tag:blogger.com,1999:blog-67092520941460848462024-03-13T12:00:48.803-04:00Abandoned and HeartbrokeMuses about music, musicians, and musical interludes of all sorts. Also, chronicling the creation of an album of original songs, by a guy who figures he might as well.John E. Williamshttp://www.blogger.com/profile/02337331081503642601noreply@blogger.comBlogger566125tag:blogger.com,1999:blog-6709252094146084846.post-52108725234292883472023-09-04T11:28:00.004-04:002023-09-04T11:34:01.370-04:00If You're Only Going to Buy One Greatest Hits Set From... Jimmy Buffett<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlVIcMpEgs6TOldOhFqq36eaZc819kM0VxmWM92lyKz1x-1LDwoyPN6XLyQte-dboSxM69xFCnMlqN-5cFE2c6z-2jgpfMduxzAidmiEhDSgpWIf1vf_E_C6sMBeNAQwcaRfSTGpZObBOP3sZUk4e-ShzTdNeRv6Euevjqx4Gch4W3L9s94ZgaI1UCJHE/s800/jimmy%20Buffett.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlVIcMpEgs6TOldOhFqq36eaZc819kM0VxmWM92lyKz1x-1LDwoyPN6XLyQte-dboSxM69xFCnMlqN-5cFE2c6z-2jgpfMduxzAidmiEhDSgpWIf1vf_E_C6sMBeNAQwcaRfSTGpZObBOP3sZUk4e-ShzTdNeRv6Euevjqx4Gch4W3L9s94ZgaI1UCJHE/w400-h300/jimmy%20Buffett.webp" width="400" /></a></p><p></p><p style="text-align: center;"><span style="font-family: helvetica; font-size: medium;"><b>By Curt Alliaume</b></span></p><p style="text-align: left;"><!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">First off, I should note that I’m
not a Parrothead. Never attended a Jimmy Buffett concert, to my regret.</span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">But it was almost impossible not
to like Jimmy Buffett. It’s not as if every song he wrote and performed was
happy, let’s-get-drunk-and-relax like “Margaritaville” (which is about losing a
female partner). Songs like “A Pirate Looks at 40” and “He Went to Paris” tell
stories of people whose lives have taken strange turns over the years, while
“Come Monday” is as romantic a song as he’s ever written (it was for his wife).</span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">Buffett created a cottage industry
from his music, starting restaurant chains (Jimmy Buffett’s Margaritaville,
which still exists, and Cheeseburger in Paradise, which went out of business
after he sold the chain) and writing several books (I very much liked <i>A
Pirate Looks at Fifty</i>, which was published in 1998 but is as close to an
autobiography as we’ll get). And his devoted fan base even got a nickname:
Parrotheads, a takeoff on the Grateful Dead’s Deadhead base (Parrotheads were
mostly baby boomers, as the name was coined in 1985 by Buffett and bassist
Timothy B. Schmit, touring with Buffett during a period the Eagles were
defunct).</span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">Buffett also gets bonus points for
keeping his traveling backing group,<a href="https://en.wikipedia.org/wiki/Coral_Reefer_Band"> the Coral Reefer Band</a>,
around for decades. It’s a pretty large traveling group, and the only way that
could happen is (a) they’re well paid for their work, and (b) it’s a happy
atmosphere. (And they’ll stay in touch one way or another: keyboardist Michael
Utley’s son is married to guitarist Mac McAnally’s daughter.)</span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">Not everybody is going to love
Buffet’s music, but he’s certainly worth getting to know. I didn’t even realize
until today that, while I didn’t consider myself a fan, I have nine of his
albums. So, I guess I am a fan.<br /> </span>
<span style="font-family: helvetica; font-size: medium;"><br />
Buffett only has three true greatest hits sets available, despite spending much
of his career on labels that are now owned by Universal Music Group (UMG),
which has issued haphazardly chosen best-ofs for many artists that seem pretty
much designed to be impulse purchased. (I wonder if Buffett leaned on UMG to
keep that from happening—if he did, good for him.) Buffett’s first two albums,
which bear little resemblance to his later music, were recorded for Barnaby
Records; most of his 1970s output appeared on ABC-Dunhill Records (later just
ABC, which was part of the television network’s company). ABC was purchased by
MCA in 1979, where Buffett stayed until the mid-1990s, starting his own Margaritaville
imprint in the early 1990s. After switching Margaritaville to Island Records in
1996, both Island and MCA became part of the UMG monolith, and Buffett went
totally independent with his own Mailboat Records. He probably needs a good
anthology from that label, but for now, all his hits sets are on UMG. (Got all
that? There’s going to be a quiz later.)<br /></span>
<span style="font-family: helvetica; font-size: medium;"><br />
Technically, the first Buffett albums I ever got were <i>Son of a Son of a
Sailor</i> and <i>Volcano</i>, which I burned onto a CD in 2002. But I got this
one a year later, and I’ll stick with it for my favorite hits set.</span><span style="font-family: helvetica; font-size: medium;"><br /></span>
<span style="font-family: helvetica; font-size: medium;"><br /></span>
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQlynTTvV2wfpb-1DfwolnIkjv_Nj16u_XM3jjJxeWmcMctApOftp4pRnHwO-NDbDAOqTgFGLLLHe70MVP1LUxd8jPIe4rO4hl5-L0HEUgXHFuiER8gTsRlfr6Zd21fSdYoEdXkGbXQ3yJFP0Lcf4emccBWA0EG0A1rRc1pOEx9sEQSJoQ0zeq5jR4AC4/s622/Jimmy%20Buffett%20Margaritaville.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="567" data-original-width="622" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQlynTTvV2wfpb-1DfwolnIkjv_Nj16u_XM3jjJxeWmcMctApOftp4pRnHwO-NDbDAOqTgFGLLLHe70MVP1LUxd8jPIe4rO4hl5-L0HEUgXHFuiER8gTsRlfr6Zd21fSdYoEdXkGbXQ3yJFP0Lcf4emccBWA0EG0A1rRc1pOEx9sEQSJoQ0zeq5jR4AC4/s320/Jimmy%20Buffett%20Margaritaville.jpg" width="320" /></a></div><p></p><p class="MsoNormal" style="margin-bottom: 0in; text-align: center;"><span style="font-family: helvetica; font-size: medium;"><a href="https://en.wikipedia.org/wiki/Meet_Me_in_Margaritaville:_The_Ultimate_Collection"><i>Meet
Me in Margaritaville: The Ultimate Collection</i></a></span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;"> </span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">This is a two-CD set that runs
just under two and a half hours and was released in 2003, so it should be most
of the Buffett you need. It includes plenty of liner notes in the CD edition,
several live versions (including a particularly good take on “The Pascagoula
Run”), and a few rerecordings, as Buffett wanted to either fix what was wrong
with the first edition or take a new shot at the song. (Sometimes it’s a good
thing—“Saxophones” actually <i>has</i> saxophones on the new version; they
didn’t fit the budget in the original—sometimes it’s unnecessary, such as “He
Went to Paris.”) And it took me years to realize he’d rerecorded the fourth
verse of “Volcano” in the post-9/11 era to make it more appropriate. Of his 15
most-played live songs according to<a href="https://www.setlist.fm/stats/jimmy-buffett-33d61029.html"> Setlist.com</a>,
the only two that aren’t here are “Southern Cross” (a Crosby, Stills and Nash
cover that hadn’t become a regular feature for him quite yet), and his Alan
Jackson duet “It’s Five O’Clock Somewhere” (which would appear a few months
after this album released). You’ll find everything you want here.<br /></span>
<span style="font-family: helvetica; font-size: medium;"><br />
Now here’s the odd part. I swear I saw it for download on iTunes a day or two
ago for either $11.99 or $13.99, but it’s gone now. It is available on Amazon
for a slightly-too-high $18.99 for download, but it’s out of print. And it’s
not on Spotify (there’s a playlist somebody put together, but all of the
rerecordings and live versions are obviously replaced by the studio versions.
So, this may not be an option for everybody. I’ll check back in on this. It’s
gone double platinum, so you might find a copy in a used CD store.</span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">Other hits sets:</span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">- <a href="https://en.wikipedia.org/wiki/Before_the_Salt"><i>Before the Salt</i></a>,<a href="https://en.wikipedia.org/wiki/Before_the_Beach"> <i>Before the Beach</i></a>,
and<a href="https://en.wikipedia.org/wiki/Down_to_Earth_and_High_Cumberland_Jubilee_compilations#Now_Yer_Squawkin'">
<i>Now Yer Squawkin’</i></a><i> </i>are all from Buffett’s first two recorded
albums: <i>Down to Earth</i> (1970) and <i>High Cumberland Jubilee</i>
(recorded 1971, released 1976). There are a few others as well—the songs were
originally recorded for Barnaby Records, and the rights issued might not be
cleared up. It’s not really buried treasure: Buffett hadn’t found his sound
yet, so you’ll hear a vaguely antiwar folkie on these sets. He rerecorded a
couple of the songs later in the 1970s on ABC.</span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">- <a href="https://en.wikipedia.org/wiki/Songs_You_Know_by_Heart"><i>Songs You Know
by Heart: Jimmy Buffet’s Greatest Hit(s)</i></a><i> </i>(1985) makes sly
reference to the fact that, by then, the song most people knew him from was
“Margaritaville,” which was his only Hot 100 hit to make it above #30. Buffett
was recording furiously in the 1980s, releasing five studio albums between 1981
and 1985, but none of those songs appear here, which should tell you something.
The only song from this set not to make it to <i>Meet Me in Margaritaville</i>
is “Boat Drinks.” The only caveat I have is the 1985 release meant it was for
vinyl as much as CD, so it clocks in a little short of 42 minutes. $8.99 for
the download on either Amazon or iTunes. The disc is out of print, but since
it’s sold seven million copies, you’re bound to find it in a used CD store
somewhere.</span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">- <a href="https://en.wikipedia.org/wiki/Boats,_Beaches,_Bars_%26_Ballads"><i>Boats,
Beaches, Bars & Ballads</i></a> (1992) is Buffett’s four-CD box set,
released when everybody was releasing a box set. As with some other artists, it
was too early: after having no RIAA-certified albums in the 1980s, Buffett
released five studio albums in the ‘90s that went gold or platinum. Of course,
this set might be the reason. It’s sorted into the four themes indicated by the
title, and every album to that point is represented save the unloved <i>Down to
Earth</i> and <i>High Cumberland Jubilee</i>, and the soundtrack for <i>Rancho
Deluxe</i>. $37.99 for the download on Amazon, $39.99 on iTunes. There are a
few used copies of the box set on Amazon for as low as $30.99 for the cassette
(if you have a cassette player anymore and don’t care about sound quality) and
as high as $149.99 for the CD (yikes!). I sometimes see individual CDs (no box,
no liner notes) in used record stores, but honestly, I’ll listen to it on
Spotify first.</span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">- <i>Buried
Treasure</i> (2017) is another before-he-was-famous set, but these are
unreleased songs from the late 1960s. Dug up by a former producer a few years
ago, Buffett embraced them and released them on his own label; the “deluxe
version” includes Buffett’s recorded intros to the songs (which you can isolate
out if you so choose). $11.49 for the Amazon download and $14.99 on iTunes,
$17.99 for the disc on Amazon. I’m listening to his version of Gordon
Lightfoot’s “The Circle Is Small” as I write this (he paid tribute to Lightfoot
in the intro). Lightfoot passed earlier this year; I’ll try to write a blog
post on him as soon as I can.</span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">Now here’s the thing: Buffett’s
live performances were so legendary you might be well off getting a live album
in lieu of a greatest hits set. And while there are even more to choose from
than I’m listing here, these are most representative of what you’d find on a
hits set:</span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">- <a href="https://en.wikipedia.org/wiki/You_Had_to_Be_There"><i>You Had to Be
There: Recorded Live</i></a> (1978) was recorded on the <i>Son of a Son of a
Sailor</i> tour, but only contains one song from that album (I think ABC
was
afraid the live album would cannibalize the studio album’s sales). A
lengthy
double vinyl LP on its original release (over 103 minutes), it’s now an
absolute steal at $7.99 for the download on either Amazon or iTunes.
(The
original vinyl album had a list price of $11.98, which means most people
paid
more than $7.99 for the album 45 years ago.) The album also includes
three
songs that were unreleased on his studio albums. One drawback: Buffett
had
broken his leg on the tour and was on painkillers, which may have
hampered the
performances. And a warning: there's a lot more NSFW patter between
songs. Buffett cut back on that over the years as kids started coming to
the concerts, with </span><span style="font-family: helvetica; font-size: medium;">“Why D</span><span style="font-family: helvetica; font-size: medium;">on’t</span><span style="font-family: helvetica; font-size: medium;"> We Get Drunk (And Screw)” eventually being dropped as a regularly-played song.<br /></span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">- <a href="https://en.wikipedia.org/wiki/Feeding_Frenzy:_Jimmy_Buffett_Live!"><i>Feeding
Frenzy</i></a> (1989) avoids repeats for the most part (except
“Margaritaville”) with <i>You Had to Be There</i>. Two songs that were
unreleased elsewhere are included. Don’t have this, so can’t offer an opinion.
Also $7.99 for the download on Amazon and iTunes, but over a half hour shorter.</span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">- <a href="https://en.wikipedia.org/wiki/Buffett_Live:_Tuesdays,_Thursdays,_Saturdays"><i>Buffett
Live: Tuesdays, Thursdays, Saturdays</i></a> (1999) was his first release on
his own Mailboat Records, and it’s full of his concert favorites. It’s short at
68 minutes, but will satisfy the casual fan, and the performances are good.
$7.99 for the download as well.</span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">- Finally,
do check out <a href="https://en.wikipedia.org/wiki/Jimmy_Buffett_sound_board_live_albums">his
series of concert releases between 2004 and 2006 on Mailboat</a>:</span></p>
<ul style="text-align: left;"><li class="MsoListParagraphCxSpFirst" style="margin-bottom: 0in; text-align: left; text-indent: -0.25in;"><span style="font-family: helvetica; font-size: medium;"><span> <span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;"> </span></span><i>Live in Auburn, WA</i></span></li><li>
<span style="font-family: helvetica; font-size: medium;"><i>Live in Las Vegas, NV</i></span></li><li>
<span style="font-family: helvetica; font-size: medium;"><i>Live in Cincinnati, CI</i></span></li><li>
<span style="font-family: helvetica; font-size: medium;"><i>Live in Mansfield, MA</i></span></li><li>
<span style="font-family: helvetica; font-size: medium;"><i>Live in Hawaii</i></span></li><li>
<span style="font-family: helvetica; font-size: medium;"><i>Live in Fenway Park</i></span></li><li>
<span style="font-family: helvetica; font-size: medium;"><i>Live in Anguilla</i></span></li></ul>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;">These are all two-CD sets recorded
“directly from the soundboard”—no overdubs. (This is a particular pet peeve of
mine—as far as I’m concerned, if a live album is overdubbed, it’s no longer
live.) I have <i>Live in Hawaii</i> on disc, which I like a lot and includes a
16-minute DVD of concert footage. (<i>Fenway Park</i> and <i>Anguilla</i> also
have DVDs, but theirs are considerably longer, with the Anguilla DVD clocking
in at 82 minutes.) Mostly $11.99 for the downloads on Amazon and iTunes (a
couple of them are $15.99 on iTunes), but the downloads don’t include the DVD
material.</span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;"><br /></span>
<span style="font-family: helvetica; font-size: medium;"><b>Other “If You’re Only Going to Buy One Greatest Hits Set From…” Blog Posts
You Might Enjoy:</b></span></p>
<p class="MsoNormal" style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/05/if-youre-only-going-to-buy-one-greatest_29.html">The
Allman Brothers Band</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2015/03/if-youre-only-going-to-buy-one-greatest.html">The
Beach Boys</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2015/03/if-youre-only-going-to-buy-one-greatest_12.html">David
Bowie</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2015/10/if-youre-only-going-to-buy-one-greatest.html">The
Byrds</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/08/if-youre-only-going-to-buy-one-greatest.html">Glen
Campbell</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2018/03/normal-0-false-false-false-en-us-x-none.html">Chicago</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/03/if-youre-only-going-to-buy-one-greatest.html">The
Commodores</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/09/if-youre-only-going-to-buy-one-greatest_11.html">Crosby,
Stills, Nash & Young</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/10/if-youre-only-going-to-buy-one-greatest_25.html">Fats
Domino</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/01/if-youre-only-going-to-buy-one-greatest_19.html">The
Eagles</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/03/if-youre-only-going-to-buy-one-greatest.html">Earth,
Wind & Fire</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/03/if-youre-only-going-to-buy-one-greatest_21.html">Electric
Light Orchestra</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2014/09/if-youre-only-going-to-buy-one-greatest_29.html">Fleetwood
Mac</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/03/if-youre-going-to-buy-one-greatest-hits.html">Dan
Fogelberg</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2018/08/if-youre-only-going-to-buy-one-greatest.html">Aretha
Franklin</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2018/10/if-youre-only-going-to-buy-one-greatest.html">Marvin
Gaye</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/04/if-youre-only-going-to-buy-one.html">Merle
Haggard</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/02/if-youre-only-going-to-buy-one-greatest.html">Daryl
Hall & John Oates</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/01/if-youre-only-going-to-buy-one-greatest.html">George
Harrison</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2014/09/if-youre-only-going-to-buy-one-greatest.html">Heart</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2015/01/if-youre-only-going-to-buy-one-greatest.html">Michael
Jackson</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/01/if-youre-only-going-to-buy-one-greatest_29.html">Jefferson
Airplane and Jefferson Starship</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2014/10/if-youre-only-going-to-buy-one-greatest_17.html">Elton
John</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/01/if-youre-only-going-to-buy-one-greatest.html">John
Lennon</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/05/if-youre-only-going-to-buy-one-greatest.html">The
Kinks</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/07/if-youre-only-going-to-buy-one-greatest.html">Paul
McCartney</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2018/01/if-youre-only-going-to-buy-one-greatest.html">The
Moody Blues</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2019/02/if-youre-only-going-to-buy-one-greatest.html">The
Monkees</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2015/10/if-youre-only-going-to-buy-one-greatest_26.html">Van
Morrison</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/10/if-youre-only-going-to-buy-one-greatest.html">Tom
Petty & The Heartbreakers</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/04/if-youre-only-going-to-buy-one-greatest.html">Prince</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/02/if-youre-only-going-to-buy-one-greatest_14.html">R.E.M.</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2014/10/if-youre-only-going-to-buy-one-greatest.html">The
Rolling Stones</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2018/08/okay-lets-take-look-at-living-albeit.html">Linda
Ronstadt</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/04/if-youre-only-going-to-buy-one-greatest.html">Frank
Sinatra</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/09/if-youre-only-going-to-buy-one-greatest.html">Ringo
Starr</a> <br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/09/if-youre-only-going-to-buy-one-greatest.html">Steely
Dan</a> <br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="http://abandonedandheartbroke.blogspot.com/2021/02/if-youre-only-going-to-buy-one-greatest.html">Diana
Ross and/or The Supremes</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2015/10/if-youre-only-going-to-buy-one-greatest_30.html">The
Temptations</a><br /></span>
<span style="font-family: helvetica; font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2014/10/if-youre-only-going-to-buy-one-greatest_24.html">The
Who<br /><br /></a></span></p>
<span style="font-family: helvetica; font-size: medium;">(Crossposted to <a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2023/09/if-youre-only-going-to-buy-one-greatest.html">Yesterday, Today, and Tomorrow</a>.)</span>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-82799576342545420932023-01-08T08:59:00.002-05:002023-04-02T12:32:01.551-04:00Superhits 1979, Week 49<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoBt0E20B9uxQc2aZdudKdillSjHxLKqR5SsbAuje4AzNTdz--Ujq-QDUiQZpAriT_ixjyUjjOshLrGrKm_cDIm11k80kuCsHm_YgKCqkZIpJb00PKy8GjPRE6oZLb3KZ818GGNmVMl8So6HswsMOAzNtLvjiucBc3Ae8JWGJKgYgPDiqeBAAzgeFW/s599/Styx_Babe.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="589" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoBt0E20B9uxQc2aZdudKdillSjHxLKqR5SsbAuje4AzNTdz--Ujq-QDUiQZpAriT_ixjyUjjOshLrGrKm_cDIm11k80kuCsHm_YgKCqkZIpJb00PKy8GjPRE6oZLb3KZ818GGNmVMl8So6HswsMOAzNtLvjiucBc3Ae8JWGJKgYgPDiqeBAAzgeFW/s320/Styx_Babe.jpg" width="315" /></a></p><p></p><p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
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</p><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">By Curt Alliaume</span></b></span></span></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></b></span></span></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Haven’t
written one of these in a long time. I need to make this a regular feature
again.</span></span></span></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></b></span></span></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Styx,
“Babe,” #1, 12/8/79</span></b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></span></span></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">The
favorite song my senior year in high school (I ran a poll for my high school
newspaper), and while I suspect at least a few people would change their vote
today, it’s still a popular prom and first-dance-as-a-married-couple song. Styx
singer and keyboardist Dennis DeYoung wrote the song as a birthday gift for his
wife Suzanne (the two have now been married 52 years) and made a demo with band
members Chuck and John Panozzo, not intending for it to be a band project. But
eventually, the other band members convinced him to add it to their album <i>Cornerstone</i>,
with Tommy Shaw adding the guitar solo. Previously DeYoung and Shaw, the
group’s primary songwriters, had split the singles fairly evenly, but for the
next three albums until the band took a break in the mid-1980s, every single
was written and sung by DeYoung. <br /></span></span></span></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/uBi61pgDUP8" width="320" youtube-src-id="uBi61pgDUP8"></iframe></span></span></span></div><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></span></span><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><br /></span></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></span></span></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Yvonne
Elliman, “Love Pains,” #34, 12/8/79</span></b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></span></span></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Seventh
and final chart hit for Elliman, who had hit #1 the year before with “If I
Can’t Have You” from the <i>Saturday Night Fever</i> soundtrack, and
charted early in 1979 with the title theme from <a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html">the <span>flop
movie <i>Moment by Moment</i></span></a><i>.</i> “Love Pains” is a
straightforward pop rocker and wasn’t bad at all, but by that point almost
anything the Bee Gees touched was viewed with suspicion. Elliman’s career came
to a halt after this: she and RSO Records executive Bill Oakes divorced in 1980
(not surprisingly, she didn’t release any albums for the label after that), and
upon remarrying the following year she put her career on hold to raise a
family. In 2017 she served a short prison sentence in Hawaii after being
arrested for drug possession in Guam.</span></span></span></p><p style="text-align: left;"></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/JO55uN1qvP0" width="320" youtube-src-id="JO55uN1qvP0"></iframe></span></span></span></div><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><br /></span></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></span></span></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">AC/DC,
“Highway to Hell,” #47, 12/8/79</span></b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></span></span></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">First
American chart hit for the metal band from Australia (they had been charting
there for years before). This was also the title track from the parent album,
which became their first 20 top album in the states. (Previous albums had
stalled in the lower half of the top 200, although <i>Dirty Deeds Done
Dirt Cheap</i>, which was released in Australia in 1976 but not in the U.S.
until five years later, eventually hit #3). The song is a typical example of
the band’s crunching hard rock, with lead vocals by Bon Scott, who would die
due to acute alcohol poisoning two months after this song peaked on the charts.</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/l482T0yNkeo" width="320" youtube-src-id="l482T0yNkeo"></iframe></span></span></span></div><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><br /> </span></span></span><p></p><p style="text-align: left;"></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"></span></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Frank
Mills, “Peter Piper,” #48, 12/8/79</span></b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></span></span></p><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Second
and final American Hot 100 hit for Mills (“Happy Song” would hit #41 on the
Adult Contemporary chart in 1981). It’s similar to “Music Box Dancer”—the sort
of tune that might be played before top-of-the-hour news even if it got cut off
partway through. (As I’ve said before, I have a theory that instrumentals were
more prevalent in the 1960s and 1970s due to stations being more diligent about
fulfilling FCC requirements by having regular newscasts.) Mills is now 80 and
has slowed down considerably, but in Canada, he’s had over 20 gold or platinum
albums and hosted several television variety specials. The YouTube clip shows
Mills on a variety show hosted by The Raes, whose song “A Little Lovin’ (Keeps
the Doctor Away)” <a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html">charted
earlier in the year.</a></span></span></span></p>
<p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/_0n8hoYsg9I" width="320" youtube-src-id="_0n8hoYsg9I"></iframe></span></span></span></div><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><br /> </span></span></span><p></p><p style="text-align: left;"></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Moon
Martin, “No Chance,” #50, 12/8/79</span></b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></span></span></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">The
second chart hit performed by Martin and his last in the United States; he had
a few songs hit the lower rungs of the Australian charts in the early 1980s. I
can see why this didn’t make it; it doesn’t have the urgency of either “Rolene”
or “Bad Case of Loving You (Doctor, Doctor),” the latter of which he wrote but
became a hit for Robert Palmer. This sort of meanders along; it could have been
aimed at the AC chart. Martin continued recording through the 1980s and 1990s;
he would die of natural causes in 2020.</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vpmevT_QHVo" width="320" youtube-src-id="vpmevT_QHVo"></iframe></span></span></span></div><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><br /> </span></span></span><p></p><p style="text-align: left;"></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Triumph,
“Lay It on the Line,” #86, 12/8/79</span></b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></span></span></p><p style="text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="color: #fff2cc; font-family: helvetica;"><span style="font-size: medium;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Admittedly
not as big a deal as “Hold On,” but “Lay It on the Line” was at least a solid
follow-up to their one American top 40 hit (and it may be their most popular
song overall; it has way more plays on Spotify than any other song they’ve
done). It’s kind of a rare rock song—the singer (the guy) is ready to commit to
something full-time, but the woman isn’t ready. In an interview with Songfacts,
lead singer and songwriter Rik Emmett said, “Whoever's singing that song is
saying, ‘Just give me the truth.’ That's really all I want in a relationship is
honesty. That's a fairly common theme with me. I come back to that every 15 or
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mso-pagination:widow-orphan;
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span><span style="color: #fff2cc;">Other Superhits 1979 entries you may enjoy:</span><br />
</span></b><span><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-1.html">Week
1<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-2.html">Week
2<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-3.html">Week
3<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html">Week
4<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html">Week
5<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/shalamar-take-that-to-bank.html">Week
6<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html">Week
7<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html">Week
8<br />
</a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html">Week
9<br />
</a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html">Week
10<br />
</a><a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-11.html">Week
11<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-12.html">Week
12<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-13.html">Week
13<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html">Week
14<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-15.html">Week
15<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html">Week
16<br />
</a><a href="http://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-17.html">Week
17<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-18.html">Week
18<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html">Week
19<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html">Week
20<br />
</a><a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-21.html">Week
21<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-22.html">Week
22<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/normal-0-false-false-false-en-us-x-none.html">Week
23<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-part-24.html">Week
24<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html">Weeks
25 and 26<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html">Week
27<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html">Week
28<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html">Week
29<br />
</a><a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-parts-30-and-31.html">Weeks
30 and 31<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-32.html">Week
32<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html">Week
33<br />
</a><a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-34.html">Week
34<br />
</a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-35.html">Week
35<br />
</a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-36.html">Week
36<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-parts-37-and-38.html">Weeks
37 and 38<br />
</a><a href="http://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-week-39.html">Week
39<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-40.html">Week
40<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-41.html">Week
41<br />
</a><a href="http://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/01/by-curt-alliaume-normal-0-false-false.html">Weeks
42 and 43<br />
</a><a href="http://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/01/superhits-1979-week-44.html">Week
44<br />
</a><a href="http://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/02/superhits-1979-week-45.html">Week
45<br />
</a><a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/04/superhits-1979-week-46.html">Week
46<br />
</a><a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/05/superhits-1979-week-47.html">Week
47<br />
</a><a href="https://abandonedandheartbroke.blogspot.com/2021/05/superhits-1979-week-48.html">Week
48<br /><br /></a></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Crossposted to <a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2023/01/superhits-1979-week-49.html">Yesterday, Today, and Tomorrow.</a><br /></span></span></span>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-12763204592590937962021-10-09T14:46:00.007-04:002021-10-10T09:40:23.873-04:00Songs You'll Only Listen to Once: Frank Sinatra, "L.A. Is My Lady"<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYd8j5Bzb_Dt2g-lb5NGiHdisN75XMicEOPahUncmTP9xJ2aPdlqaXDFBbqKIcA_dWtTmXbL_-BNxdxN7BiDyBDLXgK18e_Y2dF5BkyeWiwaDlHv7VF0XWQYIs53pd-rsucrtREqqsr6E/s599/2021-10-09_LA+Is+My+Lady.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="599" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYd8j5Bzb_Dt2g-lb5NGiHdisN75XMicEOPahUncmTP9xJ2aPdlqaXDFBbqKIcA_dWtTmXbL_-BNxdxN7BiDyBDLXgK18e_Y2dF5BkyeWiwaDlHv7VF0XWQYIs53pd-rsucrtREqqsr6E/w320-h313/2021-10-09_LA+Is+My+Lady.jpg" width="320" /></a></p><p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>By Curt Alliaume</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span><!--[if gte mso 9]><xml>
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<![endif]--></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">I’m not sure
this fits the category, since it’s not a <i>dreadful</i> song. But
this is an example of an ill-conceived song that hasn’t aged well.</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Back in 1984,
Frank Sinatra was still touring and very occasionally recording music. He had
gotten smart about making occasional albums after the first few released after
his “retirement” in 1971 didn’t sell as much as you would think. <i>Trilogy:
Past, Present, and Future</i> was a deservedly a big seller, and
while <i>She Shot Me Down </i>wasn’t, it is a great album made for
good reasons—Sinatra wanted to make something with one of his favorite
arrangers, Gordon Jenkins, who was ill with ALS (Jenkins “Future” portion
of <i>Trilogy </i>had gotten a lot of criticism, and Sinatra didn’t
want that to be Jenkins’ final recorded work). Sinatra had worked with Quincy
Jones a few times in the 1960s, and they had gotten along well. Since Jones was
now the hottest music producer on the planet (thanks to Michael Jackson
and <i>Thriller</i>) it made sense to give it another go. The original
plan was for Sinatra to do a record with Lena Horne, who had just won a Grammy
working with Quincy Jones, but that plan was dropped.</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">The end album
result was a Sinatra solo, with primarily standards (and “How Do You Keep the
Music Playing?”, which became a standard). But for the album’s centerpiece,
they went in a different direction. “Theme From New York, New York” had become
a top 40 hit four years before and was Sinatra’s biggest hit on the <i>Billboard</i> Hot
100 since 1969’s “My Way”. Even after it fell off the charts, it became a
surprise hit at parties and dances, usually as the last song of the evening,
complete with a kick line. So I’m sure Jones said, “Hey, why not try it again
for Los Angeles—and why can’t I get a piece of the action this time?”</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">“L.A. Is My
Lady,” cowritten by Jones, his wife Peggy Lipton, and Sinatra's favorites Alan
and Marilyn Bergman, was the result. With a synth line running throughout
(surely one of the few times synthesizers were used on a Sinatra record), it
doesn’t have the sound of “New York, New York,” but it has everything else, including
the tempo shift/kick line section at the end.</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">The weirdest
part of this song is the music video. In 1984, everybody made music videos to
get them on MTV (there weren’t really any other outlets for them at the time;
even VH1 hadn’t started up yet), but MTV mostly stuck with AOR/rock acts until
Michael Jackson forced them to play black acts as well. Still, MTV didn’t want
to play singers your parents listened to such as Sinatra. So the result was a
Frank Sinatra video with very little Sinatra in it (I’m not sure that was a
conscious decision on the part of the video director or Sinatra just declined
to film anything new--he does appear in a few older clips). It does have an
endless stream of cameos from people in the entertainment business at the time,
as well as Sinatra buddies. I’ve managed to identify all but one of them (the
running times correspond to the first appearance that person made in the
video):</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/cRKkSoXlvpo" width="320" youtube-src-id="cRKkSoXlvpo"></iframe></span></div><span style="font-size: medium;"><br /> <br /></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">0:05 – David
Lee Roth and Eddie Van Halen, from Van Halen</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">0:53 – Donna
Summer, singer</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">1:02 – Fernando
Valenzuela, pitcher, Los Angeles Dodgers</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">1:26 – Tom
Bradley, mayor of Los Angeles</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">1:29 – unknown
actor (this one is driving me crazy, so please send your ideas!) and Michael
McDonald, singer</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">1:32 – Alex
Haley, author, and Quincy Jones, music producer</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">1:34 – Dale
Bozzio, Terry Bozzio, and (I think) Warren Cuccurullo, band members, Missing
Persons</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">2:01 – James
Ingram, singer</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">2:09 – Jilly
Rizzo, restauranteur</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">2:15 – Dean
Martin, actor/singer, and LaToya Jackson, singer/sister of Michael Jackson</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">2:22 – Nancy
Sinatra, singer/daughter of Frank, with her two daughters AJ and Amanda, and
Quincy Jones’ two daughters, Kidada (designer) and Rashida (actress)</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">3:06 – Jane
Fonda, actress/workout entrepreneur, and Peggy Lipton, actress/wife of Quincy
Jones</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">3:11 – Dyan
Cannon, actress</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">3:22 – Joey
Amalfitano, Los Angeles Dodgers coach, and Tommy Lasorda, Los Angeles Dodgers
manager</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">3:39 – Clarence
Williams III, actor (far right)</span></span></p><p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">So no Ol’ Blue
Eyes except in retrospective footage, but we get Missing Persons instead. Whee!</span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">Anyway, the
song became the title track for <i>L.A. Is My Lady</i>, which was released
on Jones’ label Q Records. (Sinatra’s label normally was Reprise, which he’d
sold off to Warner Brothers a few years after starting it.) “L.A. Is My Lady”
didn’t become the hit everybody expected (it didn’t even make the <i>Billboard</i> Hot
100, although it did peak at #34 on the AC chart), and with the synthesizer
dominating the arrangements it couldn't be duplicated easily in concert.
