’re gonna love me tonight
I can tell by the way you dance
That you’re gonna love me tonight

Wayback Wednesday: Mama Cass Variety Show 1969

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Update: Less than 24 hours after I posted this, YouTube snatched down the video. If they continue, YouTube won’t have any videos left to watch. So, that being said, I am leaving the original link and adding what I can find. ~Vic

Mama Cass Show Image One
Photo Credit: pinterest.com

Fifty years ago, today, Cass Elliot of the The Mamas & The Papas appeared in the TV special The Mama Cass TV Show. Directed by Sid Smith, it was an hour-long musical variety show co-produced by Chuck Barris. Guest stars were Barbara Bain, Martin Landau, Buddy Hackett, Joni Mitchell, John Sebastian, Mary Travers and, Elliot’s group, The Mamas & The Papas.

Mama Cass Show Image Two
Image Credit: thevideobeat.com

[This was] a one-shot pilot episode for a TV series that was never picked up. In 1968, Mama Cass had launched her solo career and was hoping to move into television. This one-hour program only aired once on ABC-TV and was never shown, again. The show features Mama Cass Elliot with special guest stars, John Sebastian (The Lovin’ Spoonful), Joni Mitchell, Mary Travers (Peter, Paul and Mary), Buddy Hackett, Martin Landau and Barbara Bain (husband & wife, both from Mission: Impossible and later, Space: 1999).

Songs include:
Mama Cass: Dream A Little Dream Of Me, “River Of Life,” I Can Dream, Can’t I, Dancing In The Street.
Mama Cass with Joni Mitchell: Both Sides, Now.
Mary Travers: And When I Die.
Mama Cass with Joni Mitchell and Mary Travers: I Shall Be Released.
John Sebastian: She’s A Lady.
Mama Cass with John Sebastian: Darlin’ Companion.

There are also comedy sketches with Buddy Hackett (who is dressed very groovy mod!), Martin Landau and Barbara Bain.

[Source]


 

Tune Tuesday: Cyndi Lauper 1984

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Cyndi Lauper Image One
Photo Credit: rollingstone.com & wennermedia.com

Thirty-five years ago, today, the #1 song on the Billboard Adult Contemporary chart (and, simultaneously, on the Billboard Hot 100 chart and Canadian Singles chart) was Time After Time from the album She’s So Unusual by Cyndi Lauper. Co-written by Lauper and Rob Hyman (The Hooters), it was released on January 27, the second single from the album. The title came from the 1979 movie Time After Time:

“We started by putting together a list of song titles. I thumbed through a TV Guide magazine. One movie title seemed good—a sci-fi film called “Time After Time” from 1979. I never meant for it to be the song’s real title. It was just supposed to get me thinking.” (Quote from Lauper)

It was her first #1 hit on the Billboard Hot 100.

The video for “Time After Time” was directed by Edd Griles and, its storyline is about a young woman leaving her lover behind when she becomes homesick and worried about her mother. Lauper’s mother, brother and then-boyfriend, David Wolff, appear in the video and Lou Albano, who played her father in the “Girls Just Want to Have Fun” video, can be seen as a cook.

The video opens with Lauper watching the 1936 film The Garden of Allah and the final scene, where she gets on the train and waves goodbye to David, has Lauper crying for real.

[Source]

Cyndi Lauper Image Two
Image Credit: discogs.com

Cover artists include Miles Davis, Eva Cassidy and Lil Mo. Lauper made an acoustic version with Sarah McLachlan and performed live with McLachlan at the 2005 AMA Awards. Other live performances have been with Patti LaBelle and Lil’ Kim.

