Hanspostcard has a song draft challenge. This is my Round Seven pick.
Pat Benatar exploded on the music scene in the Summer/Fall of 1979 with her debut album In The Heat of the Night. I was in 8th grade and the first song I remember hearing on the radio from the album was Heartbreaker. I went to my hometown’s only mall and headed into a store called Stereo Village. I wanted this song and, when I asked for it, the guy trying to help me automatically thought I was talking about Led Zepplin. When I mentioned Pat Benatar’s song, he didn’t know what I was talking about. He told me to sing some of the music for him…so, my 13 year old self obliged, right there in the middle of the store, “in front of God and everybody” (Southern colloquialism). He still didn’t know the song but, said “Nice voice!” I never did get that 45 and a few months later, rolling into the new decade, We Live For Love was released in February and, I liked it even better than Heartbreaker. Crimes of Passion, her sophomore album, came out the following August and the hits kept coming. You Better Run (The Young Rascals cover) became the second video broadcast on the debut of MTV, behind Video Killed the Radio Star by The Buggles (a 45 I managed to get my hands on). I was a devoted fan at that point without owning a single song or album. By the time of my 16th birthday, a young man I was dating presented me with the Crimes of Passion album. I was overjoyed.
I nearly got to see her perform during the 1986 Seven the Hard Way tour. It started in January 1986 and stopped, abruptly, in April. She was a mom by then and family pressures caused cancellations. Greensboro Coliseum lost out. I did get to see her for the Can’t Stop Rockin’ tour in 1995 in Raleigh. Prior to those two, my mother considered me too young to see the earlier concerts. 😭
Gravity’s Rainbow was her ninth, and the last studio album to be in the Billboard 200 chart in the top 100s, peaking at #85 on June 19, 1993 and making it to #44 in Canada for one week on July 31, 1993. Named after the Thomas Pynchon novel, it was also the last album released on Chrysalis Records. It was not one of her better albums, statistically speaking but, it yielded three singles, two of which, I love. My favorite album of hers is, of course, the tour that got cancelled in 1986. That being said, after all these years of her music catalog, Somebody’s Baby is my favorite single, released July 5, 1993 (my second favorite single is Le Bel Age). She and Spyder James had already geared down quite a bit, releasing the blues-themed True Love in 1991, to much less fanfare than Wide Awake in Dreamland from 1988. True Love was her first album that did not rate with RIAA.
I am a fan of Benatar like Hans & Max are of the Beatles. I love this one because of the lyrics, the mood, the blend of the music and her stunning voice, though, in this piece, it is not quite as “up there” as when she sings Invincible (she has a four octave range). I am normally indifferent to most lyrics, choosing to immerse myself in musical arrangements and wonderful voices but, the writing speaks to my heart and I confess that, the first time I heard this, it brought me to tears. ~Vic
BenatarGiraldo (Official Website)
Gravity’s Rainbow (RockWired/Brian Lush/06-12-2018)
Pat Benatar (Hip Online/01-05-2008)
Pat Benatar: Gravity’s Rainbow (Rolling Stone/Andrea Odintz/2003/Web Archive)
Richmond: Benatar’s Rise to Fame (Richmond Times-Dispatch/Nicole Kappatos/04-11-2017/Web Archive)
Live On Leno
Regis & Kathie Lee Show (Stripped Down Short Version)
Hanspostcard has a song draft challenge. This is my Round Five pick.
Pulling myself out of 1978, I am moving into the 1980s. ~Vic
John Mellencamp‘s Scarecrow album was released on August 5, 1985, 25 days prior to my 19th birthday and six weeks before I started my sophomore year of college. God, what an album. This was Mellencamp’s version of Born In The USA (I own both albums). Roots rock/Heartland rock was the music in the background of my graduation from high school and subsequent foray into college. Minutes To Memories was not an official release from the album but, it managed to make it to #14 on the Top Rock Tracks for one week as a non-single album track. It spoke volumes to me…
“You are young and you are the future
So, suck it up, tough it out
Be the best you can.”
Written by Mellencamp and his childhoon friend George M. Green, it is the #4 track on the album and Mimi Mapes sang backing vocals. Scarecrow made it to #2 on the Billboard 200 chart the week of November 16, 1985 (coming underneath Born In The USA, twice) and stayed for a couple of weeks, stuck behind the Miami Vice Soundtrack.
“I wrote a song called [You’ve Got To] Stand For Something,” [Mellencamp] explains, “but, I never did say what you should stand for…except your own truth. That song was supposed to be funny, too and, I hope people got that. But, I think that’s the key to the whole LP…suggesting that each person come to grips with their own individual truth […] and try to like themselves a little bit more. Find out what you as a person are […] and don’t let the world drag you down. People should have respect for and believe in themselves.”