(According to Setlist.fm, Sinatra did use it pretty regularly between 1984 and
1986, but I think it was gone thereafter.) It’s available for download or
streaming either on <i>L.A. Is My Lady</i> and the best-of <i>Sinatra
Sings Alan & Marilyn Bergman</i>, and there are few live versions (with a
notably different, small-combo jazz arrangement) for streaming or download as
well.<br /><br />(Cross posted to <a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/10/songs-youll-only-listen-to-once-frank.html">Yesterday, Today, and Tomorrow</a>.)</span></span>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com1tag:blogger.com,1999:blog-6709252094146084846.post-25501532410782593532021-05-16T10:42:00.007-04:002021-08-13T18:29:26.019-04:00Superhits 1979, Week 48<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1deZh1DKKfxSRQM5xuAXPO54T8W6ikU9fFbcFxoUKCUrNwfr3568B3Pi7KGAR5XXzYMUG-V7fgCocNbI0fPOFCcmBqHSYzbf3JPQUiOLU7M7RHsdL3p_rwotce9UWkmu2rygpNcdZZuM/s605/2021-05-16+Barry+Manilow+Ships.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="605" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1deZh1DKKfxSRQM5xuAXPO54T8W6ikU9fFbcFxoUKCUrNwfr3568B3Pi7KGAR5XXzYMUG-V7fgCocNbI0fPOFCcmBqHSYzbf3JPQUiOLU7M7RHsdL3p_rwotce9UWkmu2rygpNcdZZuM/w396-h400/2021-05-16+Barry+Manilow+Ships.jpg" width="396" /></a></p><!--[if gte mso 9]><xml>
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<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>By Curt Alliaume</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
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</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Here come the
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Barry
Manilow, “Ships,” #9, 12/1/1979</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">First single
from Manilow’s album <i>One Voice</i>, and this is an odd one: it was written
by rocker Ian Hunter, who’d released it earlier in the year on his LP <i>You’re
Never Alone With a Schizophrenic</i>. It was about Hunter’s relationship with
his father (Manilow’s own father abandoned his family when Manilow was very
young). Hardly the stuff of tender ballads, but they made it work here. From a
design standpoint, <i>One Voice</i> was the last Manilow album to use that very
1970s logo font for his name on the album cover—presumably somebody at Arista
finally wised up that it had gotten pass<span>é</span>. This isn’t the greatest video, but at
least it’s from that era.</span></span></p>
<div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/0bEr_u4YMg4" width="320" youtube-src-id="0bEr_u4YMg4"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Anne Murray,
“Broken Hearted Me,” #12, 12/1/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Capitol Records
had Murray in the studio as much as they could there for a few years; she wound
up releasing four studio albums in a little over two years between 1978 and
1980. <i>I’ll Always Love You</i> was the parent album for “Broken Hearted Me”
(which somewhat gave lie to the album title sentiment), and became Murray’s
fourth platinum album in her native Canada (it only reached gold in the
States). “Broken Hearted Me” was written by Randy Goodrum, who had also written
her “You Needed Me” (plus Michael Johnson’s “Bluer Than Blue” and Gene Cotton’s
“Before My Heart Finds Out” in 1978)—he would have a long string of writing
credits into the 21<sup>st</sup> century on the pop, AC, and country charts.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/yxMRjg_aYyM" width="320" youtube-src-id="yxMRjg_aYyM"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Chris
Thompson & Night, “If You Remember Me,” #17, 12/1/1979</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">It didn’t start
out as a Night song. “If You Remember Me” is the main theme from <i>The Champ</i>,
which starred Jon Voight, Faye Dunaway, and Ricky Schroeder in a remake of the
1931 original. It was released as a Chris Thompson standalone single (and was originally
listed as such on the Hot 100) a few weeks after Night’s second single, “Cold
Wind Across My Heart,” the follow-up to their first hit “Hot Summer Nights.”
But “Cold Wind Across My Heart” went nowhere, and when “If You Remember Me”
made the top 40, someone at Planet Records decided it was now by Chris Thompson
<i>and </i>Night—even though <i>Billboard</i> listed it otherwise, their
eponymous album didn’t include the song, and it’s likely Thompson is the only
band member on the song (it’s pretty heavily orchestrated; Night was, in theory
anyway, a rock band). Anyway, it was added to later pressings of the album.
EDIT: I originally claimed this isn’t available on Spotify; it is, but not
under either Night or Chris Thompson & Night. It’s available on a Chris
Thompson solo best of (albeit at a slightly slower speed than the regular
release), and on <i>The Champ</i> soundtrack. Use “If You Remember Me” to
search.</span></span></p>
<span style="font-size: medium;"></span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/kPASoSWkSCM" width="320" youtube-src-id="kPASoSWkSCM"></iframe></span></div><span style="font-size: medium;"><br /> </span>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Blondie,
“Dreaming,” #27, 12/1/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Blondie had
such a strange Hot 100 chart history. Ten singles reached the chart (nine
during their heyday, plus “Maria” in 1999), of which four made #1. Of the
remaining six songs, none charted higher than #24. “Dreaming” was their first
single off <i>Eat to the Beat</i>, another album that probably lost ground
because of the crowded marketplace in 1979 (it peaked on <i>Billboard</i>’s
album chart at #17, whereas <i>Parallel
Lines</i> went to #6 and <i>Autoamerican</i> to #7; all three went platinum),
and it’s pretty great: a typically dispassionate Deborah Harry vocal behind
propulsive Clement Burke drumming. (From the lines notes from their <i>Platinum
Collection</i> anthology: “Clem: I think I overplayed on the track. Everybody:
You did!”)</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/TU3-lS_Gryk" width="320" youtube-src-id="TU3-lS_Gryk"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Niteflyte,
“If You Want It,” #37, 12/1/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">As disco became
a dirty word for Top 40 programmers in late 1979, smooth R&B started to
gain some traction. Niteflyte was a two-person outfit, with percussionist
Howard Johnson and guitarist Sandy Torano, that did surprisingly well on the
pop chart with this song, which peaked on the <i>Billboard </i>R&B chart at
#21. It was their one pop hit; they had two songs make the lower reaches of the
R&B charts before breaking up in the early 1980s. Johnson would later
embark on a solo career, making #6 on the R&B chart and #1 on the dance
chart with “So Fine.”</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/Jhatcffmjis" width="320" youtube-src-id="Jhatcffmjis"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Melissa
Manchester, “Pretty Girls,” #39, 12/1/1979</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">I’m surprised
Clive Davis signed off on this song being the first single from Manchester’s
1979 LP <i>Melissa Manchester</i>; Davis loves the ballads and this is a soft
disco/rock track. “Pretty Girls” was written by Canadian singer/songwriter Lisa
Dal Bello while she was still a teenager, reaching #84 on the Canadian chart,
with a slightly more disco arrangement. (Given Dal Bello was 20 years old
when the song came out, it’s remarkably aware and cynical about how awful men
can be to young women.) Anyway, Manchester’s version managed to barely scrape
into the top 40, and considering it’s not on most of her anthologies, I guess
Arista changed its mind (it is on <i>The Essential Melissa
Manchester-The Arista Years</i>, which was assembled by Sony after they took
over Arista). Dal Bello would provide vocals on Boz Scaggs’ 1981 hit “Miss
Sun,” and then reinvented herself as an alternative rocker in the late 1980s
under the moniker Dalbello.</span></span></p>
<div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/Wif3vOcNgcY" width="320" youtube-src-id="Wif3vOcNgcY"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Ronnie
Milsap, “Get It Up,” #43, 12/1/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Yes, you read
the song title right—somebody at RCA Records either fell asleep at the switch
or decided to see what they could get away with. The song is actually a dance
track, which didn’t really fit Milsap’s style, and was the B-side of “In No
Time at All,” which made #6 on the <i>Billboard</i> country chart. (Milsap had
48 top 10 country hits between 1974 and 1991—actually, none of them peaked
below #6. How does anybody not write about that?) RCA decided to offer “Get It
Up” to pop stations, and obviously some of them played it. The title
terminology is used so vaguely in the song it would seem everybody involved
knew exactly what they were talking about, but who knows? Not available on any
of his greatest hits sets; you’ll have to listen to it on the original album, <i>Images</i>.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/5VGVc8KLV8o" width="320" youtube-src-id="5VGVc8KLV8o"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>England Dan
& John Ford Coley, “What Can I Do With This Broken Heart,” #50, 12/1/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Light disco by
white acts was certainly a thing for a little while, wasn’t it? “What Can I Do
With This Broken Heart” was either a very late follow-up to “Love Is the
Answer” (which hit #10 for the duo in late May; both songs are on their studio
album <i>Dr. Heckle and Mr. Jive</i>) or an early release from their <i>Best of
England Dan and John Ford Coley</i>. In either case, radio programmers showed
they really weren’t interested in the pair’s music except for the ballads.
Disco arranger Gene Page handled the strings on this track; among the other
players were Lee Ritenour, Wah Wah Watson, and Richie Zito on guitar (they
needed three guitarists?) plus Bill Payne and Michael Boddicker (not the
Baltimore Orioles pitcher) on keyboards.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/jqhwsAOf7Gc" width="320" youtube-src-id="jqhwsAOf7Gc"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Nature’s
Divine, “I Just Can’t Control Myself,” #65, 12/1/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">One-hit R&B
wonder act from—I’m not even sure. (According to the liner notes, their
self-titled album was recorded in Chicago, engineered in Detroit, and remixed
in New York.) Produced by Michael Stokes, who also wrote or cowrote most of the
songs; Lynn Smith and Robert Carter shared lead vocals. Released by Infinity
Records, a subsidiary of MCA, which pulled the plug on the label a few weeks
before this song peaked—and if nobody was working your music at a record label,
that pretty much brought things to a stop. Infinity had a fairly big hit with
Spyro Gyra’s <i>Morning Dance</i> album earlier in the year, but <i>Billboard</i>
noted they also distributed an album by Pope John Paul II, which turned out to
be a surprising flop and might have been the final straw. Nature’s Divine work
isn’t available anywhere anymore except YouTube.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3lIFZ58xcAqKgmyAQ0pKuEVKMfFUl6vCpQQlOCmeXKPVD3Q5a6kKmHWWBraZjB3Qk_fdsHUEzSTSwQ9Yu9LhpARXpVoUGHveaz-xq0Q70yb_Jcm-FjICGVqmB2rSXJRk_LRG9DtyXtuI/s645/No+Spotify.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="645" data-original-width="644" height="89" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3lIFZ58xcAqKgmyAQ0pKuEVKMfFUl6vCpQQlOCmeXKPVD3Q5a6kKmHWWBraZjB3Qk_fdsHUEzSTSwQ9Yu9LhpARXpVoUGHveaz-xq0Q70yb_Jcm-FjICGVqmB2rSXJRk_LRG9DtyXtuI/w89-h89/No+Spotify.jpg" width="89" /></a></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/JX17qEigsHo" width="320" youtube-src-id="JX17qEigsHo"></iframe></span></span></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><br /></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>The
Headboys, “The Shape of Things to Come,” #67, 12/1/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Another one-hit
wonder band, although this was a power pop/new wave quintet from Edinburgh,
Scotland. Originally starting under the name Badger, The Headboys recorded
their first album for RSO Records in 1979, and “The Shape of Things to Come” emerged
as their one hit, making #45 in the UK (and earning them an appearance on <i>Top
of the Pops</i>), #89 in Australia, and #17 in the Netherlands. But that was
it—none of the other singles from their first album charted anywhere, and a
second album was recorded but remained unreleased until 2010 (when it emerged
as <i>The Lost Album</i>). Of course, <i>that’s</i> the album that you can now
download or play on Spotify, <i>The Headboys</i> and “The Shape of Things to
Come” are unavailable anywhere except YouTube.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3lIFZ58xcAqKgmyAQ0pKuEVKMfFUl6vCpQQlOCmeXKPVD3Q5a6kKmHWWBraZjB3Qk_fdsHUEzSTSwQ9Yu9LhpARXpVoUGHveaz-xq0Q70yb_Jcm-FjICGVqmB2rSXJRk_LRG9DtyXtuI/s645/No+Spotify.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="645" data-original-width="644" height="89" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3lIFZ58xcAqKgmyAQ0pKuEVKMfFUl6vCpQQlOCmeXKPVD3Q5a6kKmHWWBraZjB3Qk_fdsHUEzSTSwQ9Yu9LhpARXpVoUGHveaz-xq0Q70yb_Jcm-FjICGVqmB2rSXJRk_LRG9DtyXtuI/w89-h89/No+Spotify.jpg" width="89" /></a></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/ZZlH5IQMTsE" width="320" youtube-src-id="ZZlH5IQMTsE"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> <br /></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Maxine
Nightingale, “(Bringing Out) the Girl in Me,” #73, 12/1/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Final Hot 100 chart
hit for Nightingale, who had two major top 10 hits in the 1970s in “Right Back
Where We Started From” and “Lead Me On.” It’s more uptempo than “Lead Me On”—more
along the lines of the light disco mentioned previously. Nightingale landed one
more hit on the R&B chart in 1982 with “Turn to Me,” a duet with Motown
veteran Jimmy Ruffin (the guy who sang “What Becomes of the Brokenhearted” solo;
the guy who sang lead for The Temptations is his brother David). She now mostly
performs on the oldies circuit.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/2Y62dF0MbAI" width="320" youtube-src-id="2Y62dF0MbAI"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>The Shoes, “Too
Late,” #75, 12/1/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Power pop band
from Zion, Illinois that issued their first few albums themselves as far back
as 1974. By 1979 they’d gotten a contract with Elektra Records, which released <i>Present
Tense</i>, the parent album for “Too Late.” It’s somewhat similar to The
Records’ “Starry Eyes,” and an example of what Top 40 stations should have been
playing in that era. Amazingly, the band is still together—brothers Jeff and
John Murphy, along with Gary Klebe, handled guitars, bass, and the songwriting
and vocals; they’ve had several drummers over the years. They now run their own
label, which has also included such bands as Material Issue and Local H.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/1Opz_drg1O8" width="320" youtube-src-id="1Opz_drg1O8"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>Other Superhits 1979 entries you may enjoy:<br />
</span></b><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-1.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 1<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-2.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 2<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-3.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 3<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 4<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 5<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/shalamar-take-that-to-bank.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 6<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 7<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 8<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 9<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 10<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-11.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 11<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-12.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 12<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-13.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 13<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 14<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-15.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 15<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 16<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-17.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 17<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-18.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 18<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 19<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 20<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-21.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 21<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-22.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 22<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/normal-0-false-false-false-en-us-x-none.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 23<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-part-24.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 24<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Weeks 25 and 26<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 27<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 28<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 29<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-parts-30-and-31.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Weeks 30 and 31<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-32.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 32<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 33<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-34.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 34<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-35.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 35<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-36.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 36<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-parts-37-and-38.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Weeks 37 and 38<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-week-39.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 39<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-40.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 40<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-41.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 41<br />
</span></a><a href="http://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/01/by-curt-alliaume-normal-0-false-false.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Weeks 42 and 43<br />
</span></a><a href="http://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/01/superhits-1979-week-44.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Week 44<br />
</span></a><a href="http://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/02/superhits-1979-week-45.html"><span>Week 45<br />
</span></a><a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/04/superhits-1979-week-46.html"><span>Week 46<br />
</span></a><a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/05/superhits-1979-week-47.html">Week
47</a></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/05/superhits-1979-week-48.html"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Crossposted from Yesterday, Today, and Tomorrow.</span></span></span></a></p>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-15187099861538453322021-05-14T17:29:00.003-04:002021-05-14T17:50:48.108-04:00Superhits 1979, Week 47<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH2zRS0wmBbjP6ypFtWc5ueVbAxKmPCiMWgYVB7EQQdAF4fz9Tn1_GXfSdCQSK71kGR0CqIGpIs8iRf-XaDGG1C9cQ5FARimvXWfoL6Q8lOUWubygylpt4CkGmf75sxJ_BuHpg-ySu8gk/s600/Streisand+Summer+No+More+Tears.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="573" data-original-width="600" height="383" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH2zRS0wmBbjP6ypFtWc5ueVbAxKmPCiMWgYVB7EQQdAF4fz9Tn1_GXfSdCQSK71kGR0CqIGpIs8iRf-XaDGG1C9cQ5FARimvXWfoL6Q8lOUWubygylpt4CkGmf75sxJ_BuHpg-ySu8gk/w400-h383/Streisand+Summer+No+More+Tears.jpg" width="400" /></a></div><!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>By Curt
Alliaume</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>As we got
toward the end of the year, this was a week with one monster hit and a few
other memorable minor tunes.</span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>Barbra
Streisand & Donna Summer, “No More Tears (Enough Is Enough),” #1,
11/24/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Mammoth,
huge hit that was one of pop’s first superstar duets that reached across record
labels (Streisand had recorded the #1 duet “You Don’t Bring Me Flowers” with
Neil Diamond the previous year, but both recorded for Columbia; Summer was on
Casablanca Records.) It was truly a meeting of the minds: Streisand and Summer
between them had had the #1 single for nearly 25 percent of the previous 12
months; the song was written by Bruce Roberts and Paul Jabara (who had written
for both of them in the past) and was coproduced by Gary Klein (Streisand’s
primary producer) and Giorgio Moroder (Summer’s main producer), as well as
being released on both Columbia and Casablanca (in the United States, Columbia
had the 7” single while Casablanca released the 12” disco version). Most
notable for proving Summer was just about Streisand’s equal vocally; it was a
little shocking this didn’t last at #1 longer than two weeks—perhaps proof that
the fall of 1979 was stuffed to the brim with superstar acts.</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/QsY066wa08E" width="320" youtube-src-id="QsY066wa08E"></iframe></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><br /> </span></span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>Lauren
Wood, “Please Don’t Leave,” #24, 11/24/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Wood has
been in the music business for years as a vocalist (starting with Frank Zappa)
and a songwriter (her song “Fallen” appeared on the <i>Pretty Woman</i>
soundtrack, which probably paid well), but this is her one and only top 40 hit.
And it’s a mix of styles from the era: creamy soft rock with a disco instrumental
break, featuring top-flight studio musicians (the album credits include Bill
Payne and Fred Tackett from Little Feat, Jeff Porcaro, Steve Lukather, and
David Hungate from Toto, Jim Keltner, Jay Graydon, and Ronnie Montrose). And,
of course, what song from this era would be complete without <a href="http://abandonedandheartbroke.blogspot.com/2020/12/superhits-1980-week-8.html">Michael
McDonald on harmony vocals</a>? </span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/6C3y3dqO6EY" width="320" youtube-src-id="6C3y3dqO6EY"></iframe></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><br /> </span></span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>Kermit
(the Frog), “Rainbow Connection,” #26, 11/24/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>This song,
from <i>The Muppet Movie</i>, was the second and (to my knowledge) final Hot
100 appearance by a Muppet (Ernie’s “Rubber Duckie” peaked at #16 in 1970). Used
at the start of the movie when Kermit is introduced singing it in the swamp, it
set the tone for a surprising hit film. The song was nominated for an Oscar for
Best Original Song, losing to “It Goes Like It Goes,” as sung by Jennifer
Warnes on the <i>Norma Rae</i> soundtrack. With hindsight, that looks like a
really bad decision, as “Rainbow Connection” has been covered dozens of times,
by Kenny Loggins, Sarah MacLachlan, Willie Nelson, Jane Monheit, Weezer, Gwen
Stefani, and many others. It also holds a special place in my heart: my wife
and I used to sing it to our newborn son as a lullaby.</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/WS3Lkc6Gzlk" width="320" youtube-src-id="WS3Lkc6Gzlk"></iframe></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><br /> </span></span></span><!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>Cheap
Trick, “Dream Police,” #27, 11/24/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>This was
the first single from the band’s <i>Dream Police</i> album, released on the
heels of their breakthrough with <i>Cheap Trick at Budokan</i>. The album
charted higher than any studio album they’d had before or since and went
platinum (triple platinum in Canada), but it was still seen as something of a
disappointment (<i>Budokan</i> went triple platinum in the States). In
retrospect, Epic Records might have been better off holding the album until the
first or second quarter of 1980 to avoid competition with all the other big
acts who released long-awaited albums around that time, but they didn’t.
Anyway, this is a solid rocker with full orchestration and a raging synth line.
Unfortunately, this original video has a way-too-long spoken intro.</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/OPemyipJzAM" width="320" youtube-src-id="OPemyipJzAM"></iframe></span></div><span style="font-size: medium;"><br /> </span>
<span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>The Cars, “It’s
All I Can Do,” #41, 11/24/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Second
single from <i>Candy-O</i>, and it had to be a disappointment to the band and
Elektra Records that this didn’t crack the top 40. It’s got the typical Cars sound
from that era; it’s less danceable than “Let’s Go,” but so was “Good Times Roll”
(<a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html">of
course, that peaked at #41 too</a>). The only thing I can think of is the rock
market was packed in November and AOR and Top 40 programmers were leaning
toward newly-released music instead of material from a five-month old album.
Benjamin Orr has lead vocals on this song (as he did on “Let’s Go”).</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/5aR-oixwH8w" width="320" youtube-src-id="5aR-oixwH8w"></iframe></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><br /> </span></span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>Ian Lloyd,
“Slip Away,” #50, 11/24/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>And here’s
another possibility: this song split the market. Written by Ric Ocasek of The
Cars, and with Ocasek and Benjamin Orr playing on the song as well, it would be
easy to mistake this song for something by that band instead. (Especially since
Ocasek incorporated some of the rhythms of the song into “You Might Think” a
few years later.) Lloyd was best known as the lead singer of Stories, which had
a #1 hit with a cover of Hot Chocolate’s “Brother Louie” in 1973. Lloyd sang
the lead for the remake, used as the main theme for Louis C.K.’s FX series <i>Louie</i>
from 2010 to 2015 (which is now out of circulation, or should be).</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/f0SG5SyUlK8" width="320" youtube-src-id="f0SG5SyUlK8"></iframe></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><br /> </span></span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>The Talking
Heads, “Life During Wartime,” #80, 11/24/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>You could still
lead people to the dance floor in late 1979, but you couldn’t make them think. From
the band’s 1979 album <i>Fear of Music</i>, this dance track, per David Bowman’s
book <i>This Must Be the Place: The Adventures of Talking Heads in the
Twentieth Century</i>, describes “a Walker Percy-ish post-apocalyptic landscape
where a revolutionary hides out in a deserted cemetery, surviving on peanut
butter. ‘I wrote this in my loft on Seventh and Avenue A,’ David later said, ‘I
was thinking about Baader-Meinhof. Patty Hearst. Tompkins Square. This a song
about living in Alphabet City.’” Byrne has also noted the irony of the line “This
ain’t no disco” sticking with listeners, making the band part of the antidisco
movement at the time—as any Talking Heads fan knows now, dance music is a main
component of their work.</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/jShMQw2H2cM" width="320" youtube-src-id="jShMQw2H2cM"></iframe></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><br /> </span></span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>Anita
Ward, “Don’t Drop My Love,” #87, 11/24/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Unfortunately,
you could see this one coming a mile away—Ward’s second single wasn’t nearly as
popular as “<a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html">Ring
My Bell</a>.” This was the first single from her second album, <i>Sweet
Surrender</i>, which like the first was released on Juana Records (a subsidiary
of Florida-based T.K. Records), and was also written and produced by Frederick
Knight. But the song wasn’t nearly as interesting, and pure disco was losing
steam in the pop market by the end of 1979. Ward still performs occasionally,
but never released another album in the United States after <i>Sweet Surrender.</i></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/M7bbDKG_rkk" width="320" youtube-src-id="M7bbDKG_rkk"></iframe></i></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><i><br /> </i></span></span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>
</span></b></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>Other Superhits 1979 entries you may enjoy:<br />
</span></b><span><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-1.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 1<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-2.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 2<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-3.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 3<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 4<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 5<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/shalamar-take-that-to-bank.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 6<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 7<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 8<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 9<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 10<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-11.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 11<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-12.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 12<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-13.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 13<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 14<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-15.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 15<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 16<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-17.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 17<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-18.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 18<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 19<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 20<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-21.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 21<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-22.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 22<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/normal-0-false-false-false-en-us-x-none.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 23<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-part-24.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 24<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Weeks 25 and 26<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 27<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 28<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 29<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-parts-30-and-31.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Weeks 30 and 31<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-32.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 32<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 33<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-34.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 34<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-35.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 35<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-36.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 36<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-parts-37-and-38.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Weeks 37 and 38<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-week-39.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 39<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-40.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 40<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-41.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 41<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2021/01/superhits-1979-weeks-42-and-43.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Weeks 42 and 43<br />
</span></a><a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/01/superhits-1979-week-44.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 44<br />
</span></a><a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/02/superhits-1979-week-45.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week
45<br />
</span></a><a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/04/superhits-1979-week-46.html"><span style="color: blue; mso-fareast-font-family: "Times New Roman";">Week
46</a></span></span></span></p>
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</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/05/superhits-1979-week-47.html">Crossposted from Yesterday, Today, and Tomorrow.</a><br /></span></span></span></p>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-91355799399066387082021-04-02T17:03:00.002-04:002021-04-02T17:04:29.350-04:00Superhits 1979, Week 46<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaBTpDlm5psy3I94LEwUuZ7magsTdvMX7ZiMos12IOubluCxjD_Q3d2QxCua60Wtkcyxa-bUFLE18lt9nGcZWfX2A5O-zNO5LEXIi6bOKBje2mwArX_2BJsrmjAAHLCn_u0cYXnDHh9RM/s600/2021-04-02_Still+45+Commodores.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="595" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaBTpDlm5psy3I94LEwUuZ7magsTdvMX7ZiMos12IOubluCxjD_Q3d2QxCua60Wtkcyxa-bUFLE18lt9nGcZWfX2A5O-zNO5LEXIi6bOKBje2mwArX_2BJsrmjAAHLCn_u0cYXnDHh9RM/s320/2021-04-02_Still+45+Commodores.jpg" /></a></div><!--[if gte mso 9]><xml>
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<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span face=""Arial",sans-serif">By
Curt Alliaume</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span face=""Arial",sans-serif"> </span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;">One huge hit that still
gets regular airplay in several formats, and three other top 20 songs I rarely
hear anymore.</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;"> </span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span face=""Arial",sans-serif">The Commodores,
“Still,” #1, 11/17/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;">Mammoth hit for the
band, and it’s yet another Lionel Richie ballad. (Of the band’s eight top five
pop hits, six of them were Richie ballads; the others were the funk masterpiece
“Brick House” and the post-Richie “Nightshift.”) Two weird things about this song
and its predecessor: “Still” was released as a single while “Sail On” was still
moving up the charts (“Sail On” was #8 with a bullet the week “Still” debuted
on the Hot 100), meaning some of the “Sail On” sales and airplay might have
been diluted as a result, and both songs, despite their romantic sound, are
actually kiss-off songs—they make it clear that the relationships are at their
end. It makes one wonder about Lionel: was everything okay at home? (I think it
was at that point, but </span><span style="font-size: medium;"><a href="https://people.com/archive/summertime-and-the-loving-is-anything-but-easy-for-lionel-melvin-and-stephanie-vol-30-no-3/"><span face=""Arial",sans-serif">that wasn’t the case
later on</span></a><span face=""Arial",sans-serif">.)</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><p><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/sBBNBmxkpf4" width="320" youtube-src-id="sBBNBmxkpf4"></iframe></span></span></p></div><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span face=""Arial",sans-serif">Kenny Rogers, “You
Decorated My Life,” #7, 11/1/7/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;">Second consecutive top
10 hit for Rogers, who had hit #5 with “</span><span style="font-size: medium;"><a href="http://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html"><span face=""Arial",sans-serif">She Believes in Me</span></a><span face=""Arial",sans-serif">” earlier in the year.
The song was also #1 country and #2 adult contemporary in America, and #1
country and adult contemporary in Canada. Cowritten by Debbie Hupp and Bob
Morrison (Morrison would cowrite an even bigger hit the following year with
Johnny Lee’s “Looking for Love”), this was the start of Rogers slowly edging
away from story songs (like “Lucille” and “</span><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html"><span face=""Arial",sans-serif">The Gambler</span></a><span face=""Arial",sans-serif">”), although he still
would chart the occasional narrative after that.</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><p><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/JtrlT8HZL1k" width="320" youtube-src-id="JtrlT8HZL1k"></iframe></span></span></p></div><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><br /></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;"> </span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span face=""Arial",sans-serif">France Joli, “Come to
Me,” #15, 11/17/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;">A true one-hit wonder,
“Come to Me” would be Joli’s sole Hot 100 hit. She was just 16 when the song
was released; she’d been appearing in television commercials and talent shows
from the time show was 11. Disco was on the way out by the time this song
charted, and while the 16-year-old Joli made for an interesting story, the
song’s lyric was just on the edge of being a little icky as well. This song hit
#1 for three weeks on <i>Billboard</i>’s Dance chart, as did its follow-up,
“Don’t Stop Dancing” (and she had nine more Dance chart hits through 1997), but
the pop records never happened again after that. Joli still performs today.</span></span></p><div class="separator" style="clear: both; text-align: center;"><p><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vcIXBJJeozM" width="320" youtube-src-id="vcIXBJJeozM"></iframe></span></span></p></div><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span face=""Arial",sans-serif">Michael Johnson, “This
Night Won’t Last Forever,” #19, 11/17/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;">Former WCBS-FM air
personality Bob Shannon used to run an occasional feature called “First and
Foremost,” playing a record that was the “original” recording, and then the hit
version. The Michael Johnson version of “This Night Won’t Last Forever” was the
foremost version of the song, but it wasn’t the first—singer/songwriter Bill
LaBounty cowrote the original, which peaked at #65 in July 1978. And it’s a <i>totally</i>
different version—</span><span style="font-size: medium;"><a href="https://www.metrolyrics.com/this-night-wont-last-forever-lyrics-bill-labounty.html"><span face=""Arial",sans-serif">LaBounty’s</span></a><span face=""Arial",sans-serif"> protagonist comes to
the party all alone but it’s clear he’s met someone by the third verse, and he
can join the party too. </span><a href="https://www.songfacts.com/lyrics/michael-johnson/this-night-wont-last-forever"><span face=""Arial",sans-serif">Johnson’s version
shuffles the lyrics around</span></a><span face=""Arial",sans-serif">, adds a bridge, and has him left stranded by his
girlfriend at the party, making it as sad as possible.</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><p><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/pr0pBHAXlWc" width="320" youtube-src-id="pr0pBHAXlWc"></iframe></span></span></p></div><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><br /></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;"> </span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span face=""Arial",sans-serif">Elton John, “Victim of
Love,” #31, 11/17/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;">Oy, what a stinker.
Another disco song released too late to catch the wave. Here’s the story from
Elton’s autobiography, <i>Me</i>: “It was good to see [songwriter/producer]
Pete Bellotte again, and the album we made might have worked, had I not decided
that I wasn’t going to write any songs for it—I’d just sing whatever Pete and
his staff writers came up with. I suspect the thinking behind this idea was
influenced by the fact that I only owed my American label [MCA] a couple more
albums. I was still furious about them refusing to release “Song for Guy” [as a
single; they actually did but it didn’t chart] and had decided that I wanted to
get out of my contract as quickly as possible, with the minimum of effort. Not
everything on <i>Victim of Love</i> was terrible—if the title track had come on
at Studio 54, I’d have danced to it—but making an album in bad faith like that
is never a good idea. No matter what you do, it somehow gets into the music:
you can just tell it’s not coming from an honest place. Furthermore, it was
released at the end of 1979, just as a huge backlash against disco started in
the States, with particular venom reserved for rock artists who had dared to
dabble in the genre. <i>Victim of Love</i> sank like a stone on both sides of
the Atlantic.” And deservedly so.</span></span></p><div class="separator" style="clear: both; text-align: center;"><p><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/AsEdcdNLtIs" width="320" youtube-src-id="AsEdcdNLtIs"></iframe></span></span></p></div><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span face=""Arial",sans-serif">Electric Light
Orchestra, “Confusion,” #37, 11/17/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;">Third single from <i>Discovery</i>,
and this did very well almost everywhere except the United States—it was a top
10 hit in the United Kingdom, Austria, France, Germany, Ireland, the
Netherlands, and South Africa. For the US, it might have been a combination of factors:
third singles are hard to get started on the radio, the market was packed with
top AOR acts (plus it might have been too slow for AOR but too loud for adult
contemporary), and there may have been some backlash (as Elton John alluded to)
about ELO’s brush with disco on “Shine a Little Love.” In any case, it’s a
decent enough song, with a good Jeff Lynne vocal.</span></span></p><div class="separator" style="clear: both; text-align: center;"><p><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/1jUvhJ_Tgzw" width="320" youtube-src-id="1jUvhJ_Tgzw"></iframe></span></span></p></div><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><!--[if gte mso 9]><xml>
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</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span face=""Arial",sans-serif">Leif Garrett, “When I
Think of You,” #78, 11/17/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;">No relation to the
Janet Jackson song of the same name from 1986 (unfortunately). This was
actually the third single from Garrett’s album <i>Feel the Need</i>. I’m not
sure whether Scotti Brothers was just taking its time releasing singles or was
taking awhile for them to chart (the first single, “I Was Made for Dancin’,”
peaked in mid-February and the title track in early June—by November it’s
likely copies of the album had been returned by the stores to Atlantic Records.
Anyway, it’s a drippy ballad rather than disco, so while it made #11 on the AC
chart, this was the beginning of the end of Garrett’s teenybopper idol career.
November 1979 was also the same month Garrett crashed a car while drunk and on
Quaaludes, leaving the passenger in his car a paraplegic. There are two really
odd videos for this one, so I’ll just post them both. One is from the Miss Teen
USA competition, with Bob Barker, Garrett, and some pretty tall contestants.
And the other is apparently from a TV special he did in 1979; both Marie Osmond
and Brooke Shields appear to be his paramours (I would hope that wasn’t the
case in real life).</span></span></p><div class="separator" style="clear: both; text-align: center;"><p><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/D3qS_-rplvk" width="320" youtube-src-id="D3qS_-rplvk"></iframe></span></span></p></div><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span face=""Arial",sans-serif"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/uf1Z6f3kyuE" width="320" youtube-src-id="uf1Z6f3kyuE"></iframe></span></span></div><div class="separator" style="clear: both; text-align: center;"><p><span style="font-family: helvetica;"><span style="font-size: medium;"><br /></span></span></p></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span face=""Arial",sans-serif">Tim Curry, “I Do the
Rock,” #91, 11/17/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;">Tim Curry became an
underground sensation of sorts in the late 1970s, after a musical film he did
in 1975, <i>The Rocky Horror Picture Show</i>, became a cult favorite,
appearing on college campuses and major cities in midnight showings for years.
Curry (along with such costars as Susan Sarandon, Barry Bostwick, and Meat
Loaf) had their careers launched or rejuvenated by this, and beside his long
career on the stage, in film and on television, he launched a music career as
well. (He provides the male counterpoint vocal on </span><span style="font-size: medium;"><a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html"><span face=""Arial",sans-serif">Carly Simon’s
“Vengeance,” which hit the charts earlier in 1979</span></a><span face=""Arial",sans-serif">.) This is in the <i>Rocky
Horror</i> vein and name drops like crazy, even if some of the names aren’t
familiar today (“Liz and Dick and Britt and Liza/Jaclyn, Kate, and Farrah/Meg
and Roddy, John Travolta/Governor Brown and Linda”). It’s hard to categorize
musically (I have it on a Rhino <i>New Wave Hits of the ‘80s</i> set, even
though it didn’t come out in the ‘80s and isn’t particularly new wave, either).