Critical Reception
Accolades
Awards & Nominations
Greatest & Best Songs
Other Cover Versions
 


 


 
Lyrics:
[Verse 1]
Lying in my bed, I hear the clock tick and think of you
Caught up in circles, confusion is nothing new
Flashback, warm nights almost left behind
Suitcases of memories, time after…
Sometimes you picture me, I’m walking too far ahead
You’re calling to me, I can’t hear what you’ve said
Then you say, “Go slow.” I fall behind
The second hand unwinds

[Chorus]
If you’re lost, you can look and you will find me
Time after time
If you fall, I will catch you, I’ll be waiting
Time after time
If you’re lost, you can look and you will find me
Time after time
If you fall, I will catch you, I’ll be waiting (I will be waiting)
Time after time

[Verse 2]
After my picture fades and darkness has turned to gray
Watching through windows, you’re wondering if I’m OK
Secrets stolen from deep inside
The drum beats out of time

[Chorus]
If you’re lost, you can look and you will find me
Time after time
If you fall, I will catch you, I’ll be waiting
Time after time

[Instrumental break]

[Bridge]
You said, “Go slow.” I fall behind
The second hand unwinds

[Chorus]
If you’re lost, you can look and you will find me
Time after time
If you fall, I will catch you, I’ll be waiting
Time after time
If you’re lost, you can look and you will find me
Time after time
If you fall, I will catch you, I’ll be waiting (I will be waiting)
Time after time

[Outro]
Time after time
Time after time
Time after time
Time after time
Time after time
Time after time
Time after time
Time after time
Time after time
Time after… time…

Tune Tuesday: Bruce Springsteen 1984

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Bruce Springsteen Image One
Photo Credit: dailymail.co.uk & YouTube

Thirty-five years ago, today, the #1 song on the Billboard Hot Mainstream Rock chart was Dancing in the Dark from the album Born in the USA by Bruce Springsteen. The music video was directed by Brian De Palma (Carrie/Scarface/The Untouchables) and it introduced the world to a, then, unknown Courteney Cox. This was his biggest hit single and the album is, to this day, his best selling. The song also went to #1 with Cash Box, in Canada, with Radio & Records and, went on to #1 in 1985 in Belgium & The Netherlands. Notable cover version artists are Kermit the Frog, Mary Chapin Carpenter and Pete Yorn.

Bruce Springsteen Image Two
Image Credit: wikipedia.org

Awards
Best Rock Vocal Performance, Male Grammys
Grammy Hall of Fame Grammys
Pop/Rock Single American Music Awards
International Album of the Year Juno Awards
Best Stage Performance MTV Video Music Awards

Nominations
Grammys: 2
American Music Awards: 2
Brit Awards: 1
MTV Video Music Awards: 1

Lyrics
[Verse 1]
I get up in the evening
And I ain’t got nothing to say
I come home in the morning
I go to bed feeling the same way
I ain’t nothing but tired
Man, I’m just tired and bored with myself
Hey there baby, I could use just a little help

[Chorus 1]
You can’t start a fire
You can’t start a fire without a spark
This gun’s for hire
Even if we’re just dancing in the dark

[Verse 2]
Message keeps getting clearer
Radio’s on and I’m moving ’round the place
I check my look in the mirror
I wanna change my clothes, my hair, my face
Man, I ain’t getting nowhere
I’m just living in a dump like this
There’s something happening somewhere
Baby, I just know that there is

[Chorus 1]
You can’t start a fire
You can’t start a fire without a spark
This gun’s for hire
Even if we’re just dancing in the dark

[Bridge]
You sit around getting older
There’s a joke here somewhere and it’s on me
I’ll shake this world off my shoulders
Come on, baby, the laugh’s on me

[Verse 3]
Stay on the streets of this town
And they’ll be carving you up all right
They say you gotta stay hungry
Hey, baby, I’m just about starving tonight
I’m dying for some action
I’m sick of sitting ’round here trying to write this book
I need a love reaction
Come on now, baby, gimme just one look

[Chorus 2]
You can’t start a fire
Sitting ’round crying over a broken heart
This gun’s for hire
Even if we’re just dancing in the dark
You can’t start a fire
Worrying about your little world falling apart
This gun’s for hire
Even if we’re just dancing in the dark

[Outro]
Even if we’re just dancing in the dark
Even if we’re just dancing in the dark
Even if we’re just dancing in the dark
Hey, baby

Tune Tuesday: Deniece Williams 1984

Posted on Updated on

Footloose Image One
Photo Credit: rollingstone.com

Thirty-five years ago, today, the #1 song on the Billboard Hot 100 and Hot R & B charts (plus Cash Box) was Let’s Hear For The Boy by Deniece Williams from the soundtrack of the movie Footloose. This was Williams second number one hit on the Billboard 100.