A deeply felt sense of responsibility and an equally motivating need to atone for past missteps seem to define Scarecrow. On the midtempo Minutes to Memories, Mellencamp tells the story of a young boy riding home to Indiana after a trip to the South. In the next seat on the bus is a seventy-seven-year-old retired steelworker lecturing the child on how to live, backing his advice with experience. “My family and friends are the best things I’ve known,” he instructs, and the child, a budding rebel, chuckles to himself at how out of touch the old dog is.
Easing into the final verse, Mellencamp hushes his band. In a voice just above a whisper, he suddenly shifts the tale from third to first person. He’s the kid on the Greyhound and, his inability to comprehend, let alone act on, the wisdom he was given then, still haunts him… “Now that I’m older I can see he was right.” [T]hen Mellencamp reveals that he’s telling this story to his own son. He knows he’s being silently scoffed at as surely as his travel companion was two decades earlier. Still, he accepts it and the band rocks out.
There is no official video of this song but, the below is one guy’s idea.
Hanspostcard has a song draft challenge. This is my Round Two pick.
I grew up around lots of music. My dad had his tastes, my mom had hers and I got some exposure to my grandparents music, too. There was plenty of Elvis, Buddy Holly, Everly Brothers, Ricky Nelson, Gene Pitney, Chuck Berry, Johnny Cash, Johnny Horton, The Ventures, The Beach Boys, instrumental music (think Hugo Montenegro or Paul Mauriat), funny stuff like Ben Colder/Sheb Wooley, Ray Stevens or David Seville (my dad’s stuff), The Four Seasons, Motown, soul music, beach music (my mom’s stuff), big band music (my paternal grandparents) and, bluegrass, country and Latin/jazz (maternal grandparents). One song, in particular, that reminds me of my dad the most is Cathy’s Clown. When I was a kid, my dad liked to just get in the car, drive around and listen to the radio. It was, literally, No Particular Place To Go. When I became an adult, we’d still get in the car and cruise. He and I would sing Cathy’s Clown, together, with me taking Phil’s harmony. I still own my dad’s original 45. ~Vic
Written by Don, it was recorded in March and released in April 1960. It was recorded live, in a single take, with both brothers sharing a microphone. Floyd Cramer was on piano, Floyd Chance on bass and Buddy Harman on drums. An odd song, it has a chorus and bridges but, no verses. It was their first single for Warner Bros. It spent five weeks at #1 on Billboard’s Hot 100 chart, one week on the Billboard’s R&B chart and seven weeks at #1 on UK’s Singles chart. It was their biggest selling single and their last #1 after Wake Up Little Susie and All I Have to Do Is Dream.
The song is ranked at #150 Rolling Stone’s 500 Greatest Songs of All Time and it was added to the National Recording Registry of the Library of Congress in 2013. Covers have been done by Reba McEntire and Neil Sedaka (1983) with McEntire’s version reaching #1 on Billboard’s Hot Country Songs chart and Canada’s RPM Country Tracks chart in 1989. There is even a Jan and Dean version on Filet Of Soul Redux: The Rejected Master Recordings (2017).
“We owe those guys everything. They started it all.” ~Bob Dylan
Additional Reading & References:
The Everly Brothers: That Sibling Sound (BBC News/2014)
Cathy’s Clown ~ The Everly Brothers (Library of Congress/PDF)
Recording Cathy’s Clown (Steve Hoffman Music Forum)
Saturday Night Beech-Nut Show 1960
Hanspostcard has a song draft challenge. This is my Round One pick. I will be posting these per decade.
Having grown up on the East Coast/Mid-Atlantic, one thing my state is known for is shagging (for the Brits, no, that is not what it means). While my grandparents did the Jitterbug as youths, my parents shagged (a descendant of the Jitterbug), as did my classmates and I. This song, in particular, was my favorite to shag to, though I enjoyed many beach music songs. ~Vic
Released either in May (per Rolling Stone Magazine) or April 24, 1959 (per Wikipedia), it was written by Benjamin Nelson (Ben E. King), Lover Patterson and George Treadwell. Produced by Jerry Leiber and Mike Stoller, the song hit #1 on Billboard’s Hot R&B chart (July) and, #2 on Billboard’s Hot 100 (August).