Curry released three albums in all. He’s still working, although a 2015 stroke
has left him wheelchair bound.</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><p><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/df9uxaqpEGQ" width="320" youtube-src-id="df9uxaqpEGQ"></iframe></span></span></p></div><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span face=""Arial",sans-serif">Ellen Foley, “What’s a
Matter Baby,” #92, 11/17/1979</span></b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;">Foley is another
singer/actor that is probably best known for one quintessential 1970s moment—in
her case, she provided all the female and counterpoint vocals on Meat Loaf’s <i>Bat
Out of Hell</i>, including “Paradise by the Dashboard Light.” (Don’t look for
her on the video; Foley wasn’t able to tour with Meat Loaf, so while her voice
can be heard, the woman shown is Karla DeVito.) Foley had already starred in a
short-run variety show on NBC, <i>3 Girls 3</i>, with Debbie Allen and Mimi
Kennedy, and had done <i>Hair</i> on Broadway; in 1979 she started recording
with Epic Records. This song hit #7 in the Netherlands, but didn’t come close
in America—and was her only hit here (her “We Belong to the Night” made it to
#1 in the Netherlands and made top 20 in two other countries). Her 1979 album <i>Night
</i>Out was produced by Ian Hunter and Mick Ronson while 1981’s <i>Spirit of
St. Louis </i>was produced by Mick Jones of The Clash, but nothing really stuck
in the States. She’s also been seen as an actress, with roles in <i>Tootsie</i>
and <i>Married to the Mob</i>, and starred on <i>Night Court</i> from 1984 to
1985 as public defender Billie Young.</span></span></p><div class="separator" style="clear: both; text-align: center;"><p><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Ua_ceyLYGCA" width="320" youtube-src-id="Ua_ceyLYGCA"></iframe></span></span></p></div><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Other Superhits 1979 entries you may enjoy:<br />
</span></b><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-1.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 1<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-2.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 2<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-3.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 3<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 4<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 5<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/shalamar-take-that-to-bank.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 6<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 7<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 8<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 9<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 10<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-11.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 11<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-12.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 12<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-13.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 13<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 14<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-15.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 15<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 16<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-17.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 17<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-18.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 18<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 19<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 20<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-21.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 21<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-22.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 22<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/normal-0-false-false-false-en-us-x-none.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 23<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-part-24.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 24<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Weeks 25 and 26<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 27<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 28<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 29<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-parts-30-and-31.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Weeks 30 and 31<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-32.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 32<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 33<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-34.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 34<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-35.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 35<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-36.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 36<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-parts-37-and-38.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Weeks 37 and 38<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-week-39.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 39<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-40.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 40<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-41.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Week 41<br />
</span></a><a href="http://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/01/by-curt-alliaume-normal-0-false-false.html"><span face=""Arial",sans-serif" style="color: blue; mso-fareast-font-family: "Times New Roman";">Weeks 42 and 43<br />
</span></a><a href="http://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/02/superhits-1979-week-45.html"><span face=""Arial",sans-serif">Week 44<br /></span></a></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><a href="http://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/02/superhits-1979-week-45.html"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;">Week 45</span></span></a></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;"> </span></span></div><span style="font-family: helvetica;"><span face=""Arial",sans-serif" style="font-size: medium;"><a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/04/superhits-1979-week-46.html">Crossposted from Yesterday, Today, and Tomorrow.</a> </span></span>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-82978537933544422432021-03-03T17:04:00.000-05:002021-03-03T17:04:31.950-05:00If You're Only Going to Buy One Greatest Hits Set From... Olivia Newton-John<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMF5cwuvBkxDdNXnKwJ-CKF-0c24ULDEj9F6ZRxKDZZtq_biUcYtxpOpr0VMsPcLZ7IsXAHal7hb28uExrY6Q2lbplS4M5PnSbYoqntR_4oRoxaJ4gra7fmE7OLyir3GHAE9jIEJvZPJU/s1000/Olivia+Newton-John+1980.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="678" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMF5cwuvBkxDdNXnKwJ-CKF-0c24ULDEj9F6ZRxKDZZtq_biUcYtxpOpr0VMsPcLZ7IsXAHal7hb28uExrY6Q2lbplS4M5PnSbYoqntR_4oRoxaJ4gra7fmE7OLyir3GHAE9jIEJvZPJU/s320/Olivia+Newton-John+1980.jpg" width="320" /></a></div><br /><!--[if gte mso 9]><xml>
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<![endif]--><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>By Curt Alliaume</span></b></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Okay, first things first: she’s not dead. I only say
this because <a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/02/if-youre-only-going-to-buy-one-greatest.html">I’ve
tended to write these pieces after the subject (or a member of the group) has
died.</a></span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Second thing: I’m not a huge Olivia Newton-John fan. I
don’t have a single one of her studio albums. I don’t <i>dislike</i> her music,
but I don’t search it out, either. I’m writing this for a reason, which I’ll
get to in a bit. (The blog version of a teaser.)</span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Anyway, Olivia Newton-John has had a pretty solid
career, for which she doesn’t receive a lot of credit compared to other female
singers of the era. Here in the United States, she’s had 27 top 40 hits, of
which 15 went top 10 (and five went to #1). In her native Australia, the number
are nearly identical: 25 top 40 hits, 15 top 10, four #1s. She’s been recording
forever: her first single, “Till You Say You’ll Be Mine”came out in 1966, her
first chart hit worldwide was in 1971 with a cover of Bob Dylan’s “If Not for
You,” and she had a run of five straight top 10 pop and country hits in the U.S.
in the mid-1970s, including a pair of #1s in “I Honestly Love You” and “Have
You Never Been Mellow.” (That was also part of a string of eight #1 Adult Contemporary
hits out of nine singles, with “Every Face Tells a Story” the only miss at #6.)</span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>But by 1978 she’d only had one top 20 pop hit in the
previous two years, and if the trend had continued we probably would have been
watching <i>The Olivia Newton-John Variety Hour</i> with costumed koalas and wallabys in a swimming pool by 1980 or so. Fortunately
for her, she signed up to play Sandy in the movie version of <i>Grease</i>, which
reignited her career. It wasn’t the best fit for her onscreen—at 29, she was too
old to realistically play the high school student Sandy (of course, she wasn’t alone
there: buying the 33-year-old Stockard Channing as a 17-year-old was a major
stretch), but audiences bought it and it became the most popular movie of 1978,
spawning three top five singles for Newton-John as well. This started her
metamorphosis from sweet country pop singer to a harder-edged dance-pop star,
with two further #1 hits in “Magic” (from her 1980 film <i>Xanadu</i>) and “Physical,”
which was #1 for ten weeks between 1981 and 1982. Other ballad singers went
dance-pop in the 1980s, some successfully (Sheena Easton), some not so much
(Melissa Manchester, “You Should Hear How She Talks About You”
notwithstanding), but Newton-John was the first.</span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Of course, all good things come to an end. After her
1983 film <i>Two of a Kind</i> flopped, and her 1985 album <i>Soul Kiss</i>
only yielded one top 20 hit, Newton-John took three years between albums
following the birth of her daughter Chloe, and found herself as a heritage
artist among the teen pop sensations of the late 1980s like Debbie Gibson and
Tiffany. She’s still recorded a number of albums and made lots of live appearances
(and she’s also survived three bouts with breast cancer), but her hit-making
days are pretty much done.</span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Which brings me to why I’m writing this. I listen to
my albums at random, and yesterday the randomizer went to one of her greatest
hits sets. I checked on Spotify to see if it was there as well—and it’s not. In
fact, if you only want to download a greatest hits set or stream it, this is
your one and only option:<br /> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhksSVqEmjVD4n4FD5nTXMF2MDgQu77NA7TM942cBi7EF33Zdv7acFxH7zljSCS7OtgdASUSLxCx6qaY_sgrlY_X8v-2LkpVs_8WeUW-RBkPC1Ac79FqFhis5k39HVIMg9PFcNXdLpCjzE/s589/ONJ+20th+Century+Masters.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="589" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhksSVqEmjVD4n4FD5nTXMF2MDgQu77NA7TM942cBi7EF33Zdv7acFxH7zljSCS7OtgdASUSLxCx6qaY_sgrlY_X8v-2LkpVs_8WeUW-RBkPC1Ac79FqFhis5k39HVIMg9PFcNXdLpCjzE/s320/ONJ+20th+Century+Masters.jpg" width="320" /></a></div></span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><i><span>20th Century Masters:
The Millennium Collection: Best Of Olivia Newton-John</span></i></b></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><i><span> </span></i></b></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Yes, the bane of my existence, the Dr. Doom to my
Captain Fantastic, the crappiest of the reissue series among the labels, Universal
Music Group’s <i>20<sup>th</sup> Century Masters: The Millennium Collection.</i>
Featuring a grand total of 12 songs and running for 42 minutes and 34 seconds
(CDs can hold up to 80 minutes of music), and missing the following top 10
songs: “If You Love Me (Let Me Know),” “You’re the One That I Want,” “Summer
Nights,” “Xanadu,” and “Make a Move on Me.” (It does have the #11 “Deeper Than
the Night,” but inexplicably out of chronological order.) It’s only available
to download on Amazon (iTunes doesn’t have it), and Spotify’s streaming version
has “Let Me Be There” and “I Honestly Love You” blocked—those two songs aren’t
available on the service <i>anywhere</i>. So something is probably up with UMG
and the rights to these songs—I don’t know what. $9.49 for the full download on
Amazon (so it’s not even a budget option anymore), new and used copies are also
available from third-party sellers with the usual caveats.</span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>So, if you want a <i>real</i> greatest hits set, you’re
going to have to buy one on CD. And there’s one good way to go… if you can find it.</span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> <br /></span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMtfUD7-XyHtktAgVZES7V07luK0fJE0DLGMlbBjSJRa7CmwCnogw5VM7f2f8hZX9Htzzr-Z80QsYEZzN4Xjb1CsnZat5IM09H3rwtgdW37Hja-EePpQYVDs8AMfSUIuvidvZLaU5h0Cs/s1059/ONJ+Gold.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1021" data-original-width="1059" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMtfUD7-XyHtktAgVZES7V07luK0fJE0DLGMlbBjSJRa7CmwCnogw5VM7f2f8hZX9Htzzr-Z80QsYEZzN4Xjb1CsnZat5IM09H3rwtgdW37Hja-EePpQYVDs8AMfSUIuvidvZLaU5h0Cs/s320/ONJ+Gold.jpg" width="320" /></a></div></span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><i><span><a href="https://en.wikipedia.org/wiki/Gold_(Olivia_Newton-John_album)">Gold</a></span></i></b></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>UMG did have its moments of corporate grace. Although
I’m not fond of the cover design on these sets (clearly modeled on Columbia/Sony’s
<i>The Essential</i> series), there’s no arguing with the track selection. It’s
chronological, misses only two American Hot 100 singles (1971’s “Banks of the
Ohio” and 1992’s “If You Need Love,” which peaked at #94 and #96 respectively
on the chart), and even includes one rarity (1980’s “Fool Country,” previously
only released as the B-side to “Magic”). It’s even available on Spotify if you
look enough (it’s not in her album discography, but if you look under Artists
Playlists, click on “Olivia Newton-John Best of” and <i>then </i>click on Gold
among the albums listed, it will show up—with 30 percent of the tracks
unavailable for streaming). I don’t think UMG made a pile of these on disc (I have one—thanks
and RIP, BMG Music Service), but if you’re a fan who wants all the hits, it’s worth
searching out. $16.48 new on Amazon for the two-CD set (until they run out, I
guess), and also available from other sellers; you might want to try your local
used record stores too.</span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-size: 12pt;"> </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Before I list the other options, a quick digression (because
it’s my blog and no one can stop me): there are two Newton-John songs that aren’t
on any of her best-ofs. I have no idea why (you’d either have to ask her or an
executive at UMG):</span>
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- John Denver’s “Fly Away,” a #13 hit from 1975, with
Newton-John on unbilled but prominent harmony vocals. There are two possible
reasons why this isn’t on any of her anthologies as far as I can tell. First,
it was released on RCA Records, which would require cross licensing, the only
one of her songs in this category—she started on EMI in Australia and her
primary label during her hitmaking years was MCA in America (except for the <i>Grease
</i>soundtrack on RSO), but all of them are now under the UMG umbrella; RCA is
not. Two, her vocal wasn’t prominent enough to merit billing (I had forgotten
it was her until a few years ago), so the corporate decision may have been “Why
bother?” (Side note to the digression: Newton-John recorded Denver’s “Take Me
Home, Country Roads” early in her career; it went top 15 in England.)</span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- Her 1980 duet with Andy Gibb, “I Can’t Help It,” which
peaked at #12. Licensing isn’t an issue here and she’s billed on the single, so
I have no guesses as to why it isn’t available from her.</span></span></span></p>
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Anyway. Here are the other options (links go to the
Wikipedia entries). <br /><br /></span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAhzdY5Y0QcAzwTFn0K4rCVR-WeT6AMnzk4znUkVA-gIe9_-2CgYuPlSkoNhccqrk0JMVfZEeKK81PqonwdwEOL28EP2_zzfeGqS3H27Hum_P4mf9rddiQWcGcLTMNjIRjmqYenaSJEkw/s601/ONJ+First+Impressions.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="601" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAhzdY5Y0QcAzwTFn0K4rCVR-WeT6AMnzk4znUkVA-gIe9_-2CgYuPlSkoNhccqrk0JMVfZEeKK81PqonwdwEOL28EP2_zzfeGqS3H27Hum_P4mf9rddiQWcGcLTMNjIRjmqYenaSJEkw/s320/ONJ+First+Impressions.jpg" /></a></div><span>- <i>First Impressions</i> (1974)—Greatest hits set
released in Australia just as Newton-John became well known in America. Some
interesting oddities (her take on George Harrison’s “What Is Life,” and “I
Honestly Love You” is billed under its original title “I Love You, I Honestly Love
You”). A huge fan could probably find a vinyl or CD version through third-party
sellers on Amazon or on eBay, with the warning that you might not get an
original copy.</span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- <i>Crystal Lady</i> (1976)—Originally released in
Japan and another one never issued in the States, this is almost everything <i>but</i>
the hits (of her major hits “Let Me Be There” is represented, and it’s a double
vinyl album with 32 songs). Again, available used on Amazon or eBay; I’d be a
little more dubious about CD copies of this.</span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibrkYwdduSdmL1wBDlE6vqe9_mpI78qxz59pOVNpyLNr9wx9xZ64j9N9GLIDnQ54qKXC9aIEosS1J1ha4A-MXQPZATqnj2o_3ML2rNvIbFr5MzqVPsPSgnANUUQU17XBRn5fKViOfdnmc/s605/ONJ+Greatest+Hits.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="605" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibrkYwdduSdmL1wBDlE6vqe9_mpI78qxz59pOVNpyLNr9wx9xZ64j9N9GLIDnQ54qKXC9aIEosS1J1ha4A-MXQPZATqnj2o_3ML2rNvIbFr5MzqVPsPSgnANUUQU17XBRn5fKViOfdnmc/s320/ONJ+Greatest+Hits.jpg" /></a></div>- <i><a href="https://en.wikipedia.org/wiki/Olivia_Newton-John%27s_Greatest_Hits"><span>Olivia</span>
Newton-John’s Greatest Hits</a></i> (1977)—Very solid representation of her
early hits; only “Banks of the Ohio” doesn’t make the cut—and it’s replaced by “Changes,”
which she wrote herself and thus could earn some royalties. Another digression:
I always though Newton-John wasn’t a songwriter and that her primary producer John
Farrar did the song selection and served as her main songwriter (which was
not uncommon for female singers in the 1970s; with the exception of Joni
Mitchell, many of the leading female singer-songwriters still had men calling
most of the shots in the studio), but in fact she did have the occasional solo writing
credit or cowrite on many of her albums, and wrote more in earnest after the
hitmaking years were done (she wrote all the songs on her album <i>Gaia: One
Woman’s Journey</i>, recorded after her first recovery from breast cancer—too bad
it’s not available for streaming or download). Anyway, this is out of print and
unavailable for download or streaming too, and some of the songs aren’t
available at all. I’d recommend looking through the used vinyl bins; it went
double platinum, so somebody bought it.</span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRNXmwtS-8TawZK7wqWg-rCSa0ntQbpJEoNCP7PZrPuWp1cQzp33fOVLKP0FEeJwSkMkP4VgumiHMe83eLLgjtvw1ytAi_t4Pq-eDUNqOzKWhAHU74Uys8dL2keB61LXx_oE04iC7JpmE/s1099/ONJ+Greatest+Hits+Vol.+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1090" data-original-width="1099" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRNXmwtS-8TawZK7wqWg-rCSa0ntQbpJEoNCP7PZrPuWp1cQzp33fOVLKP0FEeJwSkMkP4VgumiHMe83eLLgjtvw1ytAi_t4Pq-eDUNqOzKWhAHU74Uys8dL2keB61LXx_oE04iC7JpmE/s320/ONJ+Greatest+Hits+Vol.+2.jpg" width="320" /></a></div>- <i><a href="https://en.wikipedia.org/wiki/Olivia%27s_Greatest_Hits_Vol._2">Olivia’s
Greatest Hits, Vol. 2</a> </i>(1982)—Not so much this time around. Two key
songs are left off (okay, I could probably justify leaving “Deeper Than the
Night” off, but what genius decided to omit “Summer Nights”) despite there
being space on the record, and it’s in fairly haphazard order. This is another
one that’s out of print and unavailable for download or streaming; it might be
easier to find used on CD than the first hits set, and this one went double platinum
too.</span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIaFZcpM2457GXw12gfSQtHmCrGKI3Ju1P4Pboyc_RDn6bNiP9TaufnivKtIhQr-wZGGMIzpjhPlwUnO5oMzMhMyQyOrGmmCG1omXyO4lGJdPJ_3-dQ-nnwisbakdCyUDUQ-STHYgZG_4/s496/ONJ+Back+to+Basics.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="481" data-original-width="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIaFZcpM2457GXw12gfSQtHmCrGKI3Ju1P4Pboyc_RDn6bNiP9TaufnivKtIhQr-wZGGMIzpjhPlwUnO5oMzMhMyQyOrGmmCG1omXyO4lGJdPJ_3-dQ-nnwisbakdCyUDUQ-STHYgZG_4/s320/ONJ+Back+to+Basics.jpg" width="320" /></a></div>- <i><a href="https://en.wikipedia.org/wiki/Back_to_Basics:_The_Essential_Collection_1971%E2%80%931992">Back
to Basics: The Essential Collection 1971–1992</a> </i>(1992)—The title seems
longer than the running time of the album, even though this seemed to be an
all-encompassing set. First of all, there’s nothing here from 1971; the
earliest hits here are 1974’s “If You Love Me (Let Me Know).” Second, <i>nine</i>
top 20 hits are left off; if you wanted “Let Me Be There,” “Make a Move on Me,”
or two of the three <i>Xanadu</i> singles, tough luck—even though the album
clocks in at less than 55 minutes at a point in time when vinyl releases had
all but ceased. (There are four new songs recorded for this collection, none of
which became major hits.) Third, why are the songs in <i>reverse</i> chronological
order? (In fairness, the Europe/Japan and Australia releases had longer track
listings; American record executives apparently think we’re idiots.) This still
was certified gold here because it was her only all-encompassing set at the
time; it’s probably available at used CD stores. I’ve got it (I was playing this
when I went down the ONJ rabbit hole), but <i>Gold </i>is obviously way
preferable.</span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- <i><a href="https://en.wikipedia.org/wiki/Magic:_The_Very_Best_of_Olivia_Newton-John">Magic:
The Very Best of Olivia Newton-John</a> </i>(2001)—It took nine years, but UMG
managed to put out a decent one-disc set. The only two top 20 songs missing
here are “Something Better to Do” and “Soul Kiss,” which aren’t missed, and “The
<i>Grease</i> Megamix,” which had been a major hit when released worldwide
(except in the United States) in 1990, is here (and this may be the only place
to find it; Spotify doesn’t have it). $12.69 on Amazon for the one-disc set
until they run out, unavailable for streaming or download.</span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- <i><a href="https://en.wikipedia.org/wiki/40/40:_The_Best_Selection">40/40 The Best
Selection</a> </i>(2010)—Oh, I don’t know about that. Selected by Japanese fans’
vote, there are a lot of songs here most casual fans don’t know (“Long Live
Love,” “Angel Eyes,” “The Promise (The Dolphin Song)”), so while it may sound
similar to <i>Gold</i>, it’s not interchangeable. New and used copies available
on Amazon and (presumably) eBay.</span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4AjXC2sfY-J6ZkvEs2c8R1pdT4FterTuM8xkhIPikpGg2a72oyqXFOtP9NS8rx6Qt9LtGcDyfA6-_zx6lKuwTuT8kb6BYzUDXP1Rle3OGsCNZMWjFHlLJNW5Ec-SqgC4IGwWFslASI-c/s600/ONJ+Icon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4AjXC2sfY-J6ZkvEs2c8R1pdT4FterTuM8xkhIPikpGg2a72oyqXFOtP9NS8rx6Qt9LtGcDyfA6-_zx6lKuwTuT8kb6BYzUDXP1Rle3OGsCNZMWjFHlLJNW5Ec-SqgC4IGwWFslASI-c/s320/ONJ+Icon.jpg" /></a></div>- <i>Icon</i> (2013)—Another budget option from the gang
at UMG; this one leaves out “Hopelessly Devoted to You” (which means the <i>Grease</i>
singles aren’t represented at all) and “Suddenly” but adds “Xanadu.” Hardly
great, but it’s five bucks on Amazon; it might be worth buying it and
downloading the three <i>Grease</i> singles and some combination of “Sam,” “Something
Better to Do,” “Suddenly,” and “Make a Move on Me” to make a pretty good
compilation—“If You Love Me (Let Me Know)” appears to be totally unavailable
for download except for a recent live version.</span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>Other “If You’re
Only Going to Buy One Greatest Hits Set From…” Blog Posts You Might Enjoy:</span></b></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/05/if-youre-only-going-to-buy-one-greatest_29.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The Allman Brothers Band</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2015/03/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The Beach Boys</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2015/03/if-youre-only-going-to-buy-one-greatest_12.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">David Bowie</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2015/10/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The Byrds</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/08/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Glen Campbell</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2018/03/normal-0-false-false-false-en-us-x-none.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Chicago</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/03/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The Commodores</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/09/if-youre-only-going-to-buy-one-greatest_11.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Crosby, Stills, Nash & Young</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/10/if-youre-only-going-to-buy-one-greatest_25.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Fats Domino</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/01/if-youre-only-going-to-buy-one-greatest_19.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The Eagles</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/03/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Earth, Wind & Fire</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/03/if-youre-only-going-to-buy-one-greatest_21.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Electric Light Orchestra</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2014/09/if-youre-only-going-to-buy-one-greatest_29.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Fleetwood Mac</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/03/if-youre-going-to-buy-one-greatest-hits.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Dan Fogelberg</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2018/08/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Aretha Franklin</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2018/10/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Marvin Gaye</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/04/if-youre-only-going-to-buy-one.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Merle Haggard</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/02/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Daryl Hall & John Oates</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/01/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">George Harrison</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2014/09/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Heart</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2015/01/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Michael Jackson</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/01/if-youre-only-going-to-buy-one-greatest_29.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Jefferson Airplane and Jefferson
Starship</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2014/10/if-youre-only-going-to-buy-one-greatest_17.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Elton John</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/01/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">John Lennon</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/05/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The Kinks</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/07/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Paul McCartney</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2018/01/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The Moody Blues</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><a href="https://abandonedandheartbroke.blogspot.com/2019/02/if-youre-only-going-to-buy-one-greatest.html">The
Monkees</a></span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2015/10/if-youre-only-going-to-buy-one-greatest_26.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Van Morrison</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/10/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Tom Petty & The Heartbreakers</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/04/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Prince</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/02/if-youre-only-going-to-buy-one-greatest_14.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">R.E.M.</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2014/10/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The Rolling Stones</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2018/08/okay-lets-take-look-at-living-albeit.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Linda Ronstadt</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/02/if-youre-only-going-to-buy-one-greatest.html">Diana
Ross and/or The Supremes</a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/04/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Frank Sinatra</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2016/09/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Ringo Starr</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2017/09/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Steely Dan</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2015/10/if-youre-only-going-to-buy-one-greatest_30.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The Temptations</span></a></span></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://abandonedandheartbroke.blogspot.com/2014/10/if-youre-only-going-to-buy-one-greatest_24.html"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The Who</span></a></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span style="color: blue; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><span style="color: black;">Crossposted from <a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/03/if-youre-only-going-to-buy-one-greatest.html">Yesterday, Today, and Tomorrow</a>.</span> </span></span></span>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-64825048502156214952021-02-20T16:54:00.007-05:002021-02-20T21:35:29.556-05:00If You're Only Going to Buy One Greatest Hits Set by... Diana Ross and/or The Supremes<div><p style="text-align: center;"><b><span style="font-family: helvetica;"><span style="font-size: medium;"><span></span></span></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt82NQyiIWYimPi9BDq-7sAvpmdYbgHjNjPOc8fFvKQCgiUqXeK68q-Jhz1IfreIXQ1bqRmcAoOHIUhNy2ujGN6sWLCncSCF8szK9zpFH3yV7-rGcpIql5UditQqPdV3nN4A79DcPlhlE/s2048/Supremes.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1797" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt82NQyiIWYimPi9BDq-7sAvpmdYbgHjNjPOc8fFvKQCgiUqXeK68q-Jhz1IfreIXQ1bqRmcAoOHIUhNy2ujGN6sWLCncSCF8szK9zpFH3yV7-rGcpIql5UditQqPdV3nN4A79DcPlhlE/s320/Supremes.jpg" width="320" /></a></span></b></div><b><span style="font-size: medium;"><br /></span></b></div><div><div style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b><span>By Curt
Alliaume</span></b></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span> </span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span>I haven’t
written one of these in about two years, which is actually a good thing. Many
times, I’ve written a “If You’re Going to Buy” post after a famous rock or pop
star has died. Between January 2016 and January 2018, 11 of the 23 entries I
made were right after someone had passed. But the last one I wrote was after
Peter Tork of The Monkees died in 2019, so it’s been a while.</span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><span>There are
other reasons I haven’t been writing these as frequently. I’m running out of
heritage artists (I’ve written about 38 artists total), and I don’t want to go down
to lesser-known acts (“If You’re Only Going to Buy One Greatest Hits Set by… Bo
Donaldson & The Heywoods” will not get many clicks). Further, Spotify
lessens the need to run out and buy a greatest hits set somewhat (“Okay Google,
play The Rolling Stones on Spotify” takes care of it). But I’m an ownership
person; I like the idea that I actually <i>own</i> the songs on CD (or vinyl,
or MP3… which reminds me that <a href="https://www.zdnet.com/article/who-owns-your-digital-downloads-hint-its-not-you/">downloading
doesn’t necessarily mean you own it</a>, but that’s an argument for another
time, and it’s possible that’s outdated anyway).</span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><span>Anyway.
Mary Wilson died February 8 at the age of 77. Wilson was an original Supreme along with Diana Ross and
Florence Ballard (and Barbara Martin, who left a few years before the
major hits started happening); Ross is now the only surviving member of the
original group. Wilson was the only Supreme who was with the group at every
stage from the very beginning to the post-Ross very end (although she didn’t
sing on all the records; some of the latter-day “Diana Ross & The Supremes”
releases were actually Diana Ross & The Andantes, a Motown in-house backing
vocal group used by other acts as well); I also feel a kinship with her if only
because I worked on a bunch of reprints of her bestselling books <i>Dreamgirl:
My Life as a Supreme </i>(never met her, though). The Supremes had a huge run
of hits (twelve #1 pop hits between 1964 and 1969), and then both Diana Ross
and The Supremes had degrees of success after she went solo (the Supremes had
five top 20 hits between 1970 and 1972; Ross had twenty top 20 hits between
1970 and 1985). </span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><span>So what I’m
going to do is pick three options: one for The Supremes <i>with </i>Diana Ross
as part of the group, one with The Supremes <i>after</i> Ross left, and one for
Ross solo. And I’ll identify which sets combine two or all three options
(although I prefer to avoid those). Links go to the Wikipedia pages.</span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><span>For The Supremes:</span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span> <br /></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwfZrjj12j20Vlnr4wdIrdpBexv6MUUC_SQWCZZgDsSkw_ZJcjRjVzPE2jrHjaTX_MtROtgZN0nzKezIDNj7AlxAygSkIIvdVXew128awsKPt7gQ3qHGOi6UX4aOBoatrMUUKiAQIf3BY/s1200/Ultimate+Collection.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwfZrjj12j20Vlnr4wdIrdpBexv6MUUC_SQWCZZgDsSkw_ZJcjRjVzPE2jrHjaTX_MtROtgZN0nzKezIDNj7AlxAygSkIIvdVXew128awsKPt7gQ3qHGOi6UX4aOBoatrMUUKiAQIf3BY/s320/Ultimate+Collection.jpg" /></a></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><i><span><a href="https://en.wikipedia.org/wiki/The_Ultimate_Collection_(The_Supremes_album)">The
Ultimate Collection</a></span></i></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span>25 songs
on one disc, and every single Top 40 hit the group had (two are collaborations
with The Temptations) is included. No bonus tracks you’ve never heard of, no
remixes, no alternate versions (do note, though, that once in a while Motown
would have an AM radio single mix for their hit songs and use a different one
for albums for sound quality purposes; most of the hits sets stick with the
single mixes), no postbreakup stuff. You might get more bang for the buck with
other sets (this is $11.49 on Amazon and $11.99 on iTunes, which is a little
expensive for one disc), but for me, this is exactly what I want. And it came
out in 1997, so there’s a decent chance you can find a copy at a used CD store.
(Side note: this is the image used for the <i>Dreamgirl</i> book cover; it also
hung on our living room wall for years.)</span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span>For Diana
Ross:</span></span></span></span></p><span style="font-family: helvetica;"></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span> </span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPgkI9Xp047ER6U7oFnmpH80QXEjsxQRBCDHcX-W2MMKX98ID6PENMIFvxOZFonWFVASKelnOJGO4r9wvCBAlm0-RvbWSYuoPvagjbnUcvP2yIFrLNt7VFiRjzZBBctQtNUspSbE7wHfE/s600/All+the+Great+Hits.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPgkI9Xp047ER6U7oFnmpH80QXEjsxQRBCDHcX-W2MMKX98ID6PENMIFvxOZFonWFVASKelnOJGO4r9wvCBAlm0-RvbWSYuoPvagjbnUcvP2yIFrLNt7VFiRjzZBBctQtNUspSbE7wHfE/s320/All+the+Great+Hits.jpg" /></a></span></span></div><div style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><i><span><a href="https://en.wikipedia.org/wiki/All_the_Great_Hits_(Diana_Ross_album)">All
The Great Hits</a></span></i></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span>Yeah, you’re
not getting the RCA years hits here (Ross had six top 20 hits after she left
Motown in 1981 with RCA Records, now part of Sony), but for the most part Sony
and UMG haven’t figured out how to play nice. The only set that appears to
contain music from both conglomerates is the 1993 box set <i><a href="https://en.wikipedia.org/wiki/Forever_Diana:_Musical_Memoirs"><span>Forever
Diana</span>: Musical Memoirs</a></i>, which isn’t available for download, is
pretty expensive, and apparently had to be recalled because of sound quality
issues—so I would be hesitant to even pick up a used copy. Anyway, this has all
the important Motown hits (with the exception of some duets with Marvin Gaye,
which might be worth downloading separately) in the full-length versions, and
is a ridiculously cheap $5.99 to download on Amazon ($6.99 on iTunes for what started as a two-LP set), which is
less than UMG’s skimpy budget-line <i>20<sup>th</sup> Century Masters</i>
series. Warning: the vinyl version originally released in 1981 has a different
track configuration, including a Supremes mini-medley (this was the “Stars on
45” era); Motown issued it in a hurry since Ross was leaving for RCA Records.
Be wary.</span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span> </span></span></span></span></div><div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span>For The
Supremes after Ross:</span></span></span><span style="font-size: medium;"><span><span> </span></span></span><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span> </span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg-3Db-TVqhwMnRpBp8T29IxM8bzB4m6v5fiIp6Af-SLLdbt6AurNQwzpAkJ8F5i8tP6EAVzSLyFyqsg_MGTVcY3Oga0X_Oj_j6c1HEIu_FyT_DrASw56NTmC0jkEg-stubQyZbopBX-8/s1400/The+%252770s+Anthology.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg-3Db-TVqhwMnRpBp8T29IxM8bzB4m6v5fiIp6Af-SLLdbt6AurNQwzpAkJ8F5i8tP6EAVzSLyFyqsg_MGTVcY3Oga0X_Oj_j6c1HEIu_FyT_DrASw56NTmC0jkEg-stubQyZbopBX-8/s320/The+%252770s+Anthology.jpg" /></a></span></span></div><span style="font-family: helvetica;"></span><div style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><i><span><a href="https://en.wikipedia.org/wiki/The_%2770s_Anthology">The ‘70s Anthology</a></span></i></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span>The
post-Ross Supremes would probably work as a <i>20<sup>th</sup> Century Masters</i>
set, since they only had five top 20 hits, and in the early 1990s Motown
released <i><a href="https://en.wikipedia.org/wiki/The_Supremes_(%2770s):_Greatest_Hits_and_Rare_Classics">The
Supremes: Greatest Hits and Rare Classics</a></i>, a 23-song, one-disc set
including most of the important hits and album tracks, plus a few solo tracks
from Jean Terrell (Diana’s replacement) and Scherrie Payne (one of their last
lead singers and Freda Payne’s sister). Unfortunately, it’s not available for
download. <i>The ‘70s Anthology</i> is a great value at $12.49 on
Amazon and $12.99 on iTunes for two discs’ worth of music, but that’s a lot
more than all but the most fanatical Supremes fan will want. The physical
version, with liner notes by Mary Wilson, is out of print. This is available on
Spotify; give it a test drive there if you can.</span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><span>And here
are the other options (all are by The Supremes or Diana Ross & The Supremes
unless indicated otherwise); the ones I mentioned and linked to above are not
listed below.</span></span></span><span style="font-size: medium;"><br /></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span>
</span></span></span><span style="font-size: medium;"><span><i><span><a href="https://en.wikipedia.org/wiki/Greatest_Hits_(The_Supremes_album)"><br /></a></span></i></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><i></i></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBUukjbZbaisGB2GzUUr9CSzw-Oe2btPyxTS2NPQq0xJj21bTJWvErgCwMDbwycIQYhH_297X9unjtEVnmgWmg8L7JI0aMG2_IGwQZSrwiJ0QPknyAPjw08iI0L4cUr_DydPDT18IJFF0/s601/Greatest+Hits.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="601" data-original-width="599" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBUukjbZbaisGB2GzUUr9CSzw-Oe2btPyxTS2NPQq0xJj21bTJWvErgCwMDbwycIQYhH_297X9unjtEVnmgWmg8L7JI0aMG2_IGwQZSrwiJ0QPknyAPjw08iI0L4cUr_DydPDT18IJFF0/s320/Greatest+Hits.jpg" /></a></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><a href="https://en.wikipedia.org/wiki/Greatest_Hits_(The_Supremes_album)"><i>Greatest Hits</i></a><span> (1967)—The Supremes had so many hits in such a short time they’d
earned a double album for the greatest hits set (only The Miracles had been
awarded that honor by Motown, and Smokey Robinson was Berry Gordy’s best bud).