Composed by Tom Snow and Dean Pitchford, country singer Jana Kramer performed the song for the 2011 Footloose remake.

Deniece Williams Image Two
Image Credit: classic45s.com

From Songfacts [no citations]:

This was the second single from the Footloose soundtrack, following the “title track,” which was recorded by Kenny Loggins. In the film, the song was used in a scene where Kevin Bacon tries to teach Christopher Penn how to dance and Penn is having a hard time.

Once the song was written, Pitchford asked Deniece Williams and her producer George Duke to record the song. Kenny Loggins was onboard for the title track, which gave the project credibility and, Williams loved the song and the story idea for the film. She grew up in a small Indiana town with a religious environment similar to the one described in Footloose. When she saw the film, she thought the scene where they used her song was incredible. “If I had come to the film without the music in and they asked me what segment I wanted my song to be in, I would have chosen that segment.” said Williams.

Best Original Song Academy Award Nomination
Best Pop Vocal Performance (Single) Grammy Nomination
Best R & B Vocal Performance (Album) Grammy Nomination

Official Music Video

 

Footloose Movie Clip

Lyrics
[Verse 1]
My baby, he don’t talk sweet
He ain’t got much to say
But he loves me, loves me, loves me
I know that he loves me anyway
And maybe he don’t dress fine
But I don’t really mind
‘Cause every time he pulls me near
I just wanna cheer

[Chorus]
Let’s hear it for the boy
Let’s give the boy a hand
Let’s hear it for my baby
You know you gotta understand
Maybe he’s no Romeo
But he’s my loving one-man show
Whooa, whooa, whooa-oh
Let’s hear it for the boy

[Verse 2]
My baby may not be rich
He’s watching every dime
But he loves me, loves me, loves me
We always have a real good time
And maybe he sings off-key
But that’s all right by me, yeah
‘Cause what he does, he does so well
Makes me wanna yell

[Chorus]
Let’s hear it for the boy
Let’s give the boy a hand
Let’s hear it for my baby
You know you gotta understand
Maybe he’s no Romeo
But he’s my loving one-man show
Whoa, whoa, whoa, whoa
Let’s hear it for the boy

[Pre-Chorus]
‘Cause every time he pulls me near
I just wanna cheer

[Chorus]
Let’s hear it for the boy
Let’s give the boy a hand
Let’s hear it for my baby
You know you gotta understand
Maybe he’s no Romeo
But he’s my loving one-man show
Whoa, whoa, whoa, whoa
Let’s hear it for the boy

[Outro]
Let’s hear it for the boy
Let’s hear it for my man
Let’s hear it for my man
Let’s hear it for my man
Let’s hear it for the boy
Let’s hear it for my man
Let’s hear it for the boy
Let’s hear it for my man
Let’s hear it for my man
Let’s hear it for the boy
Let’s hear it for my man
Let’s hear it for the boy
Let’s hear it for my man
Let’s hear it for my man
Let’s hear it for the boy
Let’s hear it for my man
Let’s hear it for my man

Tune Tuesday: The Bellamy Brothers 1979

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Bellamy Brothers Image One
Photo Credit: wolfgangs.com

Forty years ago, today, the #1 song on the Billboard Hot Country chart was If I Said You Have A Beautiful Body Would You Hold It Against Me by The Bellamy Brothers from Pasco County Florida. Written by David Bellamy, the song’s title is a reference to the Groucho Marx line from You Bet Your Life. Bellamy was fond of the show and Marx’s comment stuck with him.

Released in March, it was the second single from the album The Two and Only and their first #1 hit on Billboard’s Hot Country Singles chart, with Let Your Love Flow reaching #1 on Billboard’s Hot 100 in May of 1976. The title […] shown on the original single was “If I Said You Have a Beautiful Body Would You Hold It Against Me” but, on the album and subsequent releases, the title is shown as “… Had …”.