This is the second version of The Drifters under Treadwell’s management, crafted from the Five Crowns: Ben E. King, Charlie Thomas, Doc Green and Elsbeary Hobbs with James “Poppa” Clark being rejected for alcohol issues. With this line-up, There Goes My Baby was their first single and King’s debut as lead singer. It was unusual for its time, being the first commercial R&B/Soul recording with strings, arranged by Stan Applebaum, and a Brazilian Baiãon groove. Phil Spector studied the production style under Leiber & Stoller.
Ben E. King and The Drifters (The Vocal Group Hall of Fame Foundation/Inducted 2000)
John Gilliland’s Pop Chronicles (The Drifters & Ritchie Valens/Track 2/University of North Texas Digital Library)
There Goes My Baby (The Art of Rock Music Listening Guide/University of Albany/PDF)
Things You Didn’t Know About The Drifters (Pop, Rock & Doo Wopp/Joe Mirrione/April 10, 2020)
Hanspostcard has a movie draft challenge. This is my Round Seven pick.
Category: Crime/Film Noir
Film: Cop Land
Written and directed by James Mangold, it was executive produced by the Weinstein brothers (though their names have been removed from the Wikipedia article). Released August 6, 1997 in New York (premiere) and nationwide on August 15, it was an incredible ensemble cast of Sly Stallone, Harvey Keitel, Ray Liotta, Robert De Niro, Robert Patrick, Peter Berg, Janeane Garafalo, Edie Falco, Michael Rapoport, Annabella Sciorra, John Spencer, Cathy Moriarty, Noah Emmerich, Frank Vincent, Malik Yoba, Arthur Nascarella and, cameos of Deborah Harry & Geraldo Rivera.
Sylvester Stallone put on 40 pounds to play Nowheresville, N.J., sheriff Freddy Heflin in Cop Land […]. His town is run by Ray Donlan (Keitel) and the other New York cops who have settled there with their families. He wears blinders when it comes to their lawbreaking and mob dealings. Moe Tilden (De Niro), the internal-affairs officer out to get the goods on Cop Land, correctly pegs Freddy as “a man looking for something to do.” Keitel’s [Donlan] exudes dangerous energy. He cares for his own as long as they don’t cross him […]. Robert Patrick brings sly menace to Rucker […]. Ray Liotta […], as Gary Figgis, [is] a tainted cop who sides with Freddy.
Mangold […] has a rare talent for finding the human drama in ordinary lives.
Writer-director James Mangold […] wrangles an impressive cast […] and spins a compelling tale of cancerous corruption among a secretive group of New York’s finest who have settled in the fictional New Jersey burg of Garrison. [Stallone] indeed looks chunky and plays the sleepy, docile Sheriff […] with sluggishness to spare in a largely commendable performance as a half-deaf small-town dreamer. [He] is not given much in the way of memorable dialogue but, he makes the character work […]. [Having] yet to replace his LP of The River with a CD, [he] carries a torch for the local Jersey girl (Sciorra) he saved from drowning…the reason for his loss of hearing in one ear…[he] once longed to be a big-city cop but, had to settle for policing them.
Freddy gradually realizes that he doesn’t like how the town has turned out.
The Hollywood Reporter
August 11, 1997
I saw this at the theater when it came out and caught it, again, a few nights ago. I was born and raised in law enforcement and, worked in it, too (non-sworn). I’ve known good cops and I’ve known some really bad ones. I love a well written cop movie and this was an unusual one in that Stallone wasn’t playing a bad ass like Rambo, Cobra, Tango, John Spartan (though I do love that movie) or Ray Quick. This character was different…subdued. His scenes with Annabella Sciorra have Springsteen playing in the background which adds depth and texture to the mood. This is clearly a period piece as all the vehicles, hair cuts and clothing styles are, effectively, early 80s. The River came out in 1980 and music from the Director’s Cut, like Blue Oyster Cult‘s Burnin’ For You came out in 1981. This also manages to cover the Crime category via IMDb and the Film Noir category, simultaneously, via Historical Dictionary of Film Noir (2010). ~Vic
♦ There is a disclaimer at the end of the credits which states “This film is a work of fiction. It is currently illegal for New York City Police officers to live outside the state of New York.”
♦ Arthur J. Nascarella was a real-life NYPD officer.
♦ Debbie Harry acted in the movie but, was edited out in the final cut. She explained on a live television special that although she was cut, she still got paid.
♦ In the scene in which Ray Liotta confronts Robert Patrick in the bar, the dart that Liotta shoves up Patrick’s left nostril was made out of rubber.
♦ Tom Cruise, Tom Hanks, Gary Sinise and John Travolta were considered for Sheriff Freddy Heflin.
The Making of an Urban Western