There are a few B-sides (“Ask Any Girl”) and minor hits (“When the Lovelight
Starts Shining Through His Eyes”) to pad the album to reasonable length,
although 55 minutes is still pretty short for two vinyl albums. Out of print on
vinyl and CD, unavailable for download. Side note: “The Happening” was never
released on a studio album—it was on the soundtrack for an odd 1967 movie release
of the same name where four hippies kidnap a retired mobster (you had to be
there, I guess); its first appearance on LP was here (the soundtrack didn’t
include the single).</span></span></span><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><i><span><a href="https://en.wikipedia.org/wiki/Greatest_Hits_Vol._3_(The_Supremes_album)">Greatest
Hits Volume Three</a></span></i><span> (1969)—How much do you want to bet fans scrambled
around to find <i>Volume Two</i>, which was never released as a standalone album in the States? (As far as Motown
was concerned, the two albums in <i>Greatest Hits</i> were Volume One and
Volume Two, I guess—it appears they were released that way in some territories,
and Motown mocked up a “Vol. 2” cover for an alleged two-for early in the CD
era.) Anyway, this represented their hits from the first set to Ross leaving
the group—although “Love Is Here and Now You’re Gone” and “The Happening” are
repeated from <i>Greatest Hits</i>, and the group efforts with The Temptations
(“I’m Gonna Make You Love Me”) are inexplicably left off.<br /><br /></span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbXLp0UtQpNe9IgoEZtDOXhL7DeR_7KBAgbQu8I8tuo8i6S_LBtNA7cJV0Tb6l1NnBWYEUJsqalK2ewpdZDyrwB5_KB4y_i6KUJxRQgNUrNvPq-3kXznozhpOyO3RG8y5ifN4qggiIZik/s1008/Anthologies.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1008" data-original-width="995" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbXLp0UtQpNe9IgoEZtDOXhL7DeR_7KBAgbQu8I8tuo8i6S_LBtNA7cJV0Tb6l1NnBWYEUJsqalK2ewpdZDyrwB5_KB4y_i6KUJxRQgNUrNvPq-3kXznozhpOyO3RG8y5ifN4qggiIZik/s320/Anthologies.jpg" /></a></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><i><span><a href="https://en.wikipedia.org/wiki/Anthology_(The_Supremes_album)">Anthology</a></span></i><span> (1973,
1986, 1995, 2001)—Motown never tired of releasing new configurations under the “Anthology”
banner for all their main acts, but The Supremes may lead the pack, with four
different versions. The first is only on vinyl, excludes any post-Ross songs
(which is odd, since all of the other <i>Anthology</i> releases went right through
the early 1970s), which allowed Motown to stuff in an entire album side’s worth
of standards and pop remakes the group recorded throughout the 1960s. (Berry
Gordy probably got it in his head The Supremes could be the Black version of
Barbra Streisand; it didn’t happen.) The 1986 and 1995 versions skip the
standards and add lesser tracks and the post-Ross hits; they would actually be
excellent options in lieu of getting both <i>The Ultimate Collection</i> and <i>The
‘70s Anthology</i> listed above—if you can find used copies in decent
condition. The 2001 version tosses out the post-Ross hits and adds more
alternate versions and the dreaded standards; unfortunately, that’s the one I
have (I will say the only chart hit from this era missing is the 1969 Supremes/Temptations
version of The Band’s “The Weight,” which is no great loss). I should probably
take another look at our local Half-Price Books to see what my options are,
although having already spent the money on the 2001 <i>Anthology </i>I might as
well go whole hog and download <i>The ‘70s Anthology</i> instead of getting duplicates
of 75 percent of the tracks.</span></span></span><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoNl7Moz0e6Il6A5jyIulTAxfZ7lNmOdGM-pJHnOh2Bdv196q8vfW-SA-ogvQO218RwM0B5GCwnIC14tKcMB4OFLHRYvutJjUGjEilbJQ5sOYIeCEDMTyRU165Wxz9KFm3tbi2iA4I-kc/s1500/20+Golden+Greats.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoNl7Moz0e6Il6A5jyIulTAxfZ7lNmOdGM-pJHnOh2Bdv196q8vfW-SA-ogvQO218RwM0B5GCwnIC14tKcMB4OFLHRYvutJjUGjEilbJQ5sOYIeCEDMTyRU165Wxz9KFm3tbi2iA4I-kc/s320/20+Golden+Greats.jpg" /></a></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><i><span><a href="https://en.wikipedia.org/wiki/Diana_Ross_%26_the_Supremes:_20_Golden_Greats">20
Golden Greats</a></span></i><span> (1974)—Twenty songs on one vinyl album,
available only in the UK (expanded to <i>40 Golden Greats</i> with post-Ross
hits in the CD era). Included here only to show some cover designs haven’t aged
well.</span></span></span><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><i><span>Greatest
Hits</span></i><span> (1976, Diana Ross)—Ross’ first solo anthology, issued in a hurry
(I think “Love Hangover” was still on the charts when it came out). Out of
print and unavailable for download.</span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><i><span>Ross</span></i><span> (1978,
Diana Ross)—Half new songs, half remixes of old songs. I sense Motown released
this in preparation for anticipated demand based on Ross starring in the movie
version of <i>The Wiz</i>, and that obviously didn’t happen. Out of print and
unavailable for download.</span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><i><span>At Their
Best</span></i><span> (1978)—All the post-Ross hits. Now out of print and unavailable
for download, although in 2006 UMG shoehorned <i>Greatest Hits, Greatest Hits
Volume Three</i>, and this into a Supremes entry in their <i>Gold</i> two-CD
heritage artist series ($18.99 for the download on Amazon, $19.99 on iTunes),
so that’s another option if you want to save a little money.<br /><br /><br /></span></span><span>
</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><i></i></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHthkVxbDiJqB_aZswv2tIvrM-4BHP5hoQ7kDHSp5qMxH6K9pQHCqUkokXrNj_M414Zjkgg3GJ58nigftwDSF8oNb56lD-72fYJSvaM2tjYohHhae5l5eq2BXb4fDqOV2jNzdu47jqxio/s600/To+Love+Again.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHthkVxbDiJqB_aZswv2tIvrM-4BHP5hoQ7kDHSp5qMxH6K9pQHCqUkokXrNj_M414Zjkgg3GJ58nigftwDSF8oNb56lD-72fYJSvaM2tjYohHhae5l5eq2BXb4fDqOV2jNzdu47jqxio/s320/To+Love+Again.jpg" /></a></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><i><span><a href="https://en.wikipedia.org/wiki/To_Love_Again_(Diana_Ross_album)">To Love
Again</a></span></i><span> (1981, Diana Ross)—This is strange. <i>Diana</i>, her 1980 studio
album produced by Nile Rodgers and Bernard Edwards of Chic, was still selling
like hotcakes late in the year, but Motown pushed out the ballad “It’s My Turn”
from the movie of the same name rather than a third <i>Diana</i> single, and
then conjured up another half-new half-old album to go around it, produced by
Michael Masser (who had produced several ballad-heavy albums for Ross earlier
in the 1970s). I’ve read in a couple of places Motown originally had no faith
in <i>Diana</i>—it was actually remixed by a Motown staffer before release without
Rodgers’ and Edwards’ input—and so this might have been their safety net. Anyway,
it’s out of print, including a 2003 reissue on CD only that doubled the track
listing.<br /><br /></span></span></span></span>
<span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><i></i></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd3XyskJGRN-Bd3TCbqhYSbFSkc-ig-y0azciqOPxtg8jdJTh8joiDMTBpjKn6FOffR3GWzir5QBFxu5IxT2ptTvV3YtkrUAJeihzISN2Bd-f8o7uUYsBGI5DYCV8fvngVCfz4PexMkfo/s600/Great+Songs+Performances.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd3XyskJGRN-Bd3TCbqhYSbFSkc-ig-y0azciqOPxtg8jdJTh8joiDMTBpjKn6FOffR3GWzir5QBFxu5IxT2ptTvV3YtkrUAJeihzISN2Bd-f8o7uUYsBGI5DYCV8fvngVCfz4PexMkfo/s320/Great+Songs+Performances.jpg" /></a></div><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><i>Great
Songs and Performances That Inspired the Motown 25<sup>th</sup> Anniversary TV
Special</i><span> (1983)—Motown released a batch of these after the 1983 special
garnered huge ratings; in this case it’s a little ironic since the most talked-about
moment (edited out of the broadcast show) was Ross shoving Wilson during an
attempted Supremes reunion. Anyway, ten songs in random order. Out of print and
unavailable for download.</span></span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><i><span><br />Anthology </span></i><span>(1983,
1986, Ross)—Two more vinyl albums a couple of years after <i>All the Great Hits</i>,
and a two-CD set a few years later. That’s the one I have, and it’s perfectly
good (although oddly sequenced, it seems like on Disc 2 they discovered they
had about 10 minutes of space after chronologically ordering her hits, and went
back to the early 1970s to drop in a few more). Not to be confused with <i>The
Motown Anthology</i>; out of print and unavailable for download.</span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><i><span>20 Greatest
Hits: Compact Command Performances </span></i><span>(1984)—The first Amazon review says, “Sound
quality stinks,” which isn’t surprising; I don’t think record labels had gotten
the hang of digital remastering for CD in 1984. Not available for download
(despite a link on Amazon that goes to Ross’ first solo album instead), and out
of print, probably should be avoided used.</span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><i><span>Diana Ross
& The Supremes: 25<sup>th</sup> Anniversary Collection</span></i><span> (1986)—Motown
released one of these for both The Supremes and The Temptations; I have the latter.
It was a little cheaper than <i>Anthology</i> but not as complete; split up
into two volumes (I think) for CD </span></span></span></span><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span>(the vinyl version was three LPs, and half of the set was dedicated to standards and rarities)</span></span></span></span>. These now go for a small fortune on Amazon
(unfortunately for me The Tempts’ version does not), but they’re out of print
and unavailable for download.</span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><i><span><a href="https://en.wikipedia.org/wiki/Diana_Extended:_The_Remixes">Diana Extended:
The Remixes</a></span></i><span> (1997)—There was a period in the 1990s when remixed versions of
hits were all the rage; thank God that’s over. Anyway, this came out around that
time, and if you really want to listen to dance-floor-only versions of “Someday
We’ll Be Together” and “Chain Reaction,” here you go. Out of print and
unavailable for download.<br /><br /></span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><i></i></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2ONvXIl9jwV1nnIPdqF9R8UhAmWRWMz103nzwjW-nHeMzXbJznvFRXZJ-L7elegxvXE-b8bMzbVRPxzjCSzVuGJvTDuCx6lbKOma5yx-f9Nqx-xIxjnoJCg8OoQMCWQVsUBjwRJdh50k/s1500/Greatest+Hits+RCA+Years.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1488" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2ONvXIl9jwV1nnIPdqF9R8UhAmWRWMz103nzwjW-nHeMzXbJznvFRXZJ-L7elegxvXE-b8bMzbVRPxzjCSzVuGJvTDuCx6lbKOma5yx-f9Nqx-xIxjnoJCg8OoQMCWQVsUBjwRJdh50k/s320/Greatest+Hits+RCA+Years.jpg" /></a></div><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><i>Greatest
Hits: The RCA Years </i><span>(1997, Ross)—I think all but the most diehard
Diana Ross fan would agree her years on RCA Records didn’t live up to her
Motown standard. (Long story short: Ross was offered a huge amount of money to
jump to RCA Records in 1981 and gave Berry Gordy the opportunity to match it;
despite their past personal history, Gordy passed—which probably turned out to
be a sound business decision.) Anyway, this doesn’t even have one of the top 20
hits she made for the label (“All of You,” a duet with Julio Iglesias), and
there’s a lot of filler. But since these aren’t available on any UMG-generated
best-ofs aside from the out-of-print box set, you may want to pick this up
anyway if you see it cheap. $10.99 for the download on Amazon and iTunes (but
$6.99 for the physical disc on Amazon). Note the version of “Endless Love” here
does not include Lionel Richie; it’s her solo version.</span></span><span><span>
</span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwOtBXQfdty81MwyAQApFguKL7NMdy0X347eQUSYhsuz_JQ3kLvu-BSSwWLfDFZySfaNIPhsF3prq7WwCCg0q_7GymklbhqAQlblxz5vQEJVQ_7rKWD9Hl0cCfGdIsYpjdh5WV-SYB4gE/s600/Millennium+Collection.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="536" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwOtBXQfdty81MwyAQApFguKL7NMdy0X347eQUSYhsuz_JQ3kLvu-BSSwWLfDFZySfaNIPhsF3prq7WwCCg0q_7GymklbhqAQlblxz5vQEJVQ_7rKWD9Hl0cCfGdIsYpjdh5WV-SYB4gE/s320/Millennium+Collection.jpg" width="320" /></a></div><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><i>20<sup>th</sup>
Century Masters The Millennium Collection: The Best of Diana Ross and The Supremes</i><span> (1999 for
Vol. 1 and 2000 for Vol. 2) and <i>20<sup>th</sup> Century Masters The Millennium
Collection: The Best of Diana Ross </i>(2000, Ross)—I hate these things so much
I can barely bring myself to discuss it; they’re corporate greed at its finest.
The 1999 version was issued as a low-budget option for collectors (and included
the single mixes); even though Florence Ballard is pictured on the front cover it’s
billed as “Diana Ross & The Supremes” (the group’s name was changed at the
same time Motown fired Ballard), and three songs are from the Cindy Birdsong
era. <i>Vol. 2</i>, from a year later, shows Birdsong on the cover, but five of
the eleven songs have Ballard in the group, and four other songs are from after
Ross left. Both are $6.99 for the download, and are still in print, so people
are buying them. Ross’ solo version <i>might</i> be worth picking up if
Motown had bothered to use the full-length versions of the songs (it wasn’t
because of space limitations, that’s for sure: there are only 11 songs on t</span></span></span></span><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span>each disc, so the Supremes packages are about a half hour long</span></span></span></span>), and every song is also on <i>All the Great Hits</i> in its full
version, making this almost completely useless. Also $6.99 for the download.</span></span></span><span style="font-size: medium;"><span>
</span></span></span></p></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><i><span><a href="https://en.wikipedia.org/wiki/The_Supremes_(2000_album)">The Supremes</a></span></i><span> (2000)—Four-CD
box set that contains three discs from the Ross years and one disc post-Ross.
Looks pretty fancy from the photos (I think the box is made of the same flecked
cloth material that The Bee Gees used on their concept album <i>Odessa</i>),
but that probably means they only made one print run. Unavailable for download
and $200 on Amazon for the CD (don’t think you’re getting a bargain by clicking
on the $8.99 vinyl version: that’s a copy of the post-Ross group’s studio album
of the same name).</span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><i><span>The Motown
Anthology</span></i><span> (2001, Ross)—Perfectly acceptable two-disc set of Ross’ biggest
hits—and a lot of nonhits, since her RCA material is excluded. Probably too
much for all but the most devoted Ross fans, who probably buy her studio albums
anyway. $18.99 for the download on Amazon and $19.99 on iTunes; $20.96 for the
discs on Amazon.</span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><i></i></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQMAJfxrfQuwKnU_grZ15zcW2Ln28jy6qWBGNbHKYC_6cyFhFllsWEy4hW0NFeoeI4vyjQX5GgMKM2qvZqwoWFcQXIjLSgTxznXadTxjronv9ctcZrSzCLrYDAdDWn64D-DLdA07uAaT0/s1050/1s.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1048" data-original-width="1050" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQMAJfxrfQuwKnU_grZ15zcW2Ln28jy6qWBGNbHKYC_6cyFhFllsWEy4hW0NFeoeI4vyjQX5GgMKM2qvZqwoWFcQXIjLSgTxznXadTxjronv9ctcZrSzCLrYDAdDWn64D-DLdA07uAaT0/s320/1s.jpg" width="320" /></a></div><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><i>The
#1’s</i><span> (2003, both Supremes and Ross)—24 songs on one disc, which is
good, with all three configurations represented (although the only post-Ross
Supremes song is “Stoned Love”). All the Supremes songs are labeled on Amazon
as having “2003 Remix”es, and there’s a second version of “You Keep Me Hangin’
On” with “The Almighty” remix (I’ll withhold comment on that). Strangely, this
is $6.99 on iTunes (which is usually more expensive than Amazon, it’s $10.49
there), so it might be worth a download, although I’d recommend test driving
the samples on iTunes first (it’s not available on Spotify); I checked the
track listing there and the “2003 Remix” labels aren’t there, and “Where Did
Our Love Go” sounds fine. It appears the international version has a different
cover; don’t blame me for the misplaced apostrophe.</span></span><span><span>
</span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><i></i></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifmRmXcVErwtJlzNeYyYbNQMQ_2_ukdDNXM0UkK7EBCM-Vdp_WuCSUWITaqs7DVMXpGJTqW8OvfkfMrJpHGuKgAuwZbxgRym26Bck4xY9DN4upeBXLat_H8MUHi3skBmEjv07r7KYYGbA/s1413/Joined+Together.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1413" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifmRmXcVErwtJlzNeYyYbNQMQ_2_ukdDNXM0UkK7EBCM-Vdp_WuCSUWITaqs7DVMXpGJTqW8OvfkfMrJpHGuKgAuwZbxgRym26Bck4xY9DN4upeBXLat_H8MUHi3skBmEjv07r7KYYGbA/s320/Joined+Together.jpg" width="320" /></a></div><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><i>Joined
Together: The Complete Studio Duets</i><span> (2004)—This set utilizes their two
studio albums with The Temptations, along with outtakes and other filler (a
live album from a TV special is not included) to fill up two discs. Nothing
special—the two groups were going in such different directions at the point
they didn’t mesh very well—but interesting for collectors, since Wilson and
Birdsong are present for all the recordings here; they were replaced by The
Andantes for most of the “Diana Ross & The Supremes” music at that time.
$19.99 for the download on Amazon, $24.99 on iTunes. I bought a copy from BMG
Music Service (RIP) for $2.99 or thereabouts many years ago; I’m gratified to
see the one physical copy on Amazon is priced at $902.81; maybe that can buy my
son another few days at college next year.</span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><i><span><a href="https://en.wikipedia.org/wiki/This_Is_the_Story:_The_%2770s_Albums,_Vol._1_%E2%80%93_1970%E2%80%931973:_The_Jean_Terrell_Years">This
Is the Story: The '70s Albums, Vol. 1 – 1970–1973: The Jean Terrell Years</a> </span></i><span>and <i><a href="https://en.wikipedia.org/wiki/Let_Yourself_Go:_The_%2770s_Albums,_Vol_2_%E2%80%93_1974%E2%80%931977:_The_Final_Sessions">Let
Yourself Go: The '70s Albums, Vol 2 – 1974–1977: The Final Sessions</a> </i>(2006)—UMG
utilized their imprint Hip-O records as a counterpoint to Warner Music’s Rhino
(get it?) by released short runs of box sets and long out-of-print albums in
the early 2000s; some of them have been made available for download. (I’m not
complaining; I picked up Rupert Holmes’ all-encompassing <i>Cast of Characters</i>
in 2005 that way; that sucker’s impossible to find nowadays). Anyway, Motown
put every note the group recorded after Ross left on these two sets, which are
available on Amazon for $32.99 and $28.49, respectively, for roughly three CDs
worth of music apiece ($34.99 and $29.99 on iTunes). Also available is <i>Magnificent:
The Complete Studio Duets</i>, a two-CD set of three vinyl albums recorded with
The Four Tops in the early 1970s, for $21.99 on Amazon, $24.99 on iTunes. Two
of the three are on Spotify (<i>This Is the Story</i> is not, although the five
studio albums included in the set are there individually), so you might want to
give them a listen first before making that big an investment.</span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><i><span>The
Definitive Collection</span></i><span> (2006, Ross)—Hey, I found another set that
mixes Ross’ Motown and RCA hits! Too bad it’s unavailable for download—and at
$19.95 for a single disc, you’re better off getting <i>All the Great Hits </i>and
<i>The RCA Years </i>anyway. And this doesn’t have “All of You” either. Maybe
if you see it cheap at a used CD store.</span></span></span><span style="font-size: medium;"><span>
</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><br /></span></span></span><span style="font-size: medium;"><span><i><span>The
Definitive Collection</span></i><span> (2008)—This one is available for download, but
has seven less songs than <i>The Ultimate Collection</i>. At $9.49 on Amazon
and $9.99 on iTunes, it’s also cheaper, but you’re getting a lot less bang for
the buck.</span></span></span><span style="font-size: medium;"><span><i><span> <br /></span></i></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><i><span></span></i></span></span></span><span style="font-family: helvetica;"><span style="font-size: medium;"><i><span><a href="https://en.wikipedia.org/wiki/Let_the_Music_Play:_Supreme_Rarities"><br />Let
the Music Play: Supreme Rarities 1960-1969 (Motown Lost & Found)</a> </span></i><span>(2008)—Geez,
what a title. This isn’t actually a greatest hits set (although a few hits are
on it); it’s two CDs worth of alternate takes, rarities, and such. I have this,
but only because I found it cheap at 2<sup>nd</sup> and Charles, a used CD
store that’s since closed its local location. $24.99 for the download on Amazon
and iTunes.</span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><br /></span></span></span><span style="font-family: helvetica;"><span style="font-size: medium;"><span><i><span>Diana Ross
Sings Songs From <u>The Wiz</u></span></i><span> (2015, Ross)—I dunno; <i>The Wiz </i>was
a pretty famous bomb as a movie (casting 34-year-old Ross as Dorothy Gale may
not have been a great move), so I don’t know why anyone would want a whole
album of the songs that made it to the soundtrack and those that didn’t. But if
that’s your thing, here it is. $9.49 for the download on Amazon, unavailable on
iTunes.</span></span></span><span style="font-size: medium;"><span>
</span></span></span><span style="font-family: helvetica;"></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span> </span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span>Other “If You’re
Only Going to Buy One Greatest Hits Set From…” Blog Posts You Might Enjoy:</span></b></span></span><span style="font-size: medium;"><br /></span></span></div><p><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span><a href="https://abandonedandheartbroke.blogspot.com/2017/05/if-youre-only-going-to-buy-one-greatest_29.html"><span style="color: blue;">The Allman Brothers Band</span></a></span></span></span><span style="font-size: medium;"><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2015/03/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">The Beach Boys</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2015/03/if-youre-only-going-to-buy-one-greatest_12.html"><span style="color: blue;">David Bowie</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2015/10/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">The Byrds</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2017/08/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">Glen Campbell</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2018/03/normal-0-false-false-false-en-us-x-none.html"><span style="color: blue;">Chicago</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2017/03/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">The Commodores</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2016/09/if-youre-only-going-to-buy-one-greatest_11.html"><span style="color: blue;">Crosby, Stills, Nash & Young</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2017/10/if-youre-only-going-to-buy-one-greatest_25.html"><span style="color: blue;">Fats Domino</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2016/01/if-youre-only-going-to-buy-one-greatest_19.html"><span style="color: blue;">The Eagles</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2016/03/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">Earth, Wind & Fire</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2017/03/if-youre-only-going-to-buy-one-greatest_21.html"><span style="color: blue;">Electric Light Orchestra</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2014/09/if-youre-only-going-to-buy-one-greatest_29.html"><span style="color: blue;">Fleetwood Mac</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2016/03/if-youre-going-to-buy-one-greatest-hits.html"><span style="color: blue;">Dan Fogelberg</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2018/08/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">Aretha Franklin</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2018/10/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">Marvin Gaye</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2016/04/if-youre-only-going-to-buy-one.html"><span style="color: blue;">Merle Haggard</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2017/02/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">Daryl Hall & John Oates</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2017/01/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">George Harrison</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2014/09/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">Heart</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2015/01/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">Michael Jackson</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2016/01/if-youre-only-going-to-buy-one-greatest_29.html"><span style="color: blue;">Jefferson Airplane and Jefferson Starship</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2014/10/if-youre-only-going-to-buy-one-greatest_17.html"><span style="color: blue;">Elton John</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2016/01/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">John Lennon</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2017/05/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">The Kinks</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2016/07/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">Paul McCartney</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2018/01/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">The Moody Blues</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2019/02/if-youre-only-going-to-buy-one-greatest.html">The
Monkees</a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2015/10/if-youre-only-going-to-buy-one-greatest_26.html"><span style="color: blue;">Van Morrison</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2017/10/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">Tom Petty & The Heartbreakers</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2016/04/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">Prince</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2017/02/if-youre-only-going-to-buy-one-greatest_14.html"><span style="color: blue;">R.E.M.</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2014/10/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">The Rolling Stones</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2018/08/okay-lets-take-look-at-living-albeit.html"><span style="color: blue;">Linda Ronstadt</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2017/04/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">Frank Sinatra</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2016/09/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">Ringo Starr</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2017/09/if-youre-only-going-to-buy-one-greatest.html"><span style="color: blue;">Steely Dan</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2015/10/if-youre-only-going-to-buy-one-greatest_30.html"><span style="color: blue;">The Temptations</span></a></span></span></span><br /><span><span><span><a href="https://abandonedandheartbroke.blogspot.com/2014/10/if-youre-only-going-to-buy-one-greatest_24.html"><span style="color: blue;">The Who</span></a></span></span></span></span></span></p><p><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span>Crossposted from <a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/02/if-youre-only-going-to-buy-one-greatest.html">Yesterday, Today, and Tomorrow</a>. </span></span></span></span><br /></p>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-4422545682931615012021-02-05T21:55:00.004-05:002021-02-05T21:59:52.561-05:00Superhits 1979, Week 44<p> </p><p> </p><div class="separator" style="clear: both; text-align: center;"><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL5ZJ-clTZfCJfvQCeAnbCJiaV4SjZkxz2M7HGpRdIhn4gVW0xfu35iS6Y0rhCH6Kfr5sgQpSsbC17ZnVDcy0_pR_ytBbb9H6bUEmNhzwPUXA8bVSM34zaiEBTrNKMzyPqS5n0f_7kIjo/s641/Eagles+Heartache+Tonight.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="641" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL5ZJ-clTZfCJfvQCeAnbCJiaV4SjZkxz2M7HGpRdIhn4gVW0xfu35iS6Y0rhCH6Kfr5sgQpSsbC17ZnVDcy0_pR_ytBbb9H6bUEmNhzwPUXA8bVSM34zaiEBTrNKMzyPqS5n0f_7kIjo/s320/Eagles+Heartache+Tonight.jpg" /></a></p></div><p style="text-align: left;"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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mso-para-margin-left:0in;
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<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>By
Curt Alliaume</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Several big hits, a
couple of should-have-been hits, a few songs you’ll never hear again, and one
that shouldn’t be here at all.</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b> </b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>The Eagles, “Heartache
Tonight,” #1, 11/10/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">First single from the
band’s long-awaited album <i>The Long Run</i>, and arguably the best song on
the album (don’t get me started; my review of the album on Amazon years ago got
<i>lots</i> of disagreement). Cowritten by band members Glenn Frey and Don
Henley with longtime ally J.D. Southern and Frey’s old pal Bob Seger, it’s a
third-person look at the good and bad things that happen in romance every
night. In his book <i>To the Limit: The Untold Story of The Eagles, </i>Marc
Eliot quotes J.D. Souther about the song: “Glenn and I were walking around my
living room just clapping our hands, without any instruments, which is pretty
much how we recorded it. I always though ‘Heartache’ would have been a perfect
song for Sam Cooke. Bob Seger, by the way, gave us the title.”</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/a2wdHwHS_u4" width="320" youtube-src-id="a2wdHwHS_u4"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Donna Summer, “Dim All
the Lights,” #2, 11/10/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Third single from her
album <i>Bad Girls</i>, and it’s pretty awesome—this gets <i>lots</i> more airplay
today than either <a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html">“Bad
Girls”</a> or “Hot Stuff.” Summer had cowrites on many of her big hits, but she
wrote this one herself, and it would seem she wrote it about her flame, Bruce
Sudano (they would marry in 1980 and remained together until Summer’s death in
2012). The only reasons this missed hitting the top of the charts were a glut
of superstar releases at the time, and the fact that one of them was Summer’s
duet with Barbra Streisand, “No More Tears (Enough Is Enough),” which was climbing
the charts rapidly at that point. But this song deservedly is on all of her
best-ofs—and shows that she’s a really awesome singer (and can hold a note!).</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/HdkE4H_NDZs" width="320" youtube-src-id="HdkE4H_NDZs"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>The Knack, “Good Girls
Don’t,” #11, 11/10/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">On the other hand, this
gets almost no radio play today—it’s regarded as the smutty follow up to <a href="https://abandonedandheartbroke.blogspot.com/2020/03/?m=0">“My Sharona.”</a>
The song is written from the viewpoint of a high school boy putting the make on
a high school girl, who turns out to be more than willing to succumb to his
advances. Many of the band’s songs were written from this perspective, which
was one of the reasons public opinion turned against the band (Doug Fieger was
27 by this point, so his fixation on having sex with high school girls was
getting icky); resentment from more established acts toward these newcomers
also accounted for some of the backlash. Anyway, this had to be edited to get
on the radio, the line “wishing you could get inside her pants” became “wishing
she was giving you a chance,” and on the bridge, “when she puts you in your
place” is “till she’s sitting on your face.” (Of course, the edited version is
almost impossible to find nowadays.)</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/Sc4l5EpCMEc" width="320" youtube-src-id="Sc4l5EpCMEc"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Jennifer Warnes, “I
Know a Heartache When I See One,” #19, 11/10/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">First single from
Warnes’ album <i>Shot Through the Heart</i>; it’s a mournful look at romance.
Warnes writes some of her own material (she contributed three songs for this
album), but this one was cowritten by Rory Bourke, Kerry Chater, and Charlie
Black. Andrew Gold contributed guitar, tambourine, and backing vocals to the song,
which was coproduced (as was the rest of <i>Shot Through the Heart</i>) by Rob
Fraboni, who served as the best man at the wedding of Eric Clapton and Pattie
Boyd Harrison earlier that year. On a sad note, this may have been one of the
last top 40 songs drummed by Jim Gordon, whose schizophrenia eventually
sidelined him from music (he murdered his mother in 1983 during a schizophrenic
episode and has been in prison ever since).</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/THrxN5rfKmM" width="320" youtube-src-id="THrxN5rfKmM"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>The Crusaders, “Street
Life,” #36, 11/10/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Great late-night club
song, when the tempo slows just a bit and couples get closer together. This
song was sung by Randy Crawford. The Crusaders were primarily a jazz band, not
an R&B group (although they charted seven songs on the pop charts and 15
songs on the R&B side), but this one broke all boundaries (including in the
United Kingdom, where it became a top five hit). Originally a quintet, by the
time “Street Life” (and the parent album of the same name) was recorded, they
were a trio—Joe Sample on keyboards, Stix Hooper on drums, and Wilton Felder
handling saxophone and bass, along with plenty of studio help. This song was
probably boosted by Herb Alpert including his own recording of “Street Life” on
his <i>Rise</i> album, which released concurrently. I have this on three
Crusaders albums (<i>Street Life</i> and two different box sets); my only wish
is I also had the single edit too (the album version runs over eleven minutes).</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/KDgu9RGeOKg" width="320" youtube-src-id="KDgu9RGeOKg"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>The Sports, “Who
Listens to the Radio,” #45, 11/10/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">One-hit (in the United
States, anyway) new wave/power pop band out of Melbourne, Australia; this song came
from their second album <i>Don’t Throw Stones.</i> Written by band members
Stephen Cummings and Andrew Pendlebury, it appears to have two different
versions (the “original” has a piano in its arrangement, the other version uses
electric keyboards). Released on Mushroom Records in Australia (not the same
label that originally released Heart’s records), punk/new wave label Stiff
Records in the United Kingdom (and, weirdly, fairly conservative Arista Records
in the U.S.), the band charted nine singles in Australia during its run between
1977 and 1983, but nothing else crossed over, and they broke up after that.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/Rd-oYM88niQ" width="320" youtube-src-id="Rd-oYM88niQ"></iframe></span></span></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Earth, Wind, and Fire, “In
the Stone,” #58, 11/10/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">I can only attribute
this single flopping in the U.S. due to radio stations all of a sudden getting
sick of the band (which, admittedly, had been all over the place for several
years), because this is one of their very best songs. “In the Stone” contains a
hot horn arrangement and great harmony vocals, so it’s hard to see why the song
was such a letdown after the #2 “After the Love Has Gone”—all I can think is
EWF was unfairly being lumped into the disco backlash. It took two years until
they had their next top 40 hit with “Let’s Groove” Cowritten by Maurice White,
Allee Willis, and David Foster.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/d7FEsYmaakU" width="320" youtube-src-id="d7FEsYmaakU"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Cory Daye, “Pow Wow,” #76,
11/10/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">How on earth did this
get played on the radio? With its chorus lyric “Gonna have a pow wow/Pass the
peace pipe,” it’s not far from 1910 Fruitgum Company’s “Indian Giver,” which
was a top five hit in the late 1960s but is now pretty much banned from radio
for obvious reasons. Anyway, Cory Daye was part of Dr. Buzzard’s Original
Savannah Band (and would later become part of the successor group Kid Creole
and The Coconuts), but as a solo act, she worked with Sandy Linzer, who had
plenty of success in the 1960s working with The Four Seasons, The Monkees, and
Jay & The Techniques (and who would later cowrite “I Believe in You and Me”
for The Four Tops, which later became a huge hit for Whitney Houston), and
Linzer’s material didn’t cut it this time around.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/UWKvSErnBOA" width="320" youtube-src-id="UWKvSErnBOA"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Funkadelic, “(Not Just)
Knee Deep,” #77, 11/10/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">One of Funkadelic’s
weirder songs, and that’s saying something (anybody listened to <i>Maggot Brain</i>
lately?). From their album <i>Uncle Jam Wants You</i> (which hit the top 20 on
release, but is inexplicably out of print and unavailable for download today),
this one picks up where Chic’s “Le Freak” left off lyrically (“She was a freak,
never missin' a beat, yeah/She was a freak, boy was it neat, yeah/Not just knee
deep, she was totally deep/When she did the freak with me”). Written by George
Clinton, the song runs fifteen minutes long (and was split in two for the
single release). It was sampled on De La Soul’s 1989 song “Me Myself and I.”</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/_20BvG3H6DY" width="320" youtube-src-id="_20BvG3H6DY"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Wilson Bros., “Another
Night,” #94, 11/10/1979</b></span></span></p><p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">And this is an error on
my part—this song actually peaked at #94 nearly a full month before November
10; I had the date wrong on my Excel spreadsheet. Sorry about that, folks.