Britney Spears Controversy

Nominations


 
Lyrics
If I said you have a beautiful body, would you hold it against me?
If I swore you were an angel, would you treat me like the devil tonight?
If I was dying of thirst, would your flowing love come quench me?
If I said you have a beautiful body, would you hold it against me?

Now we could talk all night about the weather
Could tell you about my friends out on the coast
I could ask a lot of crazy questions
Or ask you what I really wanna know

If I said you have a beautiful body, would you hold it against me?
If I swore you were an angel, would you treat me like the devil tonight?
If I was dying of thirst, would your flowing love come quench me?
If I said you have a beautiful body, would you hold it against me?

Now rain can fall so soft against the window
Sun can shine so bright up in the sky
But Daddy always told me, “Don’t make small talk”
He said, “Come on out and say what’s on your mind”

So if I said you have a beautiful body, would you hold it against me?
If I swore you were an angel, would you treat me like the devil tonight?
If I was dying of thirst, would your flowing love come quench me?
If I said you have a beautiful body, would you hold it against me?

If I said you have a beautiful body, would you hold it against me?
If I swore you were an angel, would you treat me like the devil tonight?
If I were dying of thirst, would your flowing love come quench me?
If I said you have a beautiful body, would you hold it against me?

Tune Tuesday: Peaches & Herb 1979

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Peaches & Herb Image One
Photo Credit: mm-group.org

Forty years ago, today, the #1 song on the Billboard Hot R&B chart (and the Hot 100 chart, simultaneously, plus Cash Box) was Reunited by Peaches & Herb (Herb Fame & Linda “Peaches #3” Greene). The song was co-written by Dino Fekaris and Freddie Perren, whom also co-wrote Shake Your Groove Thing, a previous Peaches & Herb song and, I Will Survive, the Gloria Gaynor hit. This was a sequel piece to the duo’s (Herb Fame & Francine “Peaches” Hurd Barker) previous song (We’ll Be) United released in 1968, a cover of The Intruders hit from 1966.

The song sold over two million copies, was the Billboard #5 song for 1979 and the RPM (Canadian) #9 song for 1979 (Wayback Machine). Artists Louise Mandrell (with husband R. C. Bannon), Faith No More and Lulu (with Cliff Richard) have done cover versions. [This link reflects David Hasselhoff and Raven-Symone as cover artists but, I can’t verify. ~Vic]

Nominated for:
American Music Award: Favorite Soul/R&B Song
Grammy: Best R&B Vocal Performance By A Duo, Group Or Chorus


 
Lyrics
[Verse 1:]
I was a fool to ever leave your side
Me minus you is such a lonely ride
The breakup we had
Has made me lonesome and sad
I realize I love you cause
I want you back, hey, hey

I spent the evening with the radio
Regret the moment that I let you go
Our quarrel was such
A way of learning so much
I know now that I love you
Cause I need your touch, hey, hey

[Chorus:]
Reunited
And it feels so good
Reunited
Cause we understood

There`s one perfect fit
And sugar, this one is it
We both are so excited
Cause we`re reunited
Hey, hey

[Verse 2:]
I sat here staring
At the same old wall
Came back to life just when I got your call

I wished I could climb right
Through the telephone line
And give you what you want
So you will still be mine
Hey, hey

I can’t go cheating
Honey, I can’t play
I found it very hard to stay away

As we reminisce on
Precious moments like this
I`m glad we`re back together
Cause I missed your kiss
Hey, hey

[Repeat Chorus:]
Reunited
And it feels so good
Reunited
Cause we understood

There`s one perfect fit
And sugar, this one is it
We both are so excited
Cause we`re reunited
Hey, hey

Yeah, yeah, yeah, baby

[Verse 3:]
Oh, lover, lover
This is solid love
And you`re exactly what I`m dreaming of

All through the day
And all through the night
I`ll give you all the love I have
With all my might
Hey, hey

[Repeat Chorus:]
Reunited
And it feels so good
Reunited
Cause we understood

There`s one perfect fit
And sugar, this one is it…

Tune Tuesday: England Dan & John Ford Coley 1979

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England Dan & John Ford Coley Image One
Photo Credit: huffingtonpost.com

Forty years ago, today, the #1 song on the Billboard Adult Contemporary chart was Love Is The Answer by England Dan & John Ford Coley. Released on March 4, the song was written by Todd Rundgren for his band Utopia. It is the last track on the 1977 album Oops! Wrong Planet. Rundgren’s version didn’t chart but, this cover version reached #10 on Billboard’s Hot 100 chart.