Anyway, that’s probably more interesting than the story of this song (written
by Allan Clarke, Terry Sylvester, and Terry Hicks of The Hollies; their version
hit #71 in 1975). The Wilson Brothers, Steve and Kelly, recorded their <i>Another
Night</i> album in 1979, produced by Kyle Lehning (Firefall). Steve Lukather of
Toto played guitar on every song <i>except</i> this one.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/1bQskRuZQks" width="320" youtube-src-id="1bQskRuZQks"></iframe></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><br /> </span></span><p style="text-align: left;"><span style="font-family: helvetica; font-size: medium;"><span>
</span></span></p><p style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>Other Superhits 1979 entries you may enjoy:<br />
</b><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-1.html"><span style="color: blue;">Week 1<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-2.html"><span style="color: blue;">Week 2<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-3.html"><span style="color: blue;">Week 3<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html"><span style="color: blue;">Week 4<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html"><span style="color: blue;">Week 5<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/shalamar-take-that-to-bank.html"><span style="color: blue;">Week 6<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html"><span style="color: blue;">Week 7<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html"><span style="color: blue;">Week 8<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html"><span style="color: blue;">Week 9<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html"><span style="color: blue;">Week 10<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-11.html"><span style="color: blue;">Week 11<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-12.html"><span style="color: blue;">Week 12<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-13.html"><span style="color: blue;">Week 13<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html"><span style="color: blue;">Week 14<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-15.html"><span style="color: blue;">Week 15<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html"><span style="color: blue;">Week 16<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-17.html"><span style="color: blue;">Week 17<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-18.html"><span style="color: blue;">Week 18<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html"><span style="color: blue;">Week 19<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html"><span style="color: blue;">Week 20<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-21.html"><span style="color: blue;">Week 21<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-22.html"><span style="color: blue;">Week 22<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/normal-0-false-false-false-en-us-x-none.html"><span style="color: blue;">Week 23<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-part-24.html"><span style="color: blue;">Week 24<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html"><span style="color: blue;">Weeks 25 and 26<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html"><span style="color: blue;">Week 27<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html"><span style="color: blue;">Week 28<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html"><span style="color: blue;">Week 29<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-parts-30-and-31.html"><span style="color: blue;">Weeks 30 and 31<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-32.html"><span style="color: blue;">Week 32<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html"><span style="color: blue;">Week 33<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-34.html"><span style="color: blue;">Week 34<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-35.html"><span style="color: blue;">Week 35<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-36.html"><span style="color: blue;">Week 36<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-parts-37-and-38.html"><span style="color: blue;">Weeks 37 and 38<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-week-39.html"><span style="color: blue;">Week 39<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-40.html">Week
40</a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-41.html">Week
41</a><br />
<a href="http://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/01/by-curt-alliaume-normal-0-false-false.html">Weeks
42 and 43</a><br />
<a href="http://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/01/superhits-1979-week-44.html">Week
44</a></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;">Cross posted to <a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/02/superhits-1979-week-45.html">Yesterday, Today, and Tomorrow</a>. </span></span>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-46472237004810605832021-01-23T21:15:00.002-05:002021-01-23T21:15:33.677-05:00Lost Classics: Deniece Williams, "It's Gonna Take a Miracle"<p> </p><p align="center" class="MsoNormal" style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhReYlMXrVQPZ5kI3jh_vLLpvZWT_5ndatX-ASGp3adD66dC7OnteOKV1ePiLB10FFUsIo4EyReiTW84178UyTRotSlprIWDONJwJpmIoN8XRn1PTrW4e3UN37MFwWMk_7ViepkXzjN-v8/s600/It%2527s+Gonna+Take+a+Miracle.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhReYlMXrVQPZ5kI3jh_vLLpvZWT_5ndatX-ASGp3adD66dC7OnteOKV1ePiLB10FFUsIo4EyReiTW84178UyTRotSlprIWDONJwJpmIoN8XRn1PTrW4e3UN37MFwWMk_7ViepkXzjN-v8/s320/It%2527s+Gonna+Take+a+Miracle.jpg" /></a></p><div style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>By Curt Alliaume</b></span></span><br /><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span></div><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Most people know Deniece Williams from her #1 hit “Let’s
Hear It for the Boy,” taken from the (first) <i>Footloose</i> soundtrack. (Her
version also appears in the 2011 movie remake, although not on the accompanying
soundtrack.) Some might recall her 1978 duet with Johnny Mathis, “Too Much, Too
Little, Too Late,” which also hit #1. And a few others remember her voice from
the TV series <i>Family Ties</i>; she sings the opening credits theme “Without
Us” with Mathis. But this song—which she took to #10 in the spring of 1982—is
easily my favorite.</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Written by Teddy Randazzo and Bobby Weinstein in 1965, the
song was intended for Little Anthony and The Imperials, who had previously made
top 20 hits out of their songs “Goin’ Out of My Head” and “I’m on the Outside
(Looking In).” But the group was questioning the status of their royalty
payments with their record label, so the song went to The Royalettes, who took
it to #41 on the <i>Billboard</i> pop chart. It’s a little overproduced on the
choruses, but it’s still a lovely song about pain and a relationship that won’t
ever come together again. And this is a great period video, which was probably
made for a 1960s TV show (local, maybe?); it looks like it was recorded on the
Promenade in Brooklyn.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/G7Mxtdg752Q" width="320" youtube-src-id="G7Mxtdg752Q"></iframe></span></div><span style="font-size: medium;"><br /> <br /></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Laura Nyro used the song as the title track for her covers
album <i>Gonna Take a Miracle</i>, released in 1971 with Labelle (Patti
Labelle, Nona Hendryx, and Sarah Dash) on backing vocals—this version was
arranged lightly by producers Kenny Gamble and Leon Huff, the better to
showcase the vocals. Later, The Manhattan Transfer revived the song for their
1996 album <i>Tonin’</i>, with Bette Midler on lead vocals; unfortunately Arif
Mardin’s arrangements haven’t aged well.</span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">But Williams’ version really is something else. This version
was produced by Thom Bell, who had spent the 1970s working with The Stylistics
and The Spinners, and thus knew his way around a classic R&B ballad. There
are no synthesizers here; Bell uses only a light electric keyboard, otherwise
the arrangement hews closely to the original (without turning up the volume on
the title lyric like The Royalettes’ record): guitar, piano, bass, drums, and
strings, which was exactly the opposite direction most producers were going in
the 1980s. And Williams, who spent several years as a backing singer for Stevie
Wonder before going on her own, gets to show off her four-octave range years
before Mariah Carey thought to do it. It’s a record that is both beautiful and
heartbreaking. <br /></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">I also love the video, which was clearly shot in Manhattan
(but where? Soho? Upper West Side? Where were the car dealerships in Manhattan
in 1982?). The intro was extended a bit for Williams to chat, using 1980s video
technology to make her appear on a billboard. It’s such an irresistible period
piece in the days before videos became just as important than the songs
themselves (in 1982, there was no chance a female Black R&B singer was going
to ever appear on MTV, which had barely started and was aimed squarely at white
AOR fans.)</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/YOXCvyfsjB8" width="320" youtube-src-id="YOXCvyfsjB8"></iframe></span></div><span style="font-size: medium;"><br /> </span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;">Williams was still occasionally touring before COVID-19, and
she’s moved into gospel, winning four Grammys there (she was nominated for Best
Female R&B Performance for this song, losing to Jennifer Holliday’s “And I
Am Telling You I’m Not Going” from the Broadway version of <i>Dreamgirls</i>).
Give this a spin on Spotify when you’re making a mix of late-night ballads.
It’s on her 1982 studio album <i>Niecy</i> and both of her greatest hits albums
with Columbia Records, <i>The Essential Deniece Williams</i> and <i>The Best of
Deniece Williams: Gonna Take a Miracle</i>.</span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: medium;"> </span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">(Crossposted from <a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/01/lost-classics-deniece-williams-its.html">Yesterday, Today, and Tomorrow</a>.) </span></span>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-44621753624311479632021-01-17T19:48:00.005-05:002021-01-18T09:24:42.652-05:00Superhits 1979, Week 44<a class="ribbon date" href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/01/superhits-1979-week-44.html" itemprop="url" title="1 minute ago"></a><div class="article-header"><a class="ribbon date" href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/01/superhits-1979-week-44.html" itemprop="url" title="1 minute ago"><div class="tail">
</div></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn05VITLyAqAiBE4yYW6pZaJEvj8gWgbs3JPAI5DyDQoT3V3E_EU00rZZjY9AEtYMY7A7xOC-jSkGT785FS76RUTgzgDtyVwvVRiNguGHxzcrlL8A204G4trT3A3DfqelNdhghDvsmqLg/s600/Family+Circus.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn05VITLyAqAiBE4yYW6pZaJEvj8gWgbs3JPAI5DyDQoT3V3E_EU00rZZjY9AEtYMY7A7xOC-jSkGT785FS76RUTgzgDtyVwvVRiNguGHxzcrlL8A204G4trT3A3DfqelNdhghDvsmqLg/s320/Family+Circus.jpg" /></a></div><!--[if gte mso 9]><xml>
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</span></span><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>By Curt Alliaume</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Weird week.</span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>M, “Pop
Muzik,” #1, 11/3/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Fall 1979 saw
tons of superstar acts releasing albums; the <i>Billboard</i> album chart for
November 3 had albums that had been on the charts for ten weeks or less from
(deep breath): The Eagles, Led Zeppelin, Styx, Foreigner, Cheap Trick,
Fleetwood Mac, Herb Alpert, Michael Jackson, Bob Dylan, Barry Manilow, Kenny
Rogers, The Alan Parsons Project, Funkadelic, Jethro Tull, Jimmy Buffett,
Blondie, Kenny Loggins, Elton John, Barbra Streisand, Donna Summer, The Police,
and Rick James, with albums to come from Stevie Wonder, The Bee Gees, Tom Petty
& The Heartbreakers, Abba, and ZZ Top. And yet, somehow among this pile of
talent, this song made it to #1. M is the name for a “music project”—not really
a band—headed by Robin Scott, who had been knocking around the British music
scene for years, working with pop and punk vets. He recorded “Pop Muzik,” a
summation of the previous 25 years of music, in early 1979, and the song hit
the top three in countries all over the world—including the United States. It
would be his one and only chart hit in the States (he had five more hits in the
UK through 2002). He still records, and sometimes works with his daughter
Berenice—who’s pictured on the “Pop Muzik” sleeve as a baby.</span></span></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/2R0o7d1Aw5c" width="320" youtube-src-id="2R0o7d1Aw5c"></iframe></div><br /><span style="font-size: medium;"><br /></span></div><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Fleetwood
Mac, “Tusk,” #8, 11/3/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Speaking of
weird, Fleetwood Mac had 20 choices for a first single off their double album <i>Tusk</i>,
and they chose the title track—which was the strangest song on the album and one
of the oddest in the band’s history. It’s primarily percussion based, featuring
the University of Southern California marching band adding their percussion and
horns. (I don’t know if this was the case in 1979, but when my family took a
campus tour two years ago they specifically noted any student who wanted to
join the band was welcome, even if they’d never played an instrument to that
point.) Mick Fleetwood told <i>MusicRadar</i> he used lots of different things
for percussion, including hitting a leg of lamb with a spatula. And the singing—well,
it’s more like murmuring and chanting; only Buckingham’s voice is recognizable.
Not surprisingly, this was <i>not</i> what radio expected for the first single,
so if there was a competition with the Eagles (who also released their
long-awaited album, <i>The Long Run</i>, at the same time), it wasn’t close.</span></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/ATMR5ettHz8" width="320" youtube-src-id="ATMR5ettHz8"></iframe></div><br /><span style="font-size: medium;"><br /></span><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><span style="font-size: medium;">
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Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
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<![endif]--><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Bob Dylan, “Gotta
Serve Somebody,” #24, 11/3/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Dylan goes Christian.
Bob Dylan converted from Judaism to Christianity between late 1978 and early
1979 (he’s since converted back), and he went the whole way, creating several
albums filled with Christian music. This was the one hit from that period—in fact,
it’s his last top 40 hit. It also has more of an R&B influence (probably
because it was produced by legendary producer Jerry Wexler and was recorded in
Muscle Shoals, Alabama, although Dire Straits’ Mark Knopfler and Pick Withers also
appear on the parent album <i>Slow Train Coming</i>. In 1979 and 1980, Dylan
would only perform his Christian-influenced songs in concert (which included
his 1980 album <i>Saved</i> and part of his 1981 album <i>Shot of Love</i>),
which did not make his fans happy. (Or other admirers; John Lennon recorded the
answer record “Serve Yourself” in 1980, which wasn’t released until a 1998 box
set.) Dylan appeared on <i>Saturday Night Live</i> on October 24 and performed “Gotta
Serve Somebody” and two other <i>Slow Train Coming</i> songs; it remains his
only <i>SNL</i> appearance. Couldn’t link that video; you get his 1980
appearance at the Grammys (where this won him the Best Male Rock Vocal Performance);
that appears to be Donna Summer, Kenny Loggins, and Kris Kristofferson happy to
see him at the beginning of the video.</span></span></p><span style="font-size: medium;">
</span><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/0MzyBv4yOPU" width="320" youtube-src-id="0MzyBv4yOPU"></iframe></div><br /><span style="font-size: medium;"><br /> </span><span style="font-size: medium;"><span style="font-family: helvetica;">
</span><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Brenda
Russell, “So Good, So Right,” #30, 11/3/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">It’s possible
many people reading this aren’t all that familiar with Brenda Russell—and I
have to admit I haven't listened to much of her music, other than her two top 40
hits and her song “Dinner With Gershwin,” which Donna Summer turned into a minor
hit. This is her first hit, from her eponymous first solo album (she’d
previously recorded two albums with then-husband Brian Russell on Elton John’s
Rocket Records), and it’s a good one—a solid fit for pop, AC, or quiet storm
R&B stations (yeah, I know that wasn’t a format at the time). Russell wrote or cowrote all the songs on that album. <i>Brenda
Russell</i> album also contains her version of her song “Think It Over,” which had
been a top 40 pop hit the previous year for Cheryl Ladd (don’t laugh, she can
really sing).</span></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/bbpxQVV0Gus" width="320" youtube-src-id="bbpxQVV0Gus"></iframe></div><br /><span style="font-size: medium;"><br /> </span><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Jimmy
Buffett, “Fins,” #35, 11/3/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Buffett’s only
had seven top 40 pop hits in his career (I’m counting his more recent hits with
Alan Jackson and the Zac Brown Band, but not “Voices That Care”); this is the
fifth of them, and was cowritten by Buffett, former Coral Reefer Band members Deborah
McColl and Barry Chance, and novelist Tom Corcoran (who’s a friend of Buffett’s).
It’s about a female transplant from Cincinnati becoming “the only girl in town”
when she moves to a city on the beach and attracts the attention of land sharks
(a.k.a. men). By the way, a “remora” is also known as a suckerfish, which in
mythology was believed to keep ships from sailing. “Fins” is one of the
original Buffett “Big 8” songs that he plays at nearly every concert.</span></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/8dcVyZ9CH9Y" width="320" youtube-src-id="8dcVyZ9CH9Y"></iframe></div><br /><span style="font-size: medium;"><br /> </span><span style="font-size: medium;"><span style="font-family: helvetica;">
</span><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Gloria
Gaynor, “Let Me Know (I Have a Right),” #42, 11/3/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">It’s very hard
to follow up a classic song like <a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html">“I
Will Survive,”</a> it’s even harder when the follow-up song is a weak rewrite
of the original. “Let Me Know (I Have a Right)” was written and produced by
Dino Fekaris and Freddie Perren, who had also worked on “I Will Survive,” and
they don’t have much in their bag of tricks this time around. This would be the
Hot 100 hit for Gaynor, who would record a few more albums for Polydor before
moving the oldies circuit. She became a born-again Christian in 1972, has done
a bunch of rerecordings of “I Will Survive” (I doubt she makes much from the
original), and has some concerts tentatively scheduled for later in 2021.</span></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/l8RiFSJ2Sf8" width="320" youtube-src-id="l8RiFSJ2Sf8"></iframe></div><br /><span style="font-size: medium;"><br /> </span><span style="font-size: medium;"><span style="font-family: helvetica;">
</span><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Chic, “My
Forbidden Lover,” #43, 11/3/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Nothing wrong
with this song, but as with the song above, <a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html">“Good
Times”</a> set a standard that was hard to match, especially when you’re
competing with superstar acts and disco has become a naughty word. “My
Forbidden Lover” also sounds somewhat like other Chic organization songs (“I
Want Your Love,” Sister Sledge’s “Got to Love Somebody,” even Diana Ross’ “Upside
Down”). I’m sure nobody with Chic thought “Good Times” not only would be the
band’s last #1 pop hit but also their last <i>top 40</i> hit as a band, but
that’s the way it goes. The instrumental track has been reused on several
songs, most recently The Black Eyes Peas 2010 song “Fashion Beats.”</span></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/5A8K8QPCbIU" width="320" youtube-src-id="5A8K8QPCbIU"></iframe></div><br /><span style="font-size: medium;"><br /> </span><!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><b>The Who, “5:15,”
#45, 11/3/1979</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;">Second time in
1979 The Who released one of their classic songs as a single years after the
fact as part of a movie soundtrack (the first was <a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html">“Long
Live Rock,”</a> which was included on <i>The Kids Are Alright</i> documentary earlier
in the year). This was a remix of the band’s version from the original <i>Quadrophenia</i>
studio album, and was included in the movie version of <i>Quadrophenia</i>
(which admittedly wasn’t as big a deal as the movie version of <i>Tommy</i>,
although it may have held up better over time). It’s probably not surprising
the song didn’t strike a chord at AM radio, referring to sexually knowing 15
year old girls, and taking uppers and downers. But “My Generation” gets a
reference as well. I don’t particularly care for this video, which was made
relatively recently, but none of the videos from the movie itself linked
properly.</span></span></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/XC9YY1urT8Q" width="320" youtube-src-id="XC9YY1urT8Q"></iframe></div><br /><span style="font-size: medium;"><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /></span><span style="font-size: medium;"><span style="font-family: helvetica;">
</span><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Neil Young, “Rust
Never Sleeps (Hey Hey, My My [Into the Black]),” #79, 11/3/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Okay, it’s only
taken me 40-plus years to change my mind about this song—twice. For years I
thought it was from the studio album <i>Rust Never Sleeps</i>, which was released
in June 1979 and became Young’s biggest seller since 1972’s <i>Harvest. </i>This
is the song everybody talks about when they think of the album, which is
presented in two versions: an acoustic version (“My My, Hey Hey [Out of the
Blue}”) and this electric one. (Kurt Cobain included the lyric “it’s better to
burn out than to fade away” in his 1994 suicide note, about which Young later
said, “When he died and left that note, it struck a deep chord inside of me. It
fucked with me.”) I’m not sure why “Rust Never Sleeps” is included as part of
the song title on the single, as it’s not included on the album titles (and
wasn’t on the <i>Billboard</i> Hot 100 listing, although that may have been due
to space limitations). A few years ago, I saw it listed on Wikipedia—as from
Young’s live album <i>Live Rust</i>, which was officially released November 14,
four months after <i>Rust Never Sleeps</i>. Okay, I thought, I guess the live
version was released as a single rather than the “live” version (all the songs
on <i>Rust Never Sleeps</i> were recorded in concerts during the <i>Comes a
Time</i> tour, with crowd noise mixed out). So in researching this post, I
looked it up again today—and I know this is going to stun everyone reading
right now, but Wikipedia is wrong. Discogs shows <a href="https://www.discogs.com/Neil-Young-Crazy-Horse-Hey-Hey-My-My-Into-The-Black/master/217280">actual
label photos of the single</a>—which list the parent album as <i>Rust Never
Sleeps </i>(click on More Images under the photo of the single sleeve), and the
catalog number listed matches the one listed in <i>Billboard</i>. I don’t know
about you, but I’ll be able to sleep better tonight. Anyway, this was a
monstrously popular single and album in my high school during the fall of 1979
(I took a music survey that year for our school newspaper), but I didn’t take
much notice of it then. So to the New Providence High School Classes of 1980,
1981, 1982, and 1983, I apologize—I was young and foolish.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: helvetica;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/Y4Yo7Y-jgmc" width="320" youtube-src-id="Y4Yo7Y-jgmc"></iframe></span></span></div><span style="font-size: medium;"><span style="font-family: helvetica;"><br /> </span></span><span style="font-size: medium;"><span style="font-family: helvetica;">
</span><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Keith
Herman, “She’s Got a Whole Number,” #87, 11/3/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Pop/rock song
that sounds like something out of the British Invasion rather than a song you’d
hear at the end of the 1970s. It’s a little obtuse (and why would she have a
whole number, rather than a negative number or a fraction?), but it’s not unpleasant.
<i>The Next Song Is…</i> was Herman’s second and final album, but his first on Radio
Records, a small independent label that probably is best known now for
inflicting “Stars on 45” on the United States. Herman cowrote the song with
Robert W. Walker and played guitars and bass on his album, although he brought
in some other pretty good guitarists: Steve Cropper of Booker T. & The MG’s,
and Wayne Perkins, who played on albums by Joni Mitchell, Lynyrd Skynyrd, The
Everly Brothers, and The Rolling Stones (in fact, Perkins was considered as a
possible band member before Ron Wood got the nod). This icon indicates it's not available for streaming on Spotify.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: helvetica;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBFVUPicd9TeaE1Exh5uGUUbkLiMX3F6LjnAtW7pml4ZDnLAgBFM1pvPxCcDd_TFtbGFhc_lp8WqXqODIRclcyQOponj0HJmRYA0LHsjmdRFqjvNiAeAq_EuC6boqHNZEk0IVp7a_Z4kg/s645/No+Spotify.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="645" data-original-width="644" height="97" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBFVUPicd9TeaE1Exh5uGUUbkLiMX3F6LjnAtW7pml4ZDnLAgBFM1pvPxCcDd_TFtbGFhc_lp8WqXqODIRclcyQOponj0HJmRYA0LHsjmdRFqjvNiAeAq_EuC6boqHNZEk0IVp7a_Z4kg/w97-h97/No+Spotify.jpg" width="97" /></a></span></span></div><span style="font-size: medium;"><span style="font-family: helvetica;"><br /><br /></span></span><p></p><span style="font-size: medium;"><br /></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"> </span></span></p><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b> </b></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b> <div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/eDSNickw3J4" width="320" youtube-src-id="eDSNickw3J4"></iframe></div><br /></b></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /></b></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Other Superhits 1979 entries you may
enjoy:<br />
</b><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-1.html"><span style="color: blue;">Week 1<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-2.html"><span style="color: blue;">Week 2<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-3.html"><span style="color: blue;">Week 3<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html"><span style="color: blue;">Week 4<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html"><span style="color: blue;">Week 5<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/shalamar-take-that-to-bank.html"><span style="color: blue;">Week 6<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html"><span style="color: blue;">Week 7<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html"><span style="color: blue;">Week 8<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html"><span style="color: blue;">Week 9<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html"><span style="color: blue;">Week 10<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-11.html"><span style="color: blue;">Week 11<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-12.html"><span style="color: blue;">Week 12<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-13.html"><span style="color: blue;">Week 13<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html"><span style="color: blue;">Week 14<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-15.html"><span style="color: blue;">Week 15<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html"><span style="color: blue;">Week 16<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-17.html"><span style="color: blue;">Week 17<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-18.html"><span style="color: blue;">Week 18<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html"><span style="color: blue;">Week 19<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html"><span style="color: blue;">Week 20<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-21.html"><span style="color: blue;">Week 21<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-22.html"><span style="color: blue;">Week 22<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/normal-0-false-false-false-en-us-x-none.html"><span style="color: blue;">Week 23<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-part-24.html"><span style="color: blue;">Week 24<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html"><span style="color: blue;">Weeks 25 and 26<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html"><span style="color: blue;">Week 27<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html"><span style="color: blue;">Week 28<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html"><span style="color: blue;">Week 29<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-parts-30-and-31.html"><span style="color: blue;">Weeks 30 and 31<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-32.html"><span style="color: blue;">Week 32<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html"><span style="color: blue;">Week 33<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-34.html"><span style="color: blue;">Week 34<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-35.html"><span style="color: blue;">Week 35<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-36.html"><span style="color: blue;">Week 36<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-parts-37-and-38.html"><span style="color: blue;">Weeks 37 and 38<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-week-39.html"><span style="color: blue;">Week 39<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-40.html"><span style="color: blue;">Week 40</span></a></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-size: medium;"><span style="font-family: helvetica;"><a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-41.html"><span style="color: blue;">Week 41</span></a></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-size: medium;"><span style="font-family: helvetica;"><a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/01/by-curt-alliaume-normal-0-false-false.html">Weeks
42 and 43</a></span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-size: medium;"><span style="font-family: helvetica;"> </span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-size: medium;"><span style="font-family: helvetica;">(Cross posted from <a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/01/superhits-1979-week-44.html">Yesterday, Today, and Tomorrow</a>.) <br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /><br /></div><br />Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-33061691600585591372021-01-13T21:22:00.002-05:002021-01-13T21:30:46.086-05:00Superhits 1979, Weeks 42 and 43<p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVUBEK1dc03bXXtNKEW9KTintzQC8NQ2Ofq5vrcwZOiGfRFMNMk2HhjzDEAK_n031JrCeI-aws2Ol3oZmcH4pD8I26FeJbp3kwcvuXyDeqxnqfZ1ONSlAd758y9r1DHkqHZHIx4tnYiyc/s600/Family+Circus.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVUBEK1dc03bXXtNKEW9KTintzQC8NQ2Ofq5vrcwZOiGfRFMNMk2HhjzDEAK_n031JrCeI-aws2Ol3oZmcH4pD8I26FeJbp3kwcvuXyDeqxnqfZ1ONSlAd758y9r1DHkqHZHIx4tnYiyc/s320/Family+Circus.jpg" width="320" /></a></span></div><p></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>By Curt Alliaume</b></span></span><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">I’ve
combined the two weeks into one entry, since there are only 12 songs total. We’re
getting near the end of 1979.</span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Herb
Alpert, “Rise,” #1, 10/20/1979</b> </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Huge
surprise hit for Alpert, who hadn’t had a top 40 hit (either solo or with the
Tijuana Brass) since 1968, when “This Guy’s in Love With You” also hit #1.
“Rise” was originally planned as a typical disco song at about 120-125 beats
per minute, but the final mix slowed down the tempo to 100 beats per
minute—which made it danceable, but also more appropriate for couples to cuddle
on the dance floor. “Rise” was famously used by the ABC soap opera <i>General
Hospital </i>as the background music for the rape of Laura Spencer (Genie
Francis) by Luke Webber (Anthony Geary)—which was the start of the two
characters as a couple. (<i>General Hospital</i> famously retconned the scene
as a seduction for a while; in recent years the scene was retconned again to a
date rape.) I can’t find any kind of an episode guide for the show, but it
appears the claim that the song’s appearances in the show made it a hit are
misleading at best; the episode in question likely aired sometime in October
1979; “Rise” had already hit #4 in <i>Billboard</i>’s September 23 issue. I
bought my 12" clear vinyl single at that time, which I thought would be
worth a lot of money someday; it’s not. That’s Herb’s wife, Lani Hall (who had
been the lead singer for Sergio Mendes and Brasil ’66, a big act for Herb’s
A&M Records in the 1960s) in the video.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/VJ95FaapL58" width="320" youtube-src-id="VJ95FaapL58"></iframe></span></div><span style="font-size: medium;"><br /> <br /></span><p></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Dionne
Warwick, “I’ll Never Love This Way Again,” #5, 10/20/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Warwick’s
comeback hit was just about as shocking as Alpert’s; this was her first top 30
hit since 1969, excluding her appearance with The Spinners on the 1974 #1 hit
“Then Came You” (and The Spinners were red hot at that time). Warwick had moved
to Warner Brothers in 1971 from Scepter Records, where she’d been lost among
their stable of rock artists; losing Burt Bacharach and Hal David to write,
produce, and arrange her material was also a huge blow. (A brief name change to
Dionne Warwicke, or the recommendation of astrologist Linda Goodman, was a
further hindrance.) In 1979, Warwick was with Arista Records, which was a good
fit: she had a sympathetic ear in producer Barry Manilow and a label head in
Clive Davis who preferred his singers to not be songwriters. “I’ll Never Love
This Way Again” has many of the earmarks of a Manilow song; beside Manilow’s
production, it was written by Richard Kerr and Will Jennings, who had written
Manilow’s hits “Looks Like We Made It” and “Somewhere in the Night.”</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/LO9NP-SiT8s" width="320" youtube-src-id="LO9NP-SiT8s"></iframe></span></div><span style="font-size: medium;"><br /> </span><p></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>John
Stewart, “Midnight Wind,” #28, 10/20/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Like
“Gold,” this song features Stevie Nicks on harmony vocals (it’s almost a duet),
and Lindsey Buckingham produced and played guitar. Obviously it didn’t chart
nearly as high as “Gold,” but there was a lot of competition at the time
(including Fleetwood Mac’s own song “Tusk”). Stewart did not have fond memories
of “Gold,” but he seemed okay with this one, rerecording it for his own label’s
retrospective <i>Airdream Believer</i> without Nicks as far as I can tell (the
female vocalist doesn’t get any billing)—it’s on Spotify, but the original
version is not; you’ll have to settle for YouTube for that one. This got a lot
of FM airplay; it’s a great atmospheric late summer/early fall song with a
theme along the lines of Bruce Springsteen’s “Thunder Road.”</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/IfTb8jUmDVQ" width="320" youtube-src-id="IfTb8jUmDVQ"></iframe></span></div><span style="font-size: medium;"><br /> </span><p></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Kiss,
“Sure Know Something,” #47, 10/20/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Surprisingly
heartfelt midtempo song that was undeservedly ignored at radio (partly a
general Kiss backlash, and probably from some fans irritated by the move toward
disco with “I Was Made for Lovin’ You”). This is mostly the Paul Stanley show:
he cowrote it with producer VIni Poncia, sings lead, and handles most of the
guitar work (Ace Frehley did some overdubs and backing vocals, Gene Simmons is
on bass, and Anton Fig subs for Peter Criss on drums). Some reviews claim
there’s a disco influence here too, but I can’t hear it—it sounds more like an
attempt to reach the pop market that didn’t quite work.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/PSURhxNYmDw" width="320" youtube-src-id="PSURhxNYmDw"></iframe></span></div><span style="font-size: medium;"><br /> </span><p></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>The
Records, “Starry Eyes,” #56, 10/20/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">One
of the first great power pop releases; too bad it didn’t find more of an
audience. The Records formed in England, led by drummer Will Birch and rhythm
guitarist John Wicks, who cowrote six of the ten songs on their first album and
had a hand in writing most of the others. (They also cowrote songs for Rachel
Sweet and The Searchers.) “Starry Eyes,” in its single version, took
off—somewhat—on American radio, but nowhere else. The American release of <i>The
Records</i> (titled <i>Shades in Bed</i> elsewhere) was reconfigured to include
the single version of the song, rather than the album version. The album was
coproduced by future superstar producer Robert “Mutt” Lange. Further releases
yielded no hits anywhere, and the band broke up in 1982; a short 1990 reunion
failed to stick. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/ETKeiEcQlac" width="320" youtube-src-id="ETKeiEcQlac"></iframe></span></div><span style="font-size: medium;"><br /> </span><p></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Sammy
Hagar, “Plain Jane,” #77, 10/20/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Hagar’s
only hit from his 1979 solo album <i>Street Machine</i>. Unlike his previous
solo albums with Capitol staff producer John Carter, who moved Hagar into crooner
territory, Hagar produced himself, and played to his strengths: crunchy hard
rock and belting along the lines of Robert Plant. <i>Street Machine</i> didn’t
chart much higher than any of his previous Capitol solo albums—once you’re on
your fourth solo album and haven’t become a consistent seller, you’re not going
to get a ton of label support—but it did peak at #71, higher than any album
he’d done excluding Montrose’s <i>Paper
Money</i><span> from 1974.</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/M72sI8wjBpE" width="320" youtube-src-id="M72sI8wjBpE"></iframe></span></div><span style="font-size: medium;"><br /> </span><p></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Cherie and Marie Currie, “Since You’ve Been Gone,”
#95, 10/20/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">The Currie sisters (they’re identical twins) had
their one and only chart hit two years after Cherie left The Runaways, her
original band. “Since You’ve Been Gone” was written by singer/songwriter Russ
Ballard, who’d previous sung lead for the band Argent (“Hold Your Head Up”);
Head East’s version of the song (under the title “Since You Been Gone”) hit #46
in 1978. Cherie and Marie weren’t quite 20 years old when the album came out
(which wouldn’t be a surprise to Runaways fans; the band was formed based on
the idea that people would want to see naughty teen rockers), but they got a
group of studio vets to help with their album <i>Messin’
With the Boys</i>: Bill Champlin, Waddy Wachtel, and Toto members
Mike Porcaro, Bobby Kimball, and Steve Lukather (who later married Marie). But
the album didn’t sell, and despite Cherie having a key role in the 1980 movie <i>Foxes</i>, they didn’t
last as a group (Cherie had drug problems during this time, which probably
didn’t help). Cherie now works as a woodcarving artist (and was married to
actor Robert Hays), Marie has worked as a mortgage broker.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/vzofZh6hFMQ" width="320" youtube-src-id="vzofZh6hFMQ"></iframe></span></div><span style="font-size: medium;"><br /> </span><p></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Foreigner, “Dirty White Boy,” #12, 10/27/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">First single from the band’s third album, <i>Head Games</i>; this would be
the only time the lead single from a Foreigner album wouldn’t make the top five
until their 1991 LP <i>Unusual Heat</i> (which, probably not coincidentally, was the first album the band
recorded without lead singer Lou Gramm). More telling: the song only charted in
the United States and Canada (which would be the case for all three singles
from <i>Head Games</i>; “Love on the Telephone,” released as a single only in Europe, hit
#34). The song has been seen by some as a somewhat racist statement given its
title; band leader Mick Jones said this is not the case. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/tJSRfztl_tc" width="320" youtube-src-id="tJSRfztl_tc"></iframe></span></div><span style="font-size: medium;"><br /> </span><p></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Journey, “Lovin’, Touchin’, Squeezin’,” #16,
10/27/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">It took five studio albums, but Journey got
themselves a top 40 single. (Too bad it’s this one, which I personally cannot
abide, but that’s a matter of personal taste.) The second single from their
album <i>Evolution</i> (the
first single, <a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html"><span>“Just the Same Way,”</span></a><span> inexplicably had Gregg Rolie on lead
vocals), it definitely leans more pop than the band had been in the past (and
would continue heading in that direction in the future). Written by Steve
Perry, and based on his real-life experience of seeing his girlfriend macking
on another guy.</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/fTkHFQC3wow" width="320" youtube-src-id="fTkHFQC3wow"></iframe></span></div><span style="font-size: medium;"><br /> </span><p></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Ian Gomm, “Hold On,” #18, 10/27/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Gomm is the second most famous member of 1970s
British rock band Brinsley Schwarz (behind Nick Lowe, with whom he cowrote
“Cruel to Be Kind”). Gomm released his solo debut, <i>Summer
Holiday</i>, in England in 1978, but it was resequenced by
Epic Records in the United States (and renamed <i>Gomm
With the Wind</i>, which may not have meant as much in other
territories), and “Hold On” took off on pop, AC, and some AOR stations.
Produced by Martin Rushent (who would later produced records for The Human League,
Buzzcocks, and The Go-Go’s), the song would be Gomm’s only hit, although he did
release a few more albums. He lives in Wales, and maintains a website on his
career.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/8Kfe9EF8ArY" width="320" youtube-src-id="8Kfe9EF8ArY"></iframe></span></div><span style="font-size: medium;"><br /> </span><p></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Bama, “Touch Me When We’re Dancing,” #86,
10/27/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">Bama was a three-man studio group (Ken Bell, Terry
Skinner, and J.L. Wallace) that happened to write a successful song as their
one and only hit. “Touch Me When We’re Dancing” only hit the bottom reaches of
the Hot 100 here (it made #42 on the Adult Contemporary chart), but The
Carpenters had better luck with it two years later, hitting #16 with the song,
which would be their last top 40 hit. Bama is not to be confused with the legendary
country band Alabama, who <i>also </i>recorded the song, taking it to #1 on the Country charts in both the
United States and Canada. The three of them also wrote “Even the Nights Are
Better,” which would be a top five hit for Air Supply in 1982. Bama’s “Touch Me
When We’re Dancing” is one of the rare songs unavailable on Spotify (much less
for download); you’ll have to listen to it on YouTube to hear it at all.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/7E_TvpDkXHY" width="320" youtube-src-id="7E_TvpDkXHY"></iframe></span></div><span style="font-size: medium;"><br /></span><p></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>The Isley Brothers, “It’s a Disco Night (Rock Don’t
Stop),” #90, 10/27/1979</b></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;">I love The Isleys, but they were very late to the
party on this one—putting “disco” in the title pretty much guaranteed no
airplay from top 40 stations in late 1979. (It’s not even a particularly “disco”
sounding song; it’s more of The Isleys’ soul-funk style. I don’t want to make
it sound like a bad song—it’s a perfectly good song, that probably would get
more airplay on oldies stations today if it had been a hit back then.) Anyway,
it didn’t help the band regain standing on the pop charts (they hadn’t had a
top 40 pop hit since 1975’s “For the Love of You”), and only reached #27 on the
Soul chart. From their double album <i>Winner Take All</i> (another bad choice during the summer and fall of 1979, when rising
oil prices made double LPs very expensive).</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/53U1qcXSJj8" width="320" youtube-src-id="53U1qcXSJj8"></iframe></span></div><span style="font-size: medium;"><br /> </span><p></p><span style="font-size: medium;"><span style="font-family: helvetica;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"> </span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;"></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-family: helvetica;"><b>Other Superhits 1979 entries you may enjoy:<br />
</b><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-1.html"><span style="color: blue;">Week 1<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-2.html"><span style="color: blue;">Week 2<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-3.html"><span style="color: blue;">Week 3<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html"><span style="color: blue;">Week 4<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html"><span style="color: blue;">Week 5<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/shalamar-take-that-to-bank.html"><span style="color: blue;">Week 6<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html"><span style="color: blue;">Week 7<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html"><span style="color: blue;">Week 8<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html"><span style="color: blue;">Week 9<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html"><span style="color: blue;">Week 10<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-11.html"><span style="color: blue;">Week 11<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-12.html"><span style="color: blue;">Week 12<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-13.html"><span style="color: blue;">Week 13<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html"><span style="color: blue;">Week 14<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-15.html"><span style="color: blue;">Week 15<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html"><span style="color: blue;">Week 16<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-17.html"><span style="color: blue;">Week 17<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-18.html"><span style="color: blue;">Week 18<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html"><span style="color: blue;">Week 19<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html"><span style="color: blue;">Week 20<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-21.html"><span style="color: blue;">Week 21<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-22.html"><span style="color: blue;">Week 22<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/normal-0-false-false-false-en-us-x-none.html"><span style="color: blue;">Week 23<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-part-24.html"><span style="color: blue;">Week 24<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html"><span style="color: blue;">Weeks 25 and 26<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html"><span style="color: blue;">Week 27<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html"><span style="color: blue;">Week 28<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html"><span style="color: blue;">Week 29<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-parts-30-and-31.html"><span style="color: blue;">Weeks 30 and 31<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-32.html"><span style="color: blue;">Week 32<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html"><span style="color: blue;">Week 33<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-34.html"><span style="color: blue;">Week 34<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-35.html"><span style="color: blue;">Week 35<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-36.html"><span style="color: blue;">Week 36<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-parts-37-and-38.html"><span style="color: blue;">Weeks 37 and 38<br />
</span></a><a href="http://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-week-39.html"><span style="color: blue;">Week 39<br />
</span></a><a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-40.html"><span style="color: blue;">Week 40</span></a></span></span></p><span style="font-size: medium;"><span style="font-family: helvetica;"><a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-41.html">Week
41</a></span></span><p><span style="font-size: medium;"><span style="font-family: helvetica;"> </span></span></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">(Cross posted to <a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/2021/01/by-curt-alliaume-normal-0-false-false.html">Yesterday, Today, and Tomorrow</a>.) </span></span>
</p>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com1tag:blogger.com,1999:blog-6709252094146084846.post-57372656732478267972021-01-05T17:10:00.000-05:002021-01-05T17:10:17.966-05:00Songs You’ll Only Listen to Once: Tom Clay, “Whatever Happened to Love”<p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrE1IkxnHANmOh2vfHvCsyKG6How94JxwmIuoYoxf6dgqBGrPcX19M3b-U64DMNanH2f7hN7soi0_vXx_hyzbv-MHE6CHEckq3wNggcjI6mte63_ngKOd16x8akoij5xoFKUFTSswMxqI/s453/Family+Circus.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="453" data-original-width="446" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrE1IkxnHANmOh2vfHvCsyKG6How94JxwmIuoYoxf6dgqBGrPcX19M3b-U64DMNanH2f7hN7soi0_vXx_hyzbv-MHE6CHEckq3wNggcjI6mte63_ngKOd16x8akoij5xoFKUFTSswMxqI/s320/Family+Circus.jpg" /></a></span></div><p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>By Curt Alliaume <br /></b></span></span></p><p style="text-align: left;"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
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</p><p class="MsoNormal"><span style="font-family: helvetica;"><span style="font-size: small;">If someone starts talking about Berry Gordy’s genius for
picking hits, play them this one.</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: helvetica;"><span style="font-size: small;">Tom Clay was a disk jockey in the 1950s and 1960s who worked
in cities all around the northeast and Midwest (New York, Buffalo, Cincinnati),
but he was best known in Detroit (and Windsor, Ontario, which is just across
the Detroit River; in that era people could walk back and forth easily via
footbridge). Clay was dropped from stations in the area twice for embarrassing
reasons: when at WJBK in 1959 he got caught in a payola scandal, and in 1964,
CKLW dropped him after he created the “International Beatle Booster Booby Club”
(fans would send him a dollar and get a membership card, but only a select few
got a 45 of Clay interviewing the band). Not sure what Motown saw in this guy,
but they released a couple of singles and an album under his name in the early
1970s.</span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnODUbKWVvNhA-3nTsqtOrfDrolLt3Nt5De925NI96C5ak8MVuPt88CnRaiMYb-Ei5p-wfRT8yMgzsETtNITW4A7e4tDT97OlSGresgxLRKeGTUEPJx3qbCmNgJef9n9M1-Qu44OTe1pA/s2048/2020+Bingo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2008" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnODUbKWVvNhA-3nTsqtOrfDrolLt3Nt5De925NI96C5ak8MVuPt88CnRaiMYb-Ei5p-wfRT8yMgzsETtNITW4A7e4tDT97OlSGresgxLRKeGTUEPJx3qbCmNgJef9n9M1-Qu44OTe1pA/s320/2020+Bingo.jpg" /></a></div><p class="MsoNormal"><span style="font-family: helvetica;"><span style="font-size: small;">I
have to say serious spoken word records were a minor
cottage industry in this era—from Victor Lundberg’s top 10 hit “An Open
Letter
to My Teenage Son” in 1967 (“If you decide to burn your draft card, then
burn
your birth certificate at the same time. From that moment on, I have no
son”)
to “The Americans,” released by Gordon Sinclair, Scott MacGregor, and
Tex
Ritter in 1973 (Sinclair wrote it, MacGregor had the hit; Ritter’s
version
perplexes me given the song is written from a Canadian's perspective).
Anyway, Clay had a #8 hit on MoWest in the summer of 1971 with a
medley of “What the World Needs Now/Abraham, Martin & John,” with
him
interviewing children about bigotry and prejudice, and audio reports
(probably
mostly recreated; I recognize Clay’s voice on a few) of the
assassinations of
John Kennedy, Martin Luther King Jr., and Robert Kennedy, all with the
two
title songs playing in the background. I suspect it got lots of airplay
on a
few smaller stations and then everybody played it for two weeks, then
that was
it—I was going to write “I sure don’t remember hearing it on WABC in New
York,”
but I checked their surveys, and sure enough, the song peaked at #4. (In
my
defense, I was eight years old at the time.)</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: helvetica;"><span style="font-size: small;">Anyway, that was enough for Motown to issue a second single,
cowritten by Clay and legendary arranger Artie Butler (who notably does not
list Clay among the hundreds of artists he’s worked with on his website). It’s
one of those “gee, the old days were so much better than now” songs that have
never fallen out of favor—Motown was still in that game over a decade later,
when Charlene (“I’ve Never Been to Me”) and Stevie Wonder combined to record “Used
to Be.” I don’t remember 75 percent of the things he recalls (maybe there are
some septuagenarians reading this who can correct me). And in terms of quality within the genre,
the song was completely eclipsed by Jr. Walker & The All Stars’ “Way Back
Home,” also released by Motown around the same time.</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: helvetica;"><span style="font-size: small;">So the song flopped, Clay went back to DJing and voiceover
work (he died in 1995), and the singles and parent album <i>What the World
Needs Now</i> is long out of print (only the “What the World Needs Now/Abraham,
Martin & John” medley is available on Spotify). Motown included both songs
on their <i>Complete Motown Singles</i> sets from 1971, which is where I heard
this song (borrowed it from my local public library). So when you’re tempted to
say, “Everything sucks now,” remember people have <i>always</i> felt that way.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/v2FBOvKFz4M" width="320" youtube-src-id="v2FBOvKFz4M"></iframe></span></div><span style="font-size: small;"><br /> </span><span style="font-family: helvetica;"><span style="font-size: small;"><br /><span><!--[if gte mso 9]><xml>
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</span></span></span><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal"><span style="font-family: helvetica;"><span style="font-size: small;">(Crossposted from my <a href="https://alliaumeyesterdaytodaytomorrow.blogspot.com/">Yesterday, Today,
and Tomorrow</a> blog.)</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span></p>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-42160739041854732872020-12-20T13:52:00.001-05:002020-12-20T13:52:28.854-05:00Superhits 1979, Week 41<div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxQ2jkXkxw_FZhOpWouqBs1VHluouf9BdcjFbosxNCbNlRaQ6ugcaanhcfalthmEWDxIxYNOLfGqdmZ4lPe35aCSgbNBaE0m2Uz0XKtOEuehSnKk1gEM9Mm2iWYSYfqG-E7ZzBM0TOG6M/s480/Family+Circus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="471" data-original-width="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxQ2jkXkxw_FZhOpWouqBs1VHluouf9BdcjFbosxNCbNlRaQ6ugcaanhcfalthmEWDxIxYNOLfGqdmZ4lPe35aCSgbNBaE0m2Uz0XKtOEuehSnKk1gEM9Mm2iWYSYfqG-E7ZzBM0TOG6M/s320/Family+Circus.jpg" width="320" /></a></div><br /><span style="font-family: helvetica;"><div style="text-align: center;"><b>By Curt Alliaume</b></div><o:p> <br /></o:p>Busy week—twenty songs peaked this week, which appears to be the most
for one week in 1979.<br /><o:p> <br /></o:p><b>Michael Jackson, “Don’t Stop ‘Til You Get Enough,” #1, 10/13/1979<br /></b>First big solo hit as an adult for Jackson (his last top 20 solo hit
was 1972’s “Ben,” released when he was 13), and this set the template for his
future hits: Quincy Jones as producer, a unique post-disco sound, and Jackson’s
vocals (and on videos, dancing ability). The difference here was Jackson’s
falsetto throughout, which he’d only use occasionally on subsequent hits. There
some oblique references to <i>Star Wars</i>, including a tough-to-decipher
bridge (Keep on with the force, don't stop,” which I misheard for years as
having to do with an academic’s post doc). This was the first single from his
album <i>Off the Wall</i>, which would yield four top 10 singles in all.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/yURRmWtbTbo" width="320" youtube-src-id="yURRmWtbTbo"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>The Commodores, “Sail On,” #4, 10/13/1979<br /></b>The band was in the middle of a run on Lionel Richie-written-and-sung
ballads, and this is one of the better ones. Written from the perspective of a
man who’s tired of working out his relationship with a woman (and so he leaves
her), the song has more country influences than most of the band’s material.
(Keep in mind The Commodores first started when they were students at Tuskegee
University in Alabama, so that’s not a surprise.) Although this is another
example of a Commodores ballad where the AM edit may be better than the
full-length version (which runs nearly two minutes longer), in either case it’s
one of my favorite Richie slow songs.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/zg-ivWxy5KE" width="320" youtube-src-id="zg-ivWxy5KE"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>Bonnie Pointer, “Heaven Must Have Sent You,” #11, 10/13/1979<br /></b>This was Pointer’s one and only major solo hit, from her first solo
album <i>Bonnie Pointer</i> (it’s the one with the red cover), and the second
single after “Free Me From My Freedom.” Oddly, there were two completely
different mixes of the song: one that sounded similar to the arrangement of the
original version (by The Elgins, which hit #9 R&B and #50 pop for Motown in
1966), and one with a far more discofied arrangement—it’s possible that one was
created as a way to boost sales of the album. I never knew the disco version
existed until I heard it on <i>American Top 40</i>; New York stations were
playing the pop version. It appears the Elgins-like arrangement was on the
original album based on the credits on the single, which seems to have both
versions; that one is credited as “LP Version” and has string arrangements by
Paul Riser (not the guy from <i>Mad About You</i>; he’s a long-time Motown
arranger that worked on dozens of hits for the label) while the other has
strings credited to McKinley Jackson and no “LP Version” note. Anyway, they’re
both hard to find nowadays (the pop one may be out of print altogether), but I
found videos of both.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/D11KOwALbR8" width="320" youtube-src-id="D11KOwALbR8"></iframe></div><span style="font-family: helvetica;"><div style="text-align: center;"><b><i>Pop version</i></b></div><div style="text-align: center;"><b><i><br /></i></b></div></span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/7BTrIjnPmEk" width="320" youtube-src-id="7BTrIjnPmEk"></iframe></div><span style="font-family: helvetica;"><div style="text-align: center;"><b><i>Disco version</i></b></div></span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"><o:p> <br /></o:p><b>Atlanta Rhythm Section, “Spooky,” #17, 10/13/1979<br /></b>Second single from the band’s 1979 album <i>Underdog</i>, the song was
originally a #3 hit for The Classics IV in 1968. But ARS’s genesis comes from
The Classics IV—guitarist J.R. Cobb and keyboardist Dean Daughtry were members
of both bands, and ARS producer Buddy Buie was one of The Classics IV’s
managers. In fact, Buie and Cobb cowrote the lyrics; the <i>very</i> original
version of the song was as a jazz instrumental by Mike Sharpe (whose real name
was Mike Shapiro), who also cowrote it with Harry Middlebrooks Jr. Nice version
of the song with a few additional rock touches, but it also probably didn’t
help ARS get much more footing on album rock radio, having released two ballads
in a row.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/cMAo0m4E4Lc" width="320" youtube-src-id="cMAo0m4E4Lc"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>Gerry Rafferty, “Get It Right Next Time,” #21, 10/13/1979<br /></b>Second single from Rafferty’s album <i>Night Owl</i>, and Rafferty’s
first single since “Baker Street” to include Raphael Ravenscroft’s sax work. Ravenscroft,
who died in 2014 at age 60 of a heart attack, worked with everybody on both
sides of the Atlantic: Pink Floyd, Chris Rea, Kim Carnes, Daft Punk, and more.
Anyway, the song is about shrugging off when something goes wrong and learning
from your mistakes—good advice. This is actually Rafferty’s biggest hit in
Ireland, peaking at #2 (one position above “Baker Street”).</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/SXW-sL5gzHQ" width="320" youtube-src-id="SXW-sL5gzHQ"></iframe></div><br /></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><br /></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"><o:p> <br /></o:p><b>Lobo, “Where Were You When I Was Falling in Love,” #23, 10/13/1979<br /></b>Comeback hit for Lobo (whose real name is Roland Kent LaVoie). After
notching three top 10 hits in 1971 and 1972 (“Me and You and a Dog Named Boo,”
“I’d Love You to Want Me,” “Don’t Expect Me to Be Your Friend”) in the soft
rock genre, and another four top 40 hits over the next four years, Lobo
completely fell out of sight. (This might partially be blamed on his faltering
label, Big Tree Records, but they were getting hits out of England Dan &
John Ford Coley, who worked the same genre.) Anyway, like the three
aforementioned top 10 pop hits, “Where Were You When I Was Falling in Love”
also hit #1 on <i>Billboard</i>’s Adult Contemporary Chart.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/bpTZYJrmBZM" width="320" youtube-src-id="bpTZYJrmBZM"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>The Doobie Brothers, “Dependin’ on You,” #25, 10/13/1979<br /></b>Okay, I won’t pick on Michael McDonald this week. “Dependin’ on You”
was written and sung by Patrick Simmons, who by 1979 was the last original
Doobie Brother still with the band. Simmons’ work had originally been rock-based
with a touch of New Orleans delta blues (he wrote and sang “Black Water,” the
band’s first #1 hit), but when McDonald joined the band and pointed them in
more of an R&B direction, Simmons was fine with going along. Nicolette
Larson, who was working with McDonald on <a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1980-week-8.html">“Let
Me Go, Love”</a> around this time, is one of the backing vocalists.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/aiJfwXOwvUw" width="320" youtube-src-id="aiJfwXOwvUw"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>Wings, “Arrow Through Me,” #29, 10/13/1979<br /></b>Second United States single from Wings’ <i>Back to the Egg</i> in the
United States and Canada (the UK and Ireland got “Old Siam, Sir” instead, which
had a similar chart performance). Actually, the only Wing on this song aside
from McCartney himself was Steve Holley, who was the band’s fourth and final
drummer (not counting McCartney himself, who played drums on <i>Back to the Egg</i>
and <i>London Town</i>); there’s also a horn section led by sax player Howie
Casey, who played on several Wings records. It’s a spare record, charming but
apparently not exciting enough to get people to pick up the album.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/FzA-ZuGGJzk" width="320" youtube-src-id="FzA-ZuGGJzk"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>Moon Martin, “Rolene, #30, 10/13/1979<br /></b>Two weeks after Robert Palmer’s version of Martin’s “Bad Case of Loving
You (Doctor, Doctor)” <a href="https://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-week-39.html">peaked
at #14</a>, Martin had a top 40 hit all his own. John David Martin (he was
called “Moon” allegedly because many of his songs had the word “moon” in the
lyrics; I think it’s because he wanted to avoid being confused with J.D.,
a.k.a. John David, Souther) released his first album, <i>Shots From a Cold
Nightmare</i>, in 1978 on Capitol Records, which is where “Bad Case of Loving
You” came from. “Rolene”—a song about a woman that relieves his problems (and I
don’t want to speculate further on that) had the same urgent kind of
arrangement.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/J5WNwgB2aSY" width="320" youtube-src-id="J5WNwgB2aSY"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>Ashford & Simpson, “Found a Cure,” #36, 10/13/1979<br /></b>A second case of singer-songwriters having chart success with
others—Nick Ashford and Valerie Simpson had charted dozens of songs with
Motown, including Diana Ross’ “The Boss” <a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-40.html">the
previous week</a>—but this was their first top 40 hit performing on their own.
(I’m not counting their participation on Quincy Jones’ “Stuff Like That” in
1978, which was issued under his name.) The married duo had lots of R&B
hits—“Found a Cure” was their 17<sup>th</sup> <i style="mso-bidi-font-style: normal;">Billboard</i><span style="mso-bidi-font-style: italic;"> R&B chart
hit, peaking at #2—it just took awhile for the pop charts to come around. And
then awhile after that; they didn’t hit the pop top 40 again until 1984 with
“Solid.”</span></span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/lj9q-h9MKWI" width="320" youtube-src-id="lj9q-h9MKWI"></iframe></div><br /><span style="mso-bidi-font-style: italic;"><br /><o:p></o:p></span><span style="mso-bidi-font-style: italic;"><o:p> <br /></o:p></span><b><span style="mso-bidi-font-style: italic;">Mary MacGregor, “Good
Friend,” #39, 10/13/1979<br /></span></b><span style="mso-bidi-font-style: italic;">It took almost three years,
but MacGregor finally got a follow-up top 40 hit to her first (admittedly,
“Good Friend” wasn’t quite as important as the #1 “Torn Between Two Lovers”).
The song was the second single from the </span><i style="mso-bidi-font-style: normal;">Meatballs</i><span style="mso-bidi-font-style: italic;"> soundtrack—it’s
from the scene where Chris Makepeace’s misfit camper Rudy goes running with
Bill Murray’s counselor Tripper, and finally makes a friend at camp. (Rudy
becomes the hero when he wins the four-mile run at the end of that year’s
Olympiad against the despised Camp Mohawk. Trivia note: there are a couple of
scenes that were shot later than the rest of the movie where Makepeace’s voice
had dropped and he’d grown significantly; they were shot sitting down to avoid
the obvious disparity.) It’s a sweet moment from a movie that got lumped into
the </span><i style="mso-bidi-font-style: normal;">Animal House</i><span style="mso-bidi-font-style: italic;"> pile (both movies were cowritten by Harold
Ramis, and Ivan Reitman coproduced </span><i style="mso-bidi-font-style: normal;">Animal
House</i><span style="mso-bidi-font-style: italic;"> and directed </span><i style="mso-bidi-font-style: normal;">Meatballs</i><span style="mso-bidi-font-style: italic;">) but really has a lot more heart. The song was included on MacGregor’s
eponymous album, released in 1980.</span></span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/DCjp1blbC8g" width="320" youtube-src-id="DCjp1blbC8g"></iframe></div><br /><span style="mso-bidi-font-style: italic;"><br /><o:p></o:p></span><span style="mso-bidi-font-style: italic;"><o:p> <br /></o:p></span><b><span style="mso-bidi-font-style: italic;">Kansas, “Reason to Be,”
#52, 10/13/1979<br /></span></b><span style="mso-bidi-font-style: italic;">Second single from their </span><i style="mso-bidi-font-style: normal;">Monolith</i><span style="mso-bidi-font-style: italic;"> album; it’s a ballad along the lines of 1978’s “Dust in the Wind,”
without the popularity. Written by guitarist Kerry Livgren (most of Kansas’
music was written by either Livgren or Steve Walsh), who was influenced at the
time by </span><i style="mso-bidi-font-style: normal;">The Urantia Book</i><span style="mso-bidi-font-style: italic;">, which allegedly was written by
supernatural beings. During the </span><i style="mso-bidi-font-style: normal;">Monolith</i><span style="mso-bidi-font-style: italic;"> tour, Livgren started his journey which
eventually resulted in his becoming a born-again Christian, which was arguably
a contributing factor in Kansas’ shifting lineup in the 1980s (Livgren himself
eventually left the band in 1984, although he’s returned for brief periods
since).</span></span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/alPZe4yXGnE" width="320" youtube-src-id="alPZe4yXGnE"></iframe></div><br /><span style="mso-bidi-font-style: italic;"><br /><o:p></o:p></span><span style="mso-bidi-font-style: italic;"><o:p> <br /></o:p></span><b><span style="mso-bidi-font-style: italic;">Steve Dahl, “Do You Think I’m
Disco?,” #58, 10/13/1979<br /></span></b><span style="mso-bidi-font-style: italic;">Dahl was a Chicago radio
personality who had been fired by WDAI (now WLS-FM, an oldies station) in late
1978 when the station went all disco. Dahl moved to rock station WLUP (now
contemporary Christian WCKL), and started bashing disco on the air. This gained
popularity during the summer of 1979, which led to this one-off comedy single, a
parody of Rod Stewart’s “Da Ya Think I’m Sexy?” that (like most parody songs)
was funny the first couple of times. Dahl was also mostly responsible for Disco
Demolition Night on July 12, 1979 at Comiskey Park, where disco albums were to
be destroyed between games of a doubleheader, but the end result was a riot
that led to the forfeit of the second game. Dahl’s been a radio mainstay in
Chicago since then (he now hosts a podcast), and claims his antidisco tirade
was just in good fun and wasn’t racist or homophobic (if you’ve read this blog
regularly, many of disco music’s major artists were either women, Blacks, or
gays, and appealed to the same groups as well). But in reading several
histories from <a href="https://www.wbur.org/onlyagame/2019/07/12/disco-demolition-dahl-veeck-chicago-white-sox">WBUR</a>,
the </span><i style="mso-bidi-font-style: normal;"><a href="https://www.chicagotribune.com/entertainment/music/ct-ent-disco-demolition-bee-gees-showtime-1219-20201218-2s3uhxsjsbduvl4kqswnvpswny-story.html">Chicago
Tribune</a></i><span style="mso-bidi-font-style: italic;">, and </span><i style="mso-bidi-font-style: normal;"><a href="https://www.theguardian.com/music/2019/jul/19/disco-demolition-the-night-they-tried-to-crush-black-music">The
Guardian</a>, </i><span style="mso-bidi-font-style: italic;">Dahl’s take is
somewhere between ingenuous and deceiving.</span></span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/lLFMELubizU" width="320" youtube-src-id="lLFMELubizU"></iframe></div><br /><span style="mso-bidi-font-style: italic;"><br /><o:p></o:p></span><span style="mso-bidi-font-style: italic;"><o:p> <br /></o:p></span><b><span style="mso-bidi-font-style: italic;">Cher, “Hell on Wheels,” #59,
10/13/1979<br /></span></b><span style="mso-bidi-font-style: italic;">First single from Cher’s
second “disco” album from Casablanca, </span><i style="mso-bidi-font-style: normal;">Prisoner</i><span style="mso-bidi-font-style: italic;"> (disco is in
quotes because Cher herself was starting to realize the trend was ending and
managed to stuff a few rock and AC tracks on it). The song salutes roller disco
(which was a very brief subcraze), and appeared in the film </span><i style="mso-bidi-font-style: normal;">Roller Boogie</i><span style="mso-bidi-font-style: italic;"> (starring Linda Blair in an attempt to shed her image as a horror
queen). This would be the last American chart single from Cher for over eight
years, during which time she would completely remake her image as an actress, winning
a Golden Globe and earning an Academy Award nomination for </span><i style="mso-bidi-font-style: normal;">Silkwood</i><span style="mso-bidi-font-style: italic;"> and appearing in such acclaimed films as </span><i style="mso-bidi-font-style: normal;">Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean</i><span style="mso-bidi-font-style: italic;"> and </span><i style="mso-bidi-font-style: normal;">Mask.<br /></i><span style="mso-bidi-font-style: italic;"><o:p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/rW_kIlaU41Y" width="320" youtube-src-id="rW_kIlaU41Y"></iframe></div><br /> <br /></o:p></span><o:p> <br /></o:p><b>Abba, “Angeleyes,” #64, 10/13/1979<br /></b>Third single from the band’s <i>Voulez-Vous</i> album—well, sort of. <a href="https://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-35.html">As
noted here</a>, “Angeleyes” (sometimes written as “Angel Eyes,” although there
was a concurrent song with that phrasing/spelling by Roxy Music) was released
as a double-A side in most territories with “Voulez-Vous,” including the United
States. When “Voulez-Vous” flopped as the A side, Atlantic Records started
pushing “Angeleyes,” which would do very slightly better. Abba would release <i>Greatest
Hits, Vol. 2</i> a few weeks after this song peaked, with “Angeleyes” among the
14 tracks (nice value for a vinyl album in those days), but not “Voulez-Vous.”</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/dqOiIOIM6Ms" width="320" youtube-src-id="dqOiIOIM6Ms"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>Southside Johnny & The Asbury Jukes, “I’m So Anxious,” #71,
10/13/1979<br /></b>This is actually the first <i>Billboard</i> Hot 100 hit ever by Southside
Johnny & The Asbury Jukes—not a single one of the band’s great songs on
their first three albums for Epic Records ever made the grade. (“Dear Epic/CBS
Records, Regarding Southside Johnny: <i>what the damn hell?</i> No love, me.”)
By this time the band had moved to Mercury Records, and were no longer working
with Steve Van Zandt (a.k.a. Miami Steve) with occasional songs from Bruce
Springsteen, so this one was written by band guitarist Billy Rush, who wrote
most of the material on their 1979 album <i>The Jukes</i>. Southside Johnny,
whose real name is John Lyon, also had a few cowrites. The album was produced
by Barry Beckett and recorded in the famed Muscle Shoals studio—but it didn’t
do much better than any of their other work chartwise (in fact, “I’m So Anxious,”
which is a perfectly good rocker, is only available now on a single
Mercury-only greatest hits set).</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/J5XyCDLOUCM" width="320" youtube-src-id="J5XyCDLOUCM"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: helvetica;"><b>Dolly Parton, “Sweet Summer Lovin’, “ #77, 10/13/1979<br /></b>Second single from Parton’s 1979 album <i>Great Balls of Fire</i>, and one
of her rare A-side singles during this era not to hit #1 on the country charts;
this one peaked at #7. (Another one was “Baby I’m Burning,” which stalled on
the country charts at #48, but that was clearly released with the pop and disco
charts in mind.) At this point, Parton was trying to increase her presence on
the pop charts, shown by her recording the album in Los Angeles with
coproduction from Dean Parks (America, Michael Bubl<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">é</span>, Kenny Loggins, Steely Dan
and more) and studio contributions from veteran pop/rock musicians like Michael
Omartian, David Foster, and Jim Keltner.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/FAjppkc3S8A" width="320" youtube-src-id="FAjppkc3S8A"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>Dan Peek, “All Things Are Possible,” #78, 10/13/1979<br /></b>Correct me if I’m wrong, but I think this is the very first contemporary
Christian single to cross over to the pop charts. Dan Peek had been one-third
of the band America, but left the band and became a born-again Christian in
1977. Released on Lamb & Lion Records (which was owned by Pat Boone), the
album of the same name and single became major hits, with “All Things Are
Possible” hitting #1 on the contemporary Christian chart (not published by <i>Billboard</i>)
and #6 on the <i>Billboard</i> Adult Contemporary chart. Peek would continue to
record for most of the next 30 years, occasionally working with America’s Gerry
Beckley and Dewey Bunnell without any full-scale America reunions. He died of fibrinous
pericarditis in 2011.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/i05ilXozrro" width="320" youtube-src-id="i05ilXozrro"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>Barbara Mandrell, “Fooled by a Feeling,” #89, 10/13/1979<br /></b>Third and final <i style="mso-bidi-font-style: normal;">Billboard</i><span style="mso-bidi-font-style: italic;"> pop hit for Mandrell, this uptempo song of
regret would also hit #4 on the American country chart and #5 on the Canadian
country chart. The late 1970s and early 1980s would be a busy time for
Mandrell, who starred with her sisters Louise and Irlene on </span><i style="mso-bidi-font-style: normal;">Barbara Mandrell & The Mandrell Sisters</i><span style="mso-bidi-font-style: italic;"> from 1980 to 1982. A 1984 car crash that resulted
in multiple leg fractures and a concussion slowed her down after that, although
she did continue to record and occasionally act until 1997, at which point she
pretty much retired from performing. She lives with her husband of over 50 years,
Ken Dudney, and has three children.</span></span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/zq5uMs2Gy2E" width="320" youtube-src-id="zq5uMs2Gy2E"></iframe></div><br /><span style="mso-bidi-font-style: italic;"><br /><o:p></o:p></span><span style="mso-bidi-font-style: italic;"><o:p> <br /></o:p></span><b><span style="mso-bidi-font-style: italic;">Wayne Newton, “You Stepped
Into My Life,” #90, 10/13/1979<br /></span></b><span style="mso-bidi-font-style: italic;">This was the second version of
this disco song to hit the </span><i style="mso-bidi-font-style: normal;">Billboard
</i><span style="mso-bidi-font-style: italic;">Hot 100 in 1979 (the first, by
Melba Moore, <a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html">hit
#47 in February</a>). The song came from Newton’s album </span><i style="mso-bidi-font-style: normal;">Night Eagle 1</i><span style="mso-bidi-font-style: italic;"> on Aries II Records, which appears to be a minor-label release (with
nothing after a Christmas album in 1980)—Newton had been recording on smaller
labels after leaving MGM Records in the early 1970s. This was his first </span><i style="mso-bidi-font-style: normal;">Billboard</i><span style="mso-bidi-font-style: italic;"> Hot 100 hit since “Anthem” in 1972.</span></span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/q9UgrV3ei-w" width="320" youtube-src-id="q9UgrV3ei-w"></iframe></div><br /><span style="mso-bidi-font-style: italic;"><br /><o:p></o:p></span><span style="mso-bidi-font-style: italic;"><o:p> <br /></o:p></span><b><span style="mso-bidi-font-style: italic;">Other Superhits 1979
entries you may enjoy:<br /></span></b><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-1.html">Week
1<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-2.html">Week
2<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-3.html">Week
3<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html">Week
4<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html">Week
5<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/02/shalamar-take-that-to-bank.html">Week
6<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html">Week
7<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html">Week
8<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html">Week
9<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html">Week
10<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-11.html">Week
11<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-12.html">Week
12<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-13.html">Week
13<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html">Week
14<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-15.html">Week
15<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html">Week
16<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="http://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-17.html">Week
17<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-18.html">Week
18<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html">Week
19<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html">Week
20<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-21.html">Week
21<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-22.html">Week
22<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/07/normal-0-false-false-false-en-us-x-none.html">Week
23<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-part-24.html">Week
24<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html">Weeks
25 and 26<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html">Week
27<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html">Week
28<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html">Week
29<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-parts-30-and-31.html">Weeks
30 and 31<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-32.html">Week
32<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html">Week
33<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-34.html">Week
34<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-35.html">Week
35<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-36.html">Week
36<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-parts-37-and-38.html">Weeks
37 and 38<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="http://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-week-39.html">Week
39<br /></a></span><span style="mso-bidi-font-style: italic;"><a href="https://abandonedandheartbroke.blogspot.com/2020/12/superhits-1979-week-40.html">Week
40</a></span></span></div>
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Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-82386852996432012952020-12-13T10:18:00.000-05:002020-12-13T10:18:07.341-05:00Superhits 1979, Week 40<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-IoPx-xo6lDBC_UvsHIs3-MzbDpPU5dbwC7A48R7OjdeAHI3MEq2aOmjfushk5pXE0bOeIAEGOHjFC5J3Ny0Dpc8M2E80AfMoCo-jw_p01QWIvUw-odm5p9HzAs5f737jQxL0UbtUSzg/s600/Dana+Delany.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="589" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-IoPx-xo6lDBC_UvsHIs3-MzbDpPU5dbwC7A48R7OjdeAHI3MEq2aOmjfushk5pXE0bOeIAEGOHjFC5J3Ny0Dpc8M2E80AfMoCo-jw_p01QWIvUw-odm5p9HzAs5f737jQxL0UbtUSzg/s320/Dana+Delany.jpg" width="320" /></a></div><p></p><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div style="text-align: center;"><b style="font-family: helvetica;">By Curt Alliaume</b></div><span style="font-family: helvetica;"><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"><br /></span></div>One huge hit, and a bunch of songs you probably haven’t heard much.<br /><o:p> <br /></o:p><b>Robert John, “Sad Eyes,” #1, 10/6/1979<br /></b>I’m pretty sure that when EMI-America released this song as a single in
April or May of 1979, no one there thought John—who hadn’t charted a single in
seven years, and was pretty much the antithesis of what promoters looked for in
singers—would wind up knocking The Knack out of the #1 single spot. And it only
took him five months to do it. “Sad Eyes,” a ballad about the end of a
relationship (apparently because the guy’s other lover is coming back to him) that
John wrote himself, took a long time just to reach the top 40, but lasted on
the Hot 100 for 27 weeks, tying Gloria Gaynor’s “I Will Survive” for the
longest chart run of 1979. It also ranked #10 among the most popular songs of
the year, and might have come in higher had it not straddled the two “years” (<i>Billboard</i>
at that point counted a year from roughly November 1 to October 31). This
turned John from a one-hit wonder (1972’s remake of “The Lion Sleeps Tonight”)
to a two-hit wonder, but this is the one everybody remembers.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/JsyQ06YZVQc" width="320" youtube-src-id="JsyQ06YZVQc"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>Diana Ross, “The Boss,” #19, 10/6/1979<br /></b>Moderate hit for Ross from the album of the same name. It’s definitely
a step toward disco, but it had its appeal to pop fans as well (although the
album hit #1 on the Disco charts as well; most of the club play went to either
this song or “No One Gets the Prize,” which appears not to have been released
as a single in the United States). Produced and written by Nick Ashford and
Valerie Simpson, it was the first time Ross had worked with them since they had
left Motown and becoming recording artists on their own. They’d previously
produced two of her first three solo albums (<i>Diana Ross</i> and <i>Surrender</i>),
after seeing initial success writing songs for Marvin Gaye and Tammi Terrell,
starting with “Ain’t No Mountain High Enough”—which of course Ross made a #1
hit herself.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/1HnnWhANLjk" width="320" youtube-src-id="1HnnWhANLjk"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>Louise Goffin, “Remember (Walking in the Sand),” #43, 10/6/1979<br /></b>I know this is out of order, but I mentioned <a href="https://abandonedandheartbroke.blogspot.com/2020/11/superhits-1980-week-6.html">in
this post</a> Aerosmith had charted a remake of this Shangri-Las song four
months later. Well, here’s the original, uh, remake. Louise Goffin is the
oldest daughter of Carole King and Gerry Goffin, and was just 20 years old when
this song emerged from her first album, <i>Kid Blue</i>. She’s a good singer,
but the time for dramatic songs like this one may have passed by the time this
came out. This would be Goffin’s one and only chart hit, but she’s released
nine albums. Unfortunately, this song and <i>Kid Blue</i> are pretty much
unavailable anywhere (it’s not even on Spotify), so this YouTube video and the
used record stores may be all you’ll find of this.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/MSpZ5FHKdvY" width="320" youtube-src-id="MSpZ5FHKdvY"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>Suzi Quatro, “I’ve Never Been in Love,” #44, 10/6/1979<br /></b>First single from Quatro’s 1979 LP <i>Suzi… and Other Four Letter Words</i>
(where’s the hyphen, Suzi?). This was part of an attempt on RSO Records to make
Quatro as big a name here in the United States as she had been in Europe and
Australia, where she’d had a run of top 10 hits. So she did a few more guest
appearances on <i>Happy Days</i> as Leather Tuscadero (including one appearance
where she was Ralph Malph’s fraternity formal date and wore a dress, something
neither Leather nor Suzi would normally <i>ever</i> do). Anyway, this is a
solid rocker that deserved a higher chart placement; American rock radio wasn’t
doing anything with female solo rockers at that point (not that they do much
now).</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/Q56FCIG3mC0" width="320" youtube-src-id="Q56FCIG3mC0"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>Eddie Money, “Get a Move On,” #46, 10/6/1979<br /></b>Another rocker, which was another indication disco influences were no
longer in vogue (Money’s single from earlier in the year, <a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html">“Maybe
I’m a Fool,”</a> definitely had some). It appears this single wasn’t issued
directly from a Money album (it’s included on his third LP, <i>Playing for
Keeps</i>, which wasn’t issued until August 1980), but from the soundtrack for
the movie <i>Americathon</i>, a flop film comedy that managed to combine a ton
of talented people (produced by Joe Roth, written by Phil Proctor and Peter
Bergman of Firesign Theatre, starring John Ritter, Harvey Korman, Fred Willard,
Jay Leno, Howard Hesseman and others) into an apparently very unfunny movie. Which
is probably why the song didn’t do much.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/SvMX54moRjo" width="320" youtube-src-id="SvMX54moRjo"></iframe></div><br /><span style="font-family: helvetica;"><br /></span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"><br /><b>Charlie, “Killer Cut,” #60, 10/6/1979<br /></b>Third of four chart hits for this British band, following 1978’s “She
Loves to Be in Love.” It’s pretty much generic rock, most notable for its
lyrical similarities to The Byrds’ “So You Want to Be a Rock ‘n’ Roll Star” (to
the point where Roger McGuinn and Chris Hillman really should have gotten a
partial cowrite credit, but whatever). Interesting note: the band’s drummer for
much of its recording career was Steve Gadd, who is <i>not</i> the same Steve
Gadd who’s drummed with Steely Dan, Chick Corea, Paul Simon, Eric Clapton, and
his own bands. Completely different British guy.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/Y_UMi3m8e8w" width="320" youtube-src-id="Y_UMi3m8e8w"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p></span><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><b><span style="font-family: helvetica;">Rita Coolidge, “One Fine Day,” #66, 10/6/1979<br /></span></b><span style="font-family: helvetica;">First single from Coolidge’s 1979 A&M album </span><i style="font-family: helvetica;">Satisfied</i><span style="font-family: helvetica;"> (which
followed 1977’s </span><i style="font-family: helvetica;">Anytime…Anywhere</i><span style="font-family: helvetica;"> and 1978’s </span><i style="font-family: helvetica;">Love Me Again</i><span style="font-family: helvetica;">—subtle,
huh?), and this went back to the strategy of remakes of classic oldies, in an
attempt to duplicate Linda Ronstadt’s success in the genre. I’m not sure why
this was unsuccessful other than a crowded singles market at the time—my
original instinct was to say “One Fine Day” was pretty ancient at that point,
but Carole King (who wrote the song) hit #12 with it the following year.