From John Ford Coley:

Of all the songs we released as singles, that was my favorite. The song, first of all, had a classical base and the middle had a gospel section, which I loved.

Love Is The Answer Image Two
Image Credit: recordrelics.ecrater.com

From Todd Rundgren (on what the song meant to him):

We were doing an album at the time and, usually, we try and be collaborative when we write the songs because, we had made an agreement that we would share the publishing on all of our songs so that specific writers don’t get the credit. But, that was a song that I came up with. We put it on a bummer album like Oops! Wrong Planet thinking, maybe, we need to put something a little hopeful on it.

The song still has meaning to me. I perform it every night with Ringo. Ringo has his “three hit rule” and I’m taking advantage of a technicality in that Love Is The Answer was a hit but, it wasn’t a hit for me or Utopia. It was a hit for England Dan & John Ford Coley.

Originally, Ringo wanted me to do Hello It’s Me and I just felt that the song, in the context of what the rest of the band was playing, didn’t represent the message I wanted to convey because, “Hello It’s Me” is a kind of a selfish song. It’s me, me, me…it’s all about me. I’m in charge and, all this other stuff. I thought a better song, especially for Mr. Peace & Love, Ringo himself, would be “Love Is The Answer” and, people would know the song because it was a hit. […] they, maybe even, would just gloss over the fact that it wasn’t a hit for me and think, ‘Oh Yeah! Now, I remember him singing this song.’ So, for me, it’s a high point of the evening and, hopefully, the audience is getting the message.

Glen Campbell recorded the song in 2004 on his Love Is The Answer: 24 Songs of Faith, Hope and Love album. It remains a favorite of Christian artists.


 

Lyrics:
Name your price
A ticket to paradise
I can’t stay here anymore

And I’ve looked high and low
I’ve been from shore to shore to shore
If there’s a shortcut
I’d have found it
But there is no easy way around it

Light of the world
Shine on me
Love is the answer
Shine on us all
Set us free
Love is the answer

Who knows why someday
We all must die
We’re all homeless boys and girls
And we are never heard

It’s such a lonely, lonely, lonely world
People turn their heads
And walk on by
Tell me
Is it worth just another try

Light of the world
Shine on me
Love is the answer
(Let it shine)
Shine on us all
Set us free
Love is the answer

Tell me
Are we alive
Or just a dying planet?
(What are the chances?)
Ask the man in your heart
For the answer

And when you feel afraid
(Love one another)
When you’ve lost your way
(Love one another)

And when you’re all alone
(Love one another)
And when you’re far from home
(Love one another)

And when you’re down and out
(Love one another)
And when your hopes run out
(Love one another)

And when you need a friend
(Love one another)
And when you’re near the end
(Love, we got to love
We got to love one another)

Light of the world
Shine on me
Love is the answer
Shine on us all
Set us free
Love is the answer

Light of the world
Shine on me
Love is the answer
(Shine, shine, shine)
Shine on us all
Set us free
Love is the answer

Light of the world
Shine on me
Love is the answer
Shine on us all
Set us free
Love is the answer

Light of the world
Shine on me
Love is the answer

Tune Tuesday: Blondie 1979

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Blondie Image One
Frank Infante, Chris Stein, Jimmy Destri, Debbie Harry, Clem Burke & Nigel Harrison
Photo Credit: recort.nl

Forty years ago, today, the #1 song on the Billboard Hot 100 chart was Heart of Glass by Blondie. Written by Harry and Stein in 1974-75, its working title was Once I Had A Love. The inspiration for its writing came from The Hues Corporation‘s song Rock the Boat.