Coproduced by Booker T. Jones of Booker T. and The MG’s (who was married to Coolidge’s
sister Priscilla at the time). And yes, </span><a href="http://abandonedandheartbroke.blogspot.com/2020/12/superhits-1980-week-8.html" style="font-family: helvetica;">that’s
Michael McDonald on backing vocals.</a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><o:p></o:p></p></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/0HSdA5iUa18" width="320" youtube-src-id="0HSdA5iUa18"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>Hotel, “Hold On to the Night,” #80, 10/6/1979<br /></b>Follow-up to the band’s biggest hit, “You’ve Got Another Thing Coming,”
<a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html">which
hit #54 in August.</a> I guess the natural inclination was to follow up a
rocker with a slow dance ballad. Like their previous hit, this isn’t to be
confused with a more famous song with a (nearly) identical title—in this case,
Richard Marx’s “Hold On to the Nights” from 1988. The song was cowritten by
lead singer/guitarist Mark Phillips and Barry Mann, whose songs range all the
way from 1961’s “I Love How You Love Me” for Bobby Vinton to 1978’s “Here You
Come Again” for Dolly Parton (both cowritten with his wife, Cynthia Weil). Mann
and Weil appeared on the Hot 100 earlier in 1979, <a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html">writing
“Heart to Heart” for Errol Sober.</a></span></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/QlKl2uN1eyg" width="320" youtube-src-id="QlKl2uN1eyg"></iframe></div><br /><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"> </span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: helvetica;"><b>Van Halen, “Beautiful Girls,” #84, 10/6/1979<br /></b>You might think this was a bigger hit—it’s still played on classic rock
radio, and got a boost years later when <i>Saturday Night Live</i> lifted it
for a parody of beer ads (Google “Schmidt’s Gay SNL” for details, although some
video versions have exchanged “Beautiful Girls” for generic rock riffs). This
is a typical Van Halen song, but a great one—solid riffs from Eddie Van Halen
(RIP), and a great vocal from David Lee Roth. The only reason I can think this
wasn’t a bigger hit was it might have been a little too raunchy for AM radio.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/bJ9h2m06sFQ" width="320" youtube-src-id="bJ9h2m06sFQ"></iframe></div><br /><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><b>Gene Chandler, “When You’re #1,” #99, 10/6/1979<br /></b>This wins the award for Mistitled Song of the Year. Which is not a
knock on Chandler, who had been hitting the pop and R&B charts since 1961
with his signature tune, “The Duke of Earl.” This song was cowritten by Chandler
(under his given name Eugene Dixon) and James Thompson, and produced by Carl
Davis, who produced “Duke of Earl” back in the day, and has a similar structure
to his song “Get Down,” <a href="http://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html">which
hit #53 earlier in the year.</a> “When You’re #1” was his last pop hit, but he continued
to hit the R&B chart (and score the occasional hit in the United Kingdom)
until 1986. A member of both the Grammy Hall of Fame and the Rhythm and Blues
Hall of Fame, continued to tour for years in his Duke of Earl persona (with top
hat, cape, and monocle). He still lives in his hometown of Chicago.</span></div><div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/umDtzU2nqAk" width="320" youtube-src-id="umDtzU2nqAk"></iframe></div><span style="font-family: helvetica;"><br /><o:p> <br /></o:p><o:p> <br /></o:p><b>Other Superhits 1979 entries you may enjoy:<br /></b><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-1.html">Week
1<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-2.html">Week
2<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-3.html">Week
3<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html">Week
4<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html">Week
5<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/shalamar-take-that-to-bank.html">Week
6<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html">Week
7<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html">Week
8<br /></a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html">Week
9<br /></a><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html">Week
10<br /></a><a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-11.html">Week
11<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-12.html">Week
12<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-13.html">Week
13<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html">Week
14<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-15.html">Week
15<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html">Week
16<br /></a><a href="http://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-17.html">Week
17<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-18.html">Week
18<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html">Week
19<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html">Week
20<br /></a><a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-21.html">Week
21<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-22.html">Week
22<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/07/normal-0-false-false-false-en-us-x-none.html">Week
23<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-part-24.html">Week
24<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html">Weeks
25 and 26<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html">Week
27<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html">Week
28<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html">Week
29<br /></a><a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-parts-30-and-31.html">Weeks
30 and 31<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-32.html">Week
32<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html">Week
33<br /></a><a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-34.html">Week
34<br /></a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-35.html">Week
35<br /></a><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-36.html">Week
36<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-parts-37-and-38.html">Weeks
37 and 38<br /></a><a href="http://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-week-39.html">Week
39<br /></a><o:p> </o:p></span></div>
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Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-20026332388776768482020-12-05T20:44:00.000-05:002020-12-05T20:44:09.765-05:00Superhits 1980, Week 8<p><span style="font-family: arial;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAxfDwfiT1og3EfueLUZgT2b6p3McQpG_-yUSOF6qlPtg0bqgsA-d3tqn8t5ZFEM0yO1qHume6HZUxDjgJwXfFkKZ0I7vtHGlxXWNd3oFRTHUdEJ2J0phwC14O7WExE_647PO7AxB95HU/s820/Dana+Delany.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="820" data-original-width="820" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAxfDwfiT1og3EfueLUZgT2b6p3McQpG_-yUSOF6qlPtg0bqgsA-d3tqn8t5ZFEM0yO1qHume6HZUxDjgJwXfFkKZ0I7vtHGlxXWNd3oFRTHUdEJ2J0phwC14O7WExE_647PO7AxB95HU/s320/Dana+Delany.jpg" /></a></span></div><span style="font-family: arial;"><br /></span><p></p><p style="text-align: center;"><span style="font-family: arial;"><b>By Curt Alliaume</b></span></p><p style="text-align: left;"><span style="font-family: arial;">Only one huge hit this week, but a few memorable songs.<br /><br /></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Queen, “Crazy Little Thing Called Love,” #1, 2/23/1980<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">First single from the band’s 1980 LP <i>The Game</i>, this came out
well in advance of that album (in fact, Queen was still making the album in February
1980). This was also the start of the band trying to break out of the progressive/glam
rock niche they’d occupied since their debut. This song was a 1950s throwback,
written by Freddie Mercury, who told <i>Melody Maker</i>, “’Crazy Little Thing
Called Love’ took me five or ten minutes. I did that on the guitar, which I
can't play for nuts, and in one way it was quite a good thing because I was
restricted, knowing only a few chords. It's a good discipline because I simply
had to write within a small framework.” Released in September 1979 in Europe,
Elektra Records wisely held the single until December in the United States to
avoid battling the superstar acts dominating the charts at the time.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/zO6D_BAuYCI" width="320" youtube-src-id="zO6D_BAuYCI"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;"><b>Steve Forbert, “Romeo’s Tune,” #11, 2/23/1980</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">Columbia Records’ attempt to build another singer/songwriter superstar
along the lines of Bob Dylan and Bruce Springsteen, this remains Forbert’s
best-known song. Written about a woman Forbert knew in Meridian, MI (where
Forbert grew up), the song was dedicated to the memory of Florence Ballard on its
parent album <i>Jackrabbit Slim</i> (Ballard, one of the original Supremes,
died at the age of 32 after struggling for years follow her ejection from the
group). <i>Jackrabbit Slim</i> was Forbert’s second album on Columbia sublabel
Nemperor Records, and was produced by John Simon, who worked with The Band,
Janis Joplin, and Blood Sweat & Tears.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/U3rZIXIMvXQ" width="320" youtube-src-id="U3rZIXIMvXQ"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;"><b>Anne Murray, “Daydream Believer,” #12, 2/23/1980</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">John Stewart’s last chart hit as a performer <a href="http://abandonedandheartbroke.blogspot.com/2020/11/superhits-1980-week-6.html">peaked
two weeks previously</a>, but this song still added to his bank account. Stewart
had written the song in the waning years of The Kingston Trio, and when The
Monkees recorded it (with a slight lyric change; the original had “now you know
how <i>funky</i> I can be”), it hit #1 in late 1967. The song has had lots of
remakes, but Murray’s is the only one that made a major splash on the charts,
hitting #1 adult contemporary and #3 country in addition to its pop placing.
This would be Murray’s last top 30 pop hit, ending a string that began with
1978’s “You Needed Me.”<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/zgLroOF3y80" width="320" youtube-src-id="zgLroOF3y80"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">The Commodores, “Wonderland,” #25, 2/23/1980<o:p></o:p></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">Third and final single from the band’s 1979 album <i>Midnight Magic</i>,
and guess what—it’s a slow song sung by Lionel Richie. If it doesn’t sound much
like a Richie ballad, that’s probably because it was written by keyboardist
Milan Williams (who isn’t a singer, which is why Richie was on vocals).
Honestly, by this time longtime fans of the band probably wished somebody else
at Motown was picking the single releases—“You’re Special” and “Sexy Lady” were
far better songs, and more uptempo. <i>Midnight Magic</i> was the band’s third
consecutive album to peak at #3 on The <i>Billboard </i>200 LP chart and #1 on its
R&B album charts, so I guess Motown figured they were doing just fine.
(Note: not to be confused with Earth, Wind & Fire’s “Boogie Wonderland.”)</span><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/AX0X3awo6cU" width="320" youtube-src-id="AX0X3awo6cU"></iframe></div><span style="font-family: arial;"><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;"><br /></span></p> </span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Nicolette Larson & Michael McDonald, “Let Me Go, Love,” #35,
2/23/1980<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">Back around 1961, New York Yankees manager Ralph Houk told Howard
Cosell, who was covering the Yankees for WABC radio long before he became a
nationally-known name, “You’re like shit—you’re everywhere.” It probably wasn’t
meant as a compliment (although Cosell took it as such). Between 1979 and early
1981, Michael McDonald was everywhere. His band, The Doobie Brothers, charted
seven singles, most of which featured McDonald as lead singer. In addition, he
sang backup, harmony, or duet vocals on at least seven top 40 singles by my
count: “Please Don’t Leave” by Lauren Wood, “This Is It” by Kenny Loggins, “Ride
Like the Wind” by Christopher Cross, “Steal Away” by Robbie Dupree, “How Do I Survive”
by Amy Holland, “Time Out of Mind” by Steely Dan, and this duet, which would be
the only charting single from Larson’s second album <i>In the Nick of Time</i>.
And frankly, McDonald might have been better off saying no a few times—all those
appearances on the top 40 and AC charts probably didn’t help his rock cred, and
when he launched his solo career, his overfamiliar vocals may have led a few
radio stations to say “Enough.”<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/rCxxoPxP2bw" width="320" youtube-src-id="rCxxoPxP2bw"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Turley Richards, “You Might Need Somebody,” #54, 2/23/1980<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">Third and final chart hit for Richards, who was blinded in one eye in
an archery accident at age four, and lost the sight in his other eye a
quarter-century later as a result of poor medical treatment to the original injury.
Still, he hung in and started his recording career in 1959 with two singles on
independent Fraternity Records, and recorded on several labels in the 1960s and
1970s. “You Might Need Somebody” was from the 1979 Atlantic album <i>Therfu</i>,
and was cowritten by Tom Snow, who wrote “Deeper Than the Night” for Olivia
Newton-John the previous year. “You Might Need Somebody” became a top 15 hit
twice in the United Kingdom: #11 for Randy Crawford in 1981, and #4 for Shola
Ama in 1997.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/QI5OArY1rrc" width="320" youtube-src-id="QI5OArY1rrc"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: arial;"><b>Jim Kirk and The TM Singers, “Voice of Freedom,” #71, 2/23/1980<br /></b>This one’s a little creepy. Kirk (also known as James R. Kirk) was
known for making jingles and commercials for radio and television, but “Voice
of Freedom,” with its kid-led vocals, sounds like something out of “Up With
People.” I’m not sure if it was recorded in response to the Iran hostage
crisis, but it sure sounds like an advertisement for the U.S. of A. It did get
some radio airplay, and since the proceeds for the song went to the American
Red Cross, I guess I shouldn’t complain. Kirk still runs Corporate Magic, which
creates corporate events. The video is taken from Dinah Shore’s syndicated
variety show </span><i><span style="font-family: arial;">Dinah!</span><o:p></o:p></i></div><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/Km2cde1AS1Y" width="320" youtube-src-id="Km2cde1AS1Y"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">The Boomtown Rats, “I Don’t Like Mondays,” #73, 2/23/1980<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">Also creepy, but for a completely different reason. Boomtown Rats
leader Bob Geldof and keyboardist Johnnie Fingers wrote the song after hearing
about a school killing in San Diego; the student who killed two and wounded
nine told reporters “I don’t like Mondays.” Geldof incorporated some of her
statements into the lyrics, which he later regretted: “[She] wrote to me saying
‘she was glad she'd done it because I'd made her famous,’ which is not a good
thing to live with.” The song was a major hit through most of the world
(including #1 in Ireland, Australia, and the United Kingdom), but here in the
United States, it understandably didn’t get much traction. The band’s only hit
in the United States, The Boomtown Rats charted 16 times in the United Kingdom
between 1977 and their breakup in 1985; they’ve since reunited. Geldof, of
course, was a driving force in Band Aid (cowriting “Do They Know It’s Christmas?”)
and Live Aid.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/ek4k6rZfFsk" width="320" youtube-src-id="ek4k6rZfFsk"></iframe></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: arial;"><b>John Cougar, “Small Paradise,” #87 2/23/1980<br /></b><span style="line-height: 107%;">He didn’t start charting highly for a few years,
but John Mellencamp (then known by his much-loathed stage name of John Cougar) had
been recording for a long time before “Hurts So Good” and “Jack and Diane.” “Small
Paradise” came from his third album (the first one had a small release in the
United States; the second had none at all), <i>John Cougar</i>, which also
included his first major hit, “I Need a Lover” (which had been picked up from
the second album, <i>A Biography</i>). “I Need a Lover” stands head and
shoulders above everything else on the rest of the album; although “Small Paradise”
isn’t <i>bad</i>, it’s just a little too slick compared to his later work. (I
guess I should probably listen to the album again one of these days.) This is
from <i>American Bandstand</i>, of course; I actually remember watching this
episode when I was a teenager.</span></span></div><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><o:p></o:p></p><p class="MsoNormal" style="line-height: normal;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/n_Y45pHsOH0" width="320" youtube-src-id="n_Y45pHsOH0"></iframe></div><br /><span style="font-family: arial;"><br /><br />
</span><div style="text-align: left;"><span style="font-family: arial;"><b>Other Superhits 1980 entries:<br /></b><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1980-parts-1-and-2.html">Weeks
1 and 2<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1980-part-2.html">Week
3<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1980-part-4.html">Week
4<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2020/10/normal-0-false-false-false-en-us-x-none.html">Week
5<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2020/11/superhits-1980-week-6.html">Week
6</a> <br /><a href="http://abandonedandheartbroke.blogspot.com/2020/11/superhits-1980-week-7.html">Week
7</a></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: arial;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><o:p><span style="font-family: arial;"> </span></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><o:p> </o:p></p>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-45731498971912921352020-11-26T10:23:00.000-05:002020-11-26T10:23:35.535-05:00Superhits 1979, Week 39<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmxerCINrXSBdvFIhbizfxOR9A8QHkW_N5Mg3lSnJst0CY0V-p2yfFOJ6ANtdHX67IKGFK2xqzzASLaeO542FRWB7XoZImwDkxGreU_96A6NscYGZkUXHnRNBIbj_b1Y-Apj1JM8_M104/s607/Dana+Delany.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="607" data-original-width="593" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmxerCINrXSBdvFIhbizfxOR9A8QHkW_N5Mg3lSnJst0CY0V-p2yfFOJ6ANtdHX67IKGFK2xqzzASLaeO542FRWB7XoZImwDkxGreU_96A6NscYGZkUXHnRNBIbj_b1Y-Apj1JM8_M104/s320/Dana+Delany.jpg" /></a></div><p></p><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;"><b><span style="font-family: arial;">By Curt Alliaume</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;"><i>Six</i> top 20 songs this week, most of which you probably remember
well, plus a bunch of near misses. It’s a great week.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><o:p><span style="font-family: arial;"> </span></o:p></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Little River Band, “Lonesome Loser,” #6, 9/29/1979<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">Huge hit for the band, their fifth top 20 hit in a row in the United
States. (I’m going to bring up the point now that Little River Band was <i>always</i>
considerably more popular here than in their native Australia; the only three
top 10 hits they had there were the #1 “Help Is on Its Way,” 1982’s “Down on
the Border,” which had very specific Australia-centric lyrics, and 1988’s “Love
Is a Bridge,” which was a couple of years after they stopped charting here in
the States.) Anyway, this one was written by guitarist David Briggs, and
emphasized guitars as if to say this was a rock band, not an AC band (as one
might have thought from some of their previous songs). And even though no bands
are touring right now, I’ll put in my usual warning that the current version of
Little River Band contains nobody that was on this record, so save your money.<o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/XIle_6Vzm5A" width="320" youtube-src-id="XIle_6Vzm5A"></iframe></span></div><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;"><br /></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Nick Lowe, “Cruel to Be Kind,” #12, 9/29/1979<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">First US chart hit for Lowe, who had been around in the UK for a while,
first with the pub rock band Brinsley Schwarz and then solo (he’d hit #7 in the
UK in 1978 with “I Love the Sound of Breaking Glass,” from his solo debut <i>Jesus
of Cool</i>, which was retitled <i>Pure Pop for Now People</i> in the US with a
slightly altered track listing, presumably to avoiding offending people in the
Bible belt). Even though Lowe was considered part of the British new wave, this
is more power pop, with Lowe later noting he took inspiration for the song from
Harold Melvin & The Blue Notes’ “The Love I Lost.” Lowe is backed here by
Rockpile (Dave Edmunds, Billy Bremner, Terry Williams), an ad-hoc band that had
worked together on and off for a few years. This video includes scenes from
Lowe’s actual wedding to singer Carlene Carter (June Carter Cash’s daughter,
Johnny Cash’s stepdaughter); Lowe was late to his own wedding due to the shoot
running long.<o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/Z7tsz1Jow1g" width="320" youtube-src-id="Z7tsz1Jow1g"></iframe></span></div><span style="font-family: arial;"><br /></span><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;"><br /></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Robert Palmer, “Bad Case of Loving You (Doctor, Doctor,” #14,
9/29/1979<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">Was rock and roll back this week or what? Palmer eschewed some of his
blue-eyed soul affectations on this one, going for a power pop sound. Moon Martin
wrote the song and released it first as a single in 1978, but it didn’t hit.
Palmer’s name and performance made it work, however, and even though it was
post-disco, it made for a great, short dance floor song. Warning: Palmer
inexplicably remixed the song for his 1989 greatest hits set <i>Addictions:
Volume 1</i>—I read somewhere the remix was more like what he originally had in
mind, which either means he was way ahead of his time or he was full of crap,
because it sounds exactly like “Addicted to Love” and “Simply Irresistible.”
The original is on most other greatest hits sets, however, and I recommend
sticking with that.<o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/u2t0ddfT2oI" width="320" youtube-src-id="u2t0ddfT2oI"></iframe></span></div><span style="font-family: arial;"><br /></span><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;"><br /></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Sniff ‘n’ the Tears, “Driver’s Seat,” #15, 9/29/1979<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">One of the great genuine one-hit wonder songs—other than a #38 song in
the Netherlands, this band never charted anywhere before or after this “let’s
go out tonight and drive around” song. Sniff ‘n’ the Tears was a six-man band
from London that had performed in various configurations over the years. (The
original suggested band name was simply “The Tears,” but the band’s manager
noticed leader Paul Roberts sniffed a lot due to hay fever, and added that on.)
A top 20 hit in several territories, the song only peaked at #38 in the UK due
to a record plant pressing issue after their <i>Top of the Pops</i> appearance
made the vinyl version unavailable. Further releases were ineffectual, and the
band broke up in 1983.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/9SCzVEUlqqA" width="320" youtube-src-id="9SCzVEUlqqA"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;"><b>Patrick Hernandez, “Born to Be Alive,” #16, 9/29/1979</b><o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">If you were going to make disco at this point, you made it pure,
unapologetic disco. Despite his last name, Hernandez is French, and recorded
this song in 1978 in Belgium. “Born to Be Alive,” a fun, brainless celebration
of good times, hit #1 in seven countries over the first half of 1979. The
United States was a little late to the party, but it did hit #1 on the <i>Billboard
</i>dance chart, and Hernandez toured here (his backup dancers included a very
young Madonna). He did have a few minor hits in other countries after this one,
but remains a one-hit wonder in the States. Note: almost every video of this song
shows Hernandez trying to make like Fred Astaire dancing (to make a long story
short, he ain’t Astaire), and I didn’t recognize Madonna in any of them.
So I’m using this “flash mob” video from a couple of years ago (I suspect it
was actually for a sneaker commercial, and may not have even been to this song),
which is at least more fun to watch.</span><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/wlN6zsJ2bco" width="320" youtube-src-id="wlN6zsJ2bco"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Maureen McGovern, “Different Worlds,” #18, 9/29/1979<o:p></o:p></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">Hey, it’s another hit theme song from a failed TV series! This one was
from <i>Angie</i>, a 1979-1980 sitcom where a poor young coffee shop waitress
(Donna Pescow) meets and marries a pediatrician who’s secretly rich (Robert
Hays). A few changes in arrangement and a couple of extra lyrics turned it into
a single for McGovern—it would actually be her last chart hit (she’s toured
singing primarily standards since). The show might have lasted longer had ABC
not shuffled around its time slot a few times and the producers changed the
backgrounds (Angie’s a coffee shop waitress and her mother’s runs a newsstand!
No, now Brad bought Angie the coffee shop! Wait, let’s have them both sell the
coffee shop and newsstand and run a beauty parlor instead!) and supporting cast
(Angie’s best friend DiDi and her niece Hillary were both cut loose after the
first season, with young Tammy Lauren going to the short-lived <i>Out of the
Blue</i>). Pity, because the leads were charming enough to carry the show on
their own—there are a few episodes on YouTube if you’re curious. Side note:
Pescow and Hays are godparents to each other’s kids in real life. This is from
the Season 1 credits; the actual record release had far fewer synthesizers.</span><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/kvJ3KqxgyjQ" width="320" youtube-src-id="kvJ3KqxgyjQ"></iframe></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><o:p><span style="font-family: arial;"> </span></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Stephanie Mills, “What Cha Gonna Do With My Lovin’,” #22, 9/29/1979<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">Best known before this release for playing Dorothy in the Broadway
musical <i>The Wiz</i>, Mills had been around for a while—she’d appeared in the
flop musical <i>Maggie Flynn </i>in 1968 (alongside Irene Cara), and opened at
one point for The Isley Brothers. But one album on ABC Records and a second on
Motown (written entirely by Burt Bacharach and Hal David, which seems an odd
grouping, but I’d love to hear it) hadn’t hit, and a second Motown album went
unreleased. So when this 20<sup>th</sup> Century Fox release occurred, she was
looking for a hit. (And remember 20<sup>th</sup> Century Fox wasn’t a big name
in records at the time; the label would be sold to PolyGram a few years later.)
But she got sympathetic production from James Mtume and Reggie Lucas, and this
became the first of her 30 hits on the R&B charts.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/tdRl2q-seSI" width="320" youtube-src-id="tdRl2q-seSI"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Cheap Trick, “Ain’t That a Shame,” #35, 9/29/1979<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">I’m of the opinion that if the band and Epic Records had their way,
“Surrender” would have been the second single release from <i>Cheap Trick at
Budokan</i>—it was getting tons of radio airplay, and it’s a great song. But
the studio version had been released off <i>Heaven Tonight</i> the year before
(and peaked at #62), so they went to this remake of a Fats Domino classic
instead. It’s definitely different than the original—Domino’s barrelhouse piano
is traded for Rick Nielsen’s pyrotechnics—but it’s still pretty great. (Unfortunately,
the single version itself comes in at 3:08, cutting over two minutes from the
album version.) It’s not the highest-charting version—Pat Boone took his
version (which he originally wanted to retitle “Isn’t That a Shame”) to #1 in
1955—but it was reputed to be Domino’s favorite.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/8tD1oHVPXVg" width="320" youtube-src-id="8tD1oHVPXVg"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;"><b>Fern Kinney, “Groove Me,” #54, 9/29/1979</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">Kinney actually sang backing vocals on King Floyd’s original version of
“Groove Me,” which became a #1 R&B hit and #6 pop hit in 1971. By 1979,
Kinney was a housewife and was itching to get back in the game, so she picked
up some of the reggae feel of the original (well, I guess that can be credited
to producers Carson Whitsett, Wolf Stephenson, and Tommy Couch), and had a
dance hit with some pop crossover success. Album releases in 1981 and 1982
failed to gain much of an audience, and that was it for Fern, who went back to
backing vocals. Coincidentally, The Blues Brothers’ <i>Briefcase Full of Blues</i>
album from 1978 also contained a “Groove Me” remake, with a lot more Jamaican
reggae and some drug references.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/XXt7P3ZTLpA" width="320" youtube-src-id="XXt7P3ZTLpA"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Pat Travers, “Boom Boom (Out Go the Lights),” #56, 9/29/1979<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">First of two chart hits for Travers, a Canadian guitarist who’d been
releasing music since 1976. Weirdly, Polygram couldn’t decide how to bill
him—the parent album <i>Live! Go for What You Know</i> is credited to The Pat
Travers Band, but this single just says “Pat Travers” on the label. Anyway,
it’s a great blues/boogie workout taken from concerts the band had made earlier
in 1979, marred only by some lyrics that sound threatening to women. (Note
Travers didn’t write the song himself.) That might be the reason it isn’t heard
much on the radio today.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/U4XbV3gCm2Y" width="320" youtube-src-id="U4XbV3gCm2Y"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Toby Beau, “Then You Can Tell Me Goodbye,” #57, 9/29/1979<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">Second chart single for this band, and it was a remake of the 1967
Casinos song (which itself was a throwback to the doo-wop era). The song itself
has been remade by everyone from Eddy Arnold to James Brown, but this is the
second-highest charting version as a standalone song (Glen Campbell brought it to
#27 as a medley with Hamilton, Joe Frank, and Reynolds’ “Don’t Pull Your Love”).