From The Guardian:

Heart of Glass was one of the first songs Blondie wrote but, it was years before we recorded it properly. We’d tried it as a ballad, as reggae but, it never quite worked. At that point, it had no title. We just called it “the disco song”. Back then, it was very unusual for a guitar band to be using computerised sound. People got nervous and angry about us bringing different influences into rock. Although we’d covered Lady Marmalade and I Feel Love at gigs, lots of people were mad at us for “going disco” with Heart of Glass. There was the Disco Sucks! movement, and there had even been a riot in Chicago, with people burning disco records. Clem Burke, our drummer, refused to play the song live at first. When it became a hit, he said: “I guess I’ll have to.” The lyrics weren’t about anyone. They were just a plaintive moan about lost love. At first, the song kept saying: “Once I had a love, it was a gas. Soon turned out, it was a pain in the ass.” We couldn’t keep saying that, so we came up with: “Soon turned out, had a heart of glass.” We kept one “pain in the ass” in – and the BBC bleeped it out for radio. ~Debbie Harry

*************

As far as I was concerned, disco was part of R&B, which I’d always liked. The Ramones went on about us “going disco” but, it was tongue-in-cheek. They were our friends. In the video, there’s a shot of the legendary Studio 54, so everyone thought we shot the video there but, it was actually in a short-lived club called the Copa or something. I came up with the phrase “heart of glass” without knowing anything about Werner Herzog or his movie of the same name, which is a great, weird film. It’s nice people now use the song to identify the period in films and documentaries. I never had an inkling it would be such a big hit, or become the song we’d be most remembered for. It’s very gratifying. ~Chris Stein

Blondie Image Two
Photo Credit: nypost.com
An Oral History of Blondie

From CityBeat:

In season one, DJ Johnny Fever not only plays Blondie’s “Heart of Glass” on his broadcast but, home audiences actually hear him announce the band’s, and the song’s, names. It was fantastic promotion for the up-and-coming Blondie, whose huge breakthrough album, Parallel Lines (with other seminal singles like Hanging on the Telephone and One Way or Another), came out the same month WKRP in Cincinnati debuted. The band reportedly gave the show a Gold record plaque celebrating the album’s major sales numbers as a “Thank You” card. It can be seen in the background as set design on several episodes in later seasons.

From NPR:

Unlike many DJs from that era, Fever played punk as well as rock and soul. The range of music on the show gave this fictional radio station a better playlist than most of the era’s real ones. […] although the show helped break Blondie’s “Heart of Glass” big, the exception, in Fever’s case, was disco. “I asked him to play one disco record and he threatened to throw himself in front of Donna Summer‘s tour bus,” Travis complains in “Baby, If You’ve Ever Wondered,” from season two.

As of April 20, 2011, Heart of Glass is #259 of Rolling Stone Magazine’s 500 Greatest Songs of All Time.

Awards & Nominations
Best Selling International Single (Juno 1980)
Rock & Roll Hall of Fame (2006)
Grammy Hall of Fame (2016)

Lyrics:
[Verse 1]
Once I had a love and it was a gas
Soon turned out had a heart of glass
Seemed like the real thing, only to find
Mucho mistrust, love’s gone behind

Once I had a love and it was divine
Soon found out I was losing my mind
It seemed like the real thing but I was so blind
Mucho mistrust, love’s gone behind

[Chorus]
In between
What I find is pleasing and I’m feeling fine
Love is so confusing, there’s no peace of mind
If I fear I’m losing you, it’s just no good
You teasing like you do

[Verse 2]
Once I had a love and it was a gas
Soon turned out had a heart of glass
Seemed like the real thing, only to find
Mucho mistrust, love’s gone behind

[Chorus]
Lost inside
Adorable illusion and I cannot hide
I’m the one you’re using, please don’t push me aside
We could’ve made it cruising, yeah

[Bridge]
Yeah, riding high
On love’s true bluish light

[Verse 3]
Once I had a love and it was a gas
Soon turned out to be a pain in the ass
Seemed like the real thing only to find
Mucho mistrust, love’s gone behind

[Chorus]
In between
What I find is pleasing and I’m feeling fine
Love is so confusing, there’s no peace of mind
If I fear I’m losing you, it’s just no good
You teasing like you do