However, all was not well in Toby Beauville: this was one of several songs
recorded with studio musicians after RCA Records was unhappy with the direction
their album <i>More Than a Love Song </i>was taking; guitarist Danny McKenna,
who had cowritten their big hit “My Angel Baby” from 1988, would bail out on
the band because of this change before the completion of the album.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/1Tzs_fkyOLA" width="320" youtube-src-id="1Tzs_fkyOLA"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Dave Edmunds, “Girls Talk,” #65, 9/29/1979<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">Look, it’s two Rockpile songs in the same week! This was released under
Edmunds’ name, but as with Nick Lowe’s “Cruel to Be Kind,” Rockpile is the band
playing here. Edmunds was given the song by Elvis Costello, who said in the
liner notes to his <i>Get Happy!! </i>album, "Perhaps I was careless to
give this song away to Dave Edmunds as it became a top five hit for him in
Britain.” Costello’s version became the B-side of “I Can’t Stand Up for Falling
Down,” and was released on the now-out-of-print <i>Taking </i>Liberties album; it
was added to expanded versions of <i>Get Happy!!</i> in 1994. (Linda Ronstadt
also recorded the song for her 1980 album <i>Mad Love</i>.) It also became a
top 20 hit in Australia, Canada, and Ireland. It’s a great rocker (although a
little misogynistic) about gossiping women, although there a lots of double
meanings throughout.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/Xi9vFk9-7eU" width="320" youtube-src-id="Xi9vFk9-7eU"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">New England, “Hello, Hello, Hello,” #69, 9/29/1979<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">How did this band not hit the big time? Between this and “Don’t Ever
Wanna Lose Ya,” they obviously had a way with a pop hook. Anyway, second and
final chart hit from their self-titled debut album, which sank into the sunset
when Infinity Records went out of business not long after. New England signed
with Elektra Records and released <i>Explorer Suite</i> in 1980 and <i>Walking
Wild</i> (produced by Todd Rundgren) in 1981, but neither went anywhere, and
the band broke up afterward. They’ve done some occasional one-shot reunions
since then, and all their albums are on Spotify.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/qCsF2hJYl3g" width="320" youtube-src-id="qCsF2hJYl3g"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Carolyne Mas, “Stillsane,” #71, 9/29/1979<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">Rocker that was christened “the female Bruce Springsteen” by some rock
critics, and while she never made those heights, this is still a pretty solid
rocker. Born in Bronxville, New York, she came up at the much-missed Cornelia
Street Café in Manhattan (I used to live across the street, although not when
she played there), and eventually got a contract with Mercury Records. This was
her only American chart hit; her 1981 song “Quote Goodbye Quote” charted in
Canada and the UK. Mas is now semiretired from the music business, but her web
site says she’s working toward her master’s degree in medical nutrition at
Arizona State University, due in 2021. And many of her albums are on Spotify.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/CCCk8jPBvzA" width="320" youtube-src-id="CCCk8jPBvzA"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Blue Oyster Cult, “In Thee,” #74, 9/29/1979<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">I guess I don’t know this band very well, because “In Thee” sounds <i>nothing
</i>like their two best-known songs, “Don’t Fear the Reaper” and “Burning for
You.” That’s probably because this album was intended to reach beyond their
standard audience; toward that end Cheap Trick producer Tom Werman took the
reins on this one. And “In Thee” sounds more like a Crosby, Stills & Nash
outtake—harmonies galore (and no cowbell). The move backfired; <i>Mirrors</i>
didn’t sell any better than their previous albums (in fact, it charted lower
than their previous two studio albums), and Blue Oyster Cult went back to the
darker music that made them famous.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/kM-0Kni9dEA" width="320" youtube-src-id="kM-0Kni9dEA"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: arial;">Olivia Newton-John, “Dancin’ ‘Round and ‘Round,” #82, 9/29/1979<o:p></o:p></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: arial;">This gets my vote for Most Unnecessary Apostrophes in a Song Title for
1979. “Dancin’ ‘Round and ‘Round” is the B-side of <a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html">“Totally
Hot,”</a> which peaked at #52 the month before. MCA hadn’t forgotten Newton-John’s
country audience, seemingly left behind after <i>Grease</i>, but she had
chalked up six country top 10 hits early in her career. This song made #29
there, and that seemed to make sense—it’s a ballad that’s well suited for
Newton-John’s voice, about a woman forgetting about her troubles (mostly
romantic) by going dancing at the local honky tonk (although the video doesn’t
use this angle at all). This would be her last country hit; future releases
aimed squarely at the pop market.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/1RI0ejklb-8" width="320" youtube-src-id="1RI0ejklb-8"></iframe></div><br /><span style="font-family: arial;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<div style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><span style="font-family: arial;"><b>Other Superhits 1979 entries you may enjoy:<br /></b></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-1.html">Week
1<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-2.html">Week
2<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-3.html">Week
3<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html">Week
4<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html">Week
5<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/02/shalamar-take-that-to-bank.html">Week
6<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html">Week
7<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html">Week
8<br /></a></span><span style="font-family: arial;"><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html">Week
9<br /></a></span><span style="font-family: arial;"><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html">Week
10<br /></a></span><span style="font-family: arial;"><a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-11.html">Week
11<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-12.html">Week
12<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-13.html">Week
13<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html">Week
14<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-15.html">Week
15<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html">Week
16<br /></a></span><span style="font-family: arial;"><a href="http://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-17.html">Week
17<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-18.html">Week
18<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html">Week
19<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html">Week
20<br /></a></span><span style="font-family: arial;"><a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-21.html">Week
21<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-22.html">Week
22<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/07/normal-0-false-false-false-en-us-x-none.html">Week
23<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-part-24.html">Week
24<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html">Weeks
25 and 26<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html">Week
27<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html">Week
28<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html">Week
29<br /></a></span><span style="font-family: arial;"><a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-parts-30-and-31.html">Weeks
30 and 31<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-32.html">Week
32<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html">Week
33<br /></a></span><span style="font-family: arial;"><a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-34.html">Week
34<br /></a></span><span style="font-family: arial;"><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-35.html">Week
35<br /></a></span><span style="font-family: arial;"><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-36.html">Week
36<br /></a></span><span style="font-family: arial;"><a href="https://abandonedandheartbroke.blogspot.com/2020/11/superhits-1979-parts-37-and-38.html">Weeks
37 and 38</a></span></div>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><o:p><span style="font-family: arial;"> </span></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><o:p><span style="font-family: arial;"> </span></o:p></p>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-55887892738973382322020-11-25T10:06:00.003-05:002020-11-25T10:20:41.957-05:00Superhits 1980, Week 7<p></p><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi31d6S11ute91cm8jNcN4OPM0hV1anaFFP3j7BQuyGdqjqU6rF7TKC2EDC9V7SrYSwoHEFe9NsmILoKpPiFx-GXcB6qxebHx5_UNvhrHJDdiWH5_eXZkNG_RtIV74u9h70Imha1QC-JBM/s596/Dana+Delany.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="596" data-original-width="595" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi31d6S11ute91cm8jNcN4OPM0hV1anaFFP3j7BQuyGdqjqU6rF7TKC2EDC9V7SrYSwoHEFe9NsmILoKpPiFx-GXcB6qxebHx5_UNvhrHJDdiWH5_eXZkNG_RtIV74u9h70Imha1QC-JBM/s320/Dana+Delany.jpg" /></a></b></div><b><br /><div style="text-align: center;"><b>By Curt Alliaume</b> </div></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Short week, with a few interesting backstories. <o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><o:p> </o:p></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>The Captain and Tennille, “Do That to Me One More Time,” #1,
2/16/1980<o:p></o:p></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">The last top 40 hit for The Captain and Tennille was also one of their
biggest. “Do That to Me One More Time” was also their first release on
Casablanca Records, after spending their entire career on A&M. Tennille
noted in her 2016 memoir it appeared A&M thought the duo’s chart run was
nearing its end, based on releasing a greatest hits set after just three studio
albums. Casablanca thought otherwise, and they made the switch to the then-hot
label despite knowing its reputation for cocaine use. (Tennille: “Many of the
Casablanca staff and executives were <i>also</i> flying high on something else,
and I’m not talking about private planes.”) Tennille wrote the song (about
longing for more affection from her husband), not expecting it would be
considered a single, but Casablanca’s executives thought it would be great—and
it’s probably the duo’s most-played song nowadays on oldies and AC radio.
(“Love Will Keep Us Together” has a certain kitsch value, but hasn’t aged as
well.)<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/XR7lpRyt5X4" width="320" youtube-src-id="XR7lpRyt5X4"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Led Zeppelin, “Fool in the Rain,” #21, 2/16/1980</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Last chart single for the band (drummer John Bonham died of pulmonary
aspiration that September), and their first top 30 single since 1973’s “D’yer
Mak’er,” off <i>Houses for the Holy</i>. In fairness, Zep wasn’t a band that
particularly needed to release singles, since their songs didn’t get much top
40 airplay or didn’t work on AM radio (for example, “Stairway to Heaven” was
never a single because of its length), and their legion of fans always bought
their albums as soon as they were released (the song’s parent album <i>In
Through the Out Door</i> was #1 for seven weeks in September and October 1979,
before being replaced by the Eagles’ <i>The Long Run</i>). It’s not a
particularly Zep-like song—most of the songwriting for the album was done by
Robert Plant and John Paul Jones (Jimmy Page was battling drug problems), but
Bonham’s drum parts really make it unique.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/9HROGOhSltg" width="320" youtube-src-id="9HROGOhSltg"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Bonnie Pointer, “I Can’t Help Myself (Sugar Pie, Honey Bunch),” #40,
2/16/1980</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Pointer’s third solo chart hit, and last. Somebody at Motown Records
(possibly her husband, producer Jeffrey Bowen) thought after the success of
“Heaven Must Have Sent You” the previous year she should record <i>lots</i> of
Motown remakes—so five of the six tracks (clocking in at 31:20—talk about
skimpy) on the album are old Holland-Dozier-Holland songs (for which Motown
owned the publishing rights). “I Can’t Help Myself” is a pretty good song
(although I don’t know if the “Sugar Pie, Honey Bunch” chorus has stood the
test of time), but enough already. And naming the second album <i>Bonnie
Pointer</i> a year after the first album was also named <i>Bonnie Pointer</i>
was just careless—if nothing else, it had to create lots of confusion at record
stores. Pointer would release a hitless 1984 album on independent Private I
Records, and another solo album, <i>Like a Picasso</i>, in 2011, but was also
arrested for cocaine possession that year (of the four original Pointer
Sisters, only Anita avoided cocaine problems). Bonnie and Anita recorded a
tribute to June Pointer, “Feels Like June,” earlier this year, but Bonnie died
of cardiac arrest June 8, age 69.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/m5XFyduc5LM" width="320" youtube-src-id="m5XFyduc5LM"></iframe></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Tavares, “Bad Times,” #47, 2/16/1980</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Twelfth Hot 100 hit for the five-brother band, all born in Providence,
RI, but raised in nearby New Bedford, MA. “Bad Times” was their first chart hit
since 1978’s “More Than a Woman” from the <i>Saturday Night Fever </i>soundtrack.
Tavares was pretty dependent on outside songwriters—I looked through about six
of their albums and only found a couple of songs written second-youngest
brother Butch (one cowritten with his then-wife Lola Falana), and this was a
move away from some of the disco-tinged music they’d been releasing for several
years. Written by Gerard McMahon (who would later become a solo artist), it
comes from the album <i>Supercharged</i>, and was produced by former Blood,
Sweat & Tears drummer Bobby Colomby.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/jJFnBHWZYOg" width="320" youtube-src-id="jJFnBHWZYOg"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Mike Pinera, “Goodnight My Love,” #70, 2/16/1980</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i>This </i>is the same guy who cowrote and sang “Ride Captain Ride,”
my first-ever favorite song on the radio? Wow, things changed. Pinera was with
a number of bands—Blues Image, a latter-day version of Iron Butterfly, and New
Cactus, as well as playing in Alice Cooper’s band from 1980 and 1982 (a low
point for Cooper, not because of Pinera but because his alcoholism was so
fierce he can’t even remember making the albums he was touring). “Goodnight My
Love” comes from Pinera’s second solo LP, <i>Forever</i>, and it’s a gentle
ballad that Pinera wrote himself. He now tours with The Classic Rock All-Stars,
featuring former members of Sugarloaf, Grand Funk Railroad, Steppenwolf, and
The Knack.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/Js9phiLRvmE" width="320" youtube-src-id="Js9phiLRvmE"></iframe></div>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p><br /></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Twennynine With Lenny White, “Peanut Butter,” #83, 2/16/1980</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Funk workout led by drummer White, once and future drummer for the jazz
fusion band Return to Forever, led by Chick Corea and Stanley Clarke (their
most recent album, <i>The Mothership Returns</i>, came out in 2012). Not to get
up on the soapbox, but this demonstrates the huge gap at the time between the
R&B and pop charts—this song peaked at #3 on <i>Billboard</i>’s R&B
chart, but obviously came nowhere close to that level on the Hot 100. Anyway,
White led the band through three albums with decreasing returns each time out,
until they broke up in 1983. White now does session work and teaches at New
York University-Steinhardt, and has released nine jazz albums under his own
name.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/cIhK9otA0cs" width="320" youtube-src-id="cIhK9otA0cs"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>April Wine, “I Like to Rock,” #86, 2/16/1980</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Every rock band in the 1970s apparently needed an “ain’t rock and roll
great?” anthem; this is April Wine’s. This was the second single from the band’s
1979 album <i>Harder… Faster</i> (hmmm?), following “Say Hello,” which hit #34
in their native Canada but did no better than Bubbling Under the Hot 100 in
America at #104. It’s generally listed among the greatest Canadian rock songs
of all time, but hasn’t had the same kind of accolated in the United States.
The album did go gold in the US, however, which was the first time April Wine
had hit that level.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/YlcY_enzwmI" width="320" youtube-src-id="YlcY_enzwmI"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Dana Valery, “I Don’t Want to Be Lonely,” #87, 2/16/1980</b><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Second and final chart hit for Valery, who was originally better known
as the younger sister of singer Sergio Franchi. (Among us game show fans, she’s
better known for being an occasional panelist on <i>What’s My Line</i> in the
1970s—and she was pretty good at it, too.) Raised in South Africa, Valery
recorded a few albums there in the 1960s before moving to the United States.
Her first chart hit in 1976 was a remake of “Will You Love Me Tomorrow;” this
orchestrated ballad appears to be a one-shot single release. (Side note: “Rainbow
Connection” is on the flip side of the single; I suppose it’s possible that label
Scotti Bros. intended it be the A-side until Kermit the Frog beat them to it.) Valery
now lives in New York City with her husband Peter.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/vrbaDMuqZTg" width="320" youtube-src-id="vrbaDMuqZTg"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><br /></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p style="line-height: normal; margin-bottom: 0.0001pt; text-align: left;"><b>Other Superhits 1980 entries:<br /></b><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1980-parts-1-and-2.html">Weeks
1 and 2<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1980-part-2.html">Week
3<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1980-part-4.html">Week
4<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2020/10/normal-0-false-false-false-en-us-x-none.html">Week
5<br /></a><a href="https://abandonedandheartbroke.blogspot.com/2020/11/superhits-1980-week-6.html">Week
6</a></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p><br /><p></p>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-44832433782480898912020-11-22T13:34:00.005-05:002021-01-26T11:35:23.560-05:00Neil Young Albums, Ranked<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3jsK370BxbD9MhRYmMOCYyWVgpih3sVJEs-YTUWXVoeLMjuh9L6krHVFTdclnlH1m8TKb6cR9cWPR_XrLzLPqyqui91QQhsPiFRc0a-KfPN6BxMy22i41FX4-VWD3uODb9Mrmw2bYqz4/s1140/Neil+Young.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="655" data-original-width="1140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3jsK370BxbD9MhRYmMOCYyWVgpih3sVJEs-YTUWXVoeLMjuh9L6krHVFTdclnlH1m8TKb6cR9cWPR_XrLzLPqyqui91QQhsPiFRc0a-KfPN6BxMy22i41FX4-VWD3uODb9Mrmw2bYqz4/s320/Neil+Young.jpeg" width="320" /></a></p><div style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>By Curt Alliaume</b></span></span></span></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>I was not into Neil Young growing up. I heard “Heart of Gold” regularly
on WABC, and that was about it. (And I’m sure I heard “Ohio” there too, but I
was seven at that point and way too young to understand who it was or what they
were singing about.) By the time the late 1970s rolled around, there were plenty
of Young fans at our high school (I took a poll of our high school for our
student newspaper; Young and <i>Rust Never Sleeps </i>were incredibly popular),
but CSNY’s harmonies annoyed me more than they should have, so I still avoided
them. In college, I had a fraternity brother who was so into Young it basically
turned me off of him for years (and he was going through a weak string of
records at that point). But a roommate let me tape his copy of <i>Decade </i>in
1989, and <i>Freedom</i> and “Rockin’ in the Free World” started pulling me in,
then <i>Harvest Moon</i>, which remains one of my favorite Neil Young records.
So I started collecting.</span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Now it’s easier to list what I <i>don’t</i> have. Of the 43 studio
albums below (this list doesn’t include anthologies, live albums, movie
soundtracks, or anything done with Buffalo Springfield, CSNY, or the
Stills-Young Band), I’m only missing six—three that have been issued in recent
years, and three from the 1980s. For the uninitiated, though, it’s hard to tell
what you’re going to get, because his catalogue is so varied and idiosyncratic.
So as I did with <a href="http://abandonedandheartbroke.blogspot.com/2019/05/elton-john-albums-ranked.html">Elton
John</a> last year, this entry averages out critics’ rankings and reviews of
his albums, to give a general idea of what to get first, and what to get later
on (or listen to once on Spotify). Young is incredibly prolific, and to some
that might mean he’s released material he might have been better off keeping in
the vault—but in contrast to, say, Don Henley (who’s released two solo albums
in the past three <i>decades</i>) I’d rather have more than less. Of course,
Young also repurposes material—he’s had albums he’s released years after
originally recording, or songs that he decided weren’t right for a certain
album but worked fine for another. And that also means lyrics and melody lines
occasionally recur; I was listening to 2017’s <i>The Visitor</i> and one of the
songs made me say, “This sounds almost exactly like ‘From Hank to Hendrix’”
(from 1992’s <i>Harvest Moon</i>).</span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>A warning: music critics usually prefer the old to the new. So even
though Neil Young has been recording steadily since the mid-1960s, only one
album issued in the last 25 years made the top 20. And another warning: unlike
Elton John (who had 47 top 30 hits and is still played regularly on oldies,
adult contemporary, and classic rock stations), Young has had one solo top 30
song his entire career (the #1 “Heart of Gold”), and a handful of solo songs
that are played regularly on classic rock stations (let’s say “Cinnamon Girl,”
“”Southern Man,” “Heart of Gold,” “Old Man,” “The Needle and the Damage Done,”
“Like a Hurricane,” “Hey Hey My My (Out of the Blue Into the Black),” “Rockin’
in the Free World,” “Harvest Moon”). So there are a lot more Neil Young albums
than Elton John albums, and a <i>whole</i> lot more Neil Young songs that I
haven’t heard in years.</span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>I’ve averaged the grades of the following books and web sites:<br />
- <a href="http://www.warr.org/cgi-bin/randompickpan2.cgi">Wilson & Alroy’s
Record Reviews</a>, which I recommend pretty highly, despite their dislike of
Steely Dan and Bruce Springsteen</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- this </span><span><a href="https://ultimateclassicrock.com/neil-young-albums-ranked/"><i>Ultimate Classic Rock</i></a><span>, which
was originally written in 2015 but has been updated to include his most recent
releases</span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- <a href="https://www.robertchristgau.com/cg.php">Robert Christgau’s
reviews</a>, which I loved when I was a teenager and love less today, <o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- <i style="mso-bidi-font-style: normal;">Musichound Rock: The Essential
Album Guide</i>, which came out sometime in the late 1990s (which means
anything after that isn’t ranked)<o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- <a href="https://www.allmusic.com/">All Music Guide</a>, because they
review every album, even if the reviews are poorly constructed (Wilson &
Alroy refer to AMG as “All Mushy Gibberish”),<o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- <a href="https://www.stereogum.com/1445091/neil-young-albums-from-worst-to-best/franchises/list/">Stereogum</a>’s
rankings from 2013 (so several late-period albums are missing), <o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- <a href="https://www.y42k.com/2018/04/29/yet-another-ranking-of-neil-youngs-albums/">Y42K</a>,
whoever they are, <o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- <a href="https://rockpasta.com/neil-young-albums-ranked-from-worst-to-best/">Rock
Pasta</a>, <o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- <a href="http://tonysmusicroom.blogspot.com/2015/11/neil-young-albums-ranked-by-me.html"><span style="mso-field-code: " HYPERLINK \0022https\:\/\/rockpasta\.com\/neil-young-albums-ranked-from-worst-to-best\/\0022 ";">Tony’s
Music Room</span></a> (so all of them are ranked by Tony)<o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- <a href="https://soundblab.com/lists/neil-young-every-album-ranked">Soundblab</a>,
<o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>- And <a href="https://www.theguardian.com/music/2020/nov/05/neil-young-every-album-ranked">The
Guardian</a>, which issued their list just before I wrote this.</span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>(Side note: these rankers and reviewers really need to double-check
their lists. Some of the lists were written a long time ago and haven’t been
updated, while others don’t claim to be all encompassing, but <i>The Guardian</i>
missed <i>The Visitor</i>, Soundblab skipped <i>Sleeps With Angels</i>,
Ultimate Classic Rock refuses to include <i>Time Never Sleeps</i> even though
it’s now available again, and <i>Musichound</i> forgot to review <i>re-ac-tor</i>.
If more than half of the sources didn’t review the album, I’ll make a note of
it, because that can skew the averages.)</span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Also, I will occasionally refer to the Archives Series. Young has
released a series of albums over the last 20 years that include live
performances, albums he completed or came close to completing, and box sets
including even more unreleased material as well as the aforementioned live and
unfinished albums (the second one is due soon). None of those are included in
these rankings, either.</span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Finally, I should note with such a huge catalog, I’m not terribly
familiar with all of his music, especially many of the later albums. (I’d like
to listen to them before bedtime, but my wife is emphatically <i>not</i> a
fan.) I’ll make note of my opinions and whether they can be sustained by
actually having, you know, listened to the albums carefully enough.<o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><o:p><span> </span></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEYZZfzKg26gf8ozso5w1R6sU9c27U0Rz7U1ULuhELLtqNu3JkGFq-KutJrMW-WwkElBMlHIVh-8kTGae0gajVz9ZJ-0-1otkuZOic4M1cDdHW_lNOCwjRI4FUDlSiUZSmYqH0CoZgWh8/s980/Peace+Trail.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="980" data-original-width="980" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEYZZfzKg26gf8ozso5w1R6sU9c27U0Rz7U1ULuhELLtqNu3JkGFq-KutJrMW-WwkElBMlHIVh-8kTGae0gajVz9ZJ-0-1otkuZOic4M1cDdHW_lNOCwjRI4FUDlSiUZSmYqH0CoZgWh8/s320/Peace+Trail.jpg" /></a></b></span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica; font-size: medium;"><span><span><b>43. Peace Trail (2016)</b></span></span><span><span> </span></span></span></div><div style="text-align: left;"><span style="font-family: helvetica; font-size: medium;"><span><span>Young released a trio of angry albums between 2015 and 2017 (plus a
live album, <i>Earth</i>) that celebrated nature and attacked corporate
polluters (specifically Monsanto, but also governmental policies regarding the
Standing Rock Indian Reservation in the Dakotas and the Trump administration);
they’re all in the bottom 20 percent of this list. The general consensus seems
to be along the lines of what Wilson and Alroy once said about Jackson Browne’s
1985 album <i>Lives in the Balance</i> about U.S. interference in Central
America: “even when they’re dead right, it ain’t art.” I’ve listened to each a
few times, and I don’t remember more than a few melodies and verses from any of
them. (It doesn’t help that the sound quality of one of my CDs was pretty poor;
the fact I can’t remember which of the three that was should tell you
something.) This is the only one of the three albums (the others are <i>The
Monsanto Years</i> and <i>The Visitor</i>) not recorded with Promise of the
Real.</span></span></span></div><p><span style="font-family: helvetica;"><span style="font-size: medium;"><span><br /><br /></span></span><span style="font-size: medium;"><span>
</span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihSNxq-AoqlAHmDDsva3rMnUjNsFC6u9amtKzhx8UBf-0bc7wJczGG8WksyVTmRHB4CDBus5Ev1ZZA0h2OXNrN0gaAkVDsSJWxB4hkRu9cYSqwr664rOwEoxztjVwxfJ2BkgcfnaHrHck/s1425/Storytone.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1425" data-original-width="1425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihSNxq-AoqlAHmDDsva3rMnUjNsFC6u9amtKzhx8UBf-0bc7wJczGG8WksyVTmRHB4CDBus5Ev1ZZA0h2OXNrN0gaAkVDsSJWxB4hkRu9cYSqwr664rOwEoxztjVwxfJ2BkgcfnaHrHck/s320/Storytone.jpg" /></a></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>42. Storytone (2014)</b><o:p></o:p></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Completely different from the aforementioned “angry” albums; this is a
love letter to Daryl Hannah, whom Young had taken up with after being married
to Pegi Young for 36 years. (This led to an angry split from Crosby, Stills,
and Nash after David Crosby made some poorly-chosen comments about Hannah [he’s
since apologized]; Pegi Young died of cancer in 2019.) Young recorded acoustic
and orchestrated versions of all ten songs on the album; the deluxe version has
both while the standard version has only the orchestrated ones (I own the
deluxe version). It’s not <i>bad</i> by any means, but it’s not among his best.
For some reason, I tend to lump it in with Robin Thicke’s desperate pleas to
repair his marriage on his album <i>Paula</i>, which came out around the same
time (those pleas didn’t work; they’re now divorced), as rock music isn’t
usually that personal.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span>41. Are You Passionate? (2002)<o:p></o:p></span></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>None of Young’s albums from 2000-2009 rank among his very best, but
this one seems to have gotten more negative reviews than the rest. It does
include his post-9/11 anthem “Let’s Roll,” which was pretty much negated by his
angry screed <i>Living With War</i> a few years later. Honestly, I’ve only
listened to this album once in the last five years or so, and the only song
that sticks with me even a little bit is “Let’s Roll.” Recorded with Booker T.
Jones on keyboards and Donald “Duck” Dunn on bass, so it’s more
R&B-oriented than much of his other material. “Gateway of Love” is listed
on the album cover but isn’t actually on the album; apparently it was dropped
late from the track listing (it’s not the only time Young has done that).<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><br />40. The Visitor (2017)</b><o:p></o:p></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>The last of the trilogy, which probably wasn’t planned; several of
these songs have an anti-Donald Trump flavor, especially the lead track,
“Already Great.” I’m totally sympathetic to his point of view, but it’s been a
few years since I’ve listened to the album, and “Already Great” is about the
only song that sticks with me. Recorded with Promise of the Real, which
includes two of Willie Nelson’s sons, Lukas and Micah. Only five of the eleven
critical sources actually reviewed the album (as noted previous, <i style="mso-bidi-font-style: normal;">The Guardian</i><span style="mso-bidi-font-style: italic;"> inexplicably left it out of their rankings, even though later releases
like </span><i style="mso-bidi-font-style: normal;">Colorado</i><span style="mso-bidi-font-style: italic;"> and </span><i style="mso-bidi-font-style: normal;">Homegrown</i><span style="mso-bidi-font-style: italic;"> are included),
so be aware that may skew the final number a bit.<br /><br /><br /></span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmRj8KFErupVqEm91T0-27aOxCg86Z6ycVmrZklQvtabDo2Xb2Y9cC6AfiWywqAI_xadO_9BwQLJa4jbseor8eTiSJnLPIJguMYtNN7NHfHb3oWRL_wEZg1LAdA9ozm1JZSaoulFzrfCE/s1000/Everybody%2527s+Rockin%2527.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="974" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmRj8KFErupVqEm91T0-27aOxCg86Z6ycVmrZklQvtabDo2Xb2Y9cC6AfiWywqAI_xadO_9BwQLJa4jbseor8eTiSJnLPIJguMYtNN7NHfHb3oWRL_wEZg1LAdA9ozm1JZSaoulFzrfCE/s320/Everybody%2527s+Rockin%2527.jpg" /></a></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>39. Everybody’s Rockin’ (1983)</b><o:p></o:p></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>The 1980s weren’t particularly kind to Neil Young (<i>Freedom</i>, from
1989, is a big exception), partially due to his switching labels from Reprise
to Geffen. David Geffen had worked with Young for years as a manager (although
his primary manager with Elliot Roberts), so Young probably thought the move
would be beneficial for him; it wasn’t. His first album, <i>Trans</i>, was his
electronics album (created as a way to communicate with his son Ben, who has
cerebral palsy); Geffen demanded a “rock and roll” album next. So Young
delivered this—a skimpy album (not even 25 minutes long, which was miniscule
even by vinyl standards) of ‘50s rock and rockabilly pastiches. (Young wanted
to record two additional songs, but a pissed-off Geffen cancelled the sessions;
the songs later came out on Young’s <i>Lucky Thirteen</i> anthology.) Geffen
wound up suing Young for making “unrepresentative” music, which he later
conceded was a mistake. The lead single was “Wonderin’,” with an appropriate
grainy video; the song had actually been written years before (it appears on
his Archive Series album <i>Live at the Fillmore 1970</i>).<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span>38. Old Ways (1985)<o:p></o:p></span></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>This was the album Young wanted to release after <i>Trans</i>, but
Geffen rejected it. It’s really about the same in quality (although <i>Everybody’s
Rockin’ </i>was willfully mediocre, by Young’s own admission), but this leans
toward pure country music, with orchestration. Except for a remake of the old
Gogi Grant chestnut “The Wayward Wind,” the songs themselves are okay, and
there are several well-known names here (Waylon Jennings, Bela Fleck, Spooner
Oldham, plus longtime Young compatriots Ben Keith and Tim Drummond), but it
never quite coheres. Some of the stronger songs are available on the live
Archives release <i>A Treasure</i>, which is far better.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span>37. Fork in the Road (2009)<o:p></o:p></span></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Young’s album dedicated to his Lincoln Continental, which was
reconfigured to run on alternate energy. (Left unattended in 2010, the car
started a fire that caused significant damage to a warehouse full of Young’s
property, but he attributed that to human error.) Anyway, Young’s a huge car
fan (read his book <i>Special Deluxe</i> to find out more), and that comes
across here. Unfortunately, if you’re not a big car fan it’s just not that
exciting of an experience.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL8rqncYAxhCKt3N3EoE4S3IFEqTfM4266DC8-H_K-j2SXf5JZNbYJiYxtMyLwFceIig1V3MF_oEkw2t6OR-b6bR8MmUFZzPEFSbCDKrrzMiV906PaeNJAHz5ZHAS4ImnnUgpc_1mwhFA/s1425/Monsanto+Years.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1425" data-original-width="1425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL8rqncYAxhCKt3N3EoE4S3IFEqTfM4266DC8-H_K-j2SXf5JZNbYJiYxtMyLwFceIig1V3MF_oEkw2t6OR-b6bR8MmUFZzPEFSbCDKrrzMiV906PaeNJAHz5ZHAS4ImnnUgpc_1mwhFA/s320/Monsanto+Years.jpg" /></a></span></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span>36. The Monsanto Years (2015)<o:p></o:p></span></b></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>First of what I’m going to call the Bitch Trilogy albums, along with <i>Peace
Trail</i> and <i>The Visitor</i>. (Young’s three albums <i>Time Fades Away, On
the Beach¸</i> and <i>Tonight’s the Night</i> are famously referred to as the
Ditch Trilogy after he wrote in the liner notes of <i>Decade</i> <span class="s1">“’Heart of Gold’ put me in the middle of the road. Traveling there
soon became a bore so I headed for the ditch. A rougher ride, but I saw more
interesting people there.”) Anyway, this one was also made with Promise of the
Real, and it’s a tough listen, but the music itself is somewhat better than <i>Peace
Trail</i> and <i>The Visitor</i>. I would recommend listening to them in order,
maybe with the live album <i>Earth</i> included (<i>Earth</i> has four songs
from <i>The Monsanto Years</i> plus the otherwise unavailable “Seed Justice”).<br /><br /><br /></span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><span><b>35. Americana (2012)</b><o:p></o:p></span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><span>Be prepared for <i>very</i> different versions of some
familiar songs (“Oh Susanna,” “Clementine,” “This Land Is Your Land,” even “God
Save the Queen”), as interpreted by Young and Crazy Horse, his on-and-off band
(he’s worked with them since the late 1960s). I don’t love it, but I don’t hate
it, either—it’s definitely interesting and worth a listen on Spotify at the
least.</span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7TMX2GHyUaoS109BxU2pvZ0sw8pwxhmV13w_fFQ8FH7RmGhX1204BVHtydAE8XYJrFlFpNdYe_BjsCj3FMUB-muYn-nAbWi7n8o18AXi21-exBhCqSnOAZ7b70jKXibE3KwmbNNt4bSI/s1280/Landing+on+Water.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1274" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7TMX2GHyUaoS109BxU2pvZ0sw8pwxhmV13w_fFQ8FH7RmGhX1204BVHtydAE8XYJrFlFpNdYe_BjsCj3FMUB-muYn-nAbWi7n8o18AXi21-exBhCqSnOAZ7b70jKXibE3KwmbNNt4bSI/s320/Landing+on+Water.jpg" /></a></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>34. Landing on Water (1986)</b><o:p></o:p></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><span>Another not-particularly-well-reviewed 1980s album from Young.
He apparently tried performing this at first with Crazy Horse, but the end
results were so lousy that they were tossed (studio pros Steve Jordan and Danny
Kortchmar played with Young instead; no bass player is listed; I guess either
Young or Kortchmar created synthesized bass effects). I finally got around to
listening to it before writing this, and I’m surprised the album didn’t come in
lower. I thought it was a synthesizerfest with mostly weak songwriting, but
some critics genuinely liked it (Wilson & Alroy gave it the same rating
they gave <i>Tonight’s the Night</i> and <i>Zuma</i>).<br /><br /><br /></span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><span><b>33. Life (1987)</b><o:p></o:p></span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><span>I don’t have this one at all, which may not be the worst
thing. (I prefer getting my CDs and downloads cheap, and since none of Young’s
albums are cheap to download—the only Young albums that are less than $7.99 on
Amazon are this, <i>Landing on Water, Everybody’s Rockin’</i>, and the Archives
Series album <i>Live at the Fillmore </i>East—it’s generally the used CD stores
for me.) Anyway, this one was with Crazy Horse and was mostly recorded live in
concert (two songs were done in the studio). Weirdly, there’s a fair amount of
synth on this one, which is not something I’d usually associate with Young’s
Crazy Horse albums; they’re generally done with guitars, bass, and drums only.
I’ll have to try this one on Spotify.</span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><span><b><br /><br />32. Greendale (2003)</b><o:p></o:p></span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><span>I’ve had this one for four years, and managed not to
listen to it at all. (And yes, I started keeping track of how many times I’ve
listened to my albums five years ago, but I didn’t start putting albums I’d
just bought on the top of the priority stack until a year later. Don’t judge.)
This is a concept album about a town in California, touching on some of Young’s
pet subjects (environmentalism, corrupt politicians, etc.). Some copies came
DVDs of either an acoustic performance of the songs or a making-of documentary;
I can’t remember whether mine has either one (the physical disc is in storage).
All of which is another way of saying I need to listen to it a few times.</span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><span><b><br /><br />31. Living With War (2006)</b><o:p></o:p></span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><span>This gets wildly varying reviews among the critics used
to compile these rankings—a few put it at the very bottom of their lists; a few
put it in the upper middle. Basically, Young got pissed off at George W. Bush,
wrote and recorded the album in a couple of weeks, overdubbed a 100-voice
choir, and had Reprise rush release it. Obviously, any album with a lead single
titled “Let’s Impeach the President” is an angry one, but there’s more here.</span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><b><span><br /><br />29. (tie) A Letter Home (2014)<o:p></o:p></span></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><span>Even among Young’s odder releases, this stands out. <i>A
Letter Home</i> is all remakes of other singer/songwriters’ tunes (two songs
each by Willie Nelson and Gordon Lightfoot, and one by Bruce Springsteen, Bob
Dylan, Tim Hardin, and others), recorded in a 1947 Voice-o-Graph vinyl
recording booth. Young is solo except with occasional piano by Jack White (who
owned the booth). I don’t have the album, but I’m looking to add it to my
collection.<br /><br /><br /></span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidQiZgGqPmv2GnlvRuz_X5u4SczE8sKKaZgN89SprW38Mi7034ZF3pzK7ian814HYwjYBHs66s7_hyphenhyphenr_qW4P35IrFA1sLBkoqsaiI6npva8SNwCQ3l5cGoY_Cn58afOf4NNh3E9pSx3gY/s1500/Colorado.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidQiZgGqPmv2GnlvRuz_X5u4SczE8sKKaZgN89SprW38Mi7034ZF3pzK7ian814HYwjYBHs66s7_hyphenhyphenr_qW4P35IrFA1sLBkoqsaiI6npva8SNwCQ3l5cGoY_Cn58afOf4NNh3E9pSx3gY/s320/Colorado.jpg" /></a></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>29. (tie) Colorado (2019)</b><o:p></o:p></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><span>Young’s most recent recording (excluding <i>Homegrown</i>,
which was recorded in 1975 but wasn’t released until this past June), and his
most recent collaboration with Crazy Horse. There are only three reviews for
this one, so the average is a little skewed, but the general consensus seems to
be it’s better than the Bitch Trilogy, even though there’s still a lot of anger
there. There are also hints that Crazy Horse’s musicians are getting older
(bass player Billy Talbot and drummer Ralph Molina both turned 76 in 2019) and
their playing may not be what it was in their youth, but if they’re close to
retirement, this isn’t the worst way to go out. Haven’t heard this, but I’ve
got a library copy waiting for me to give it a listen.<br /><br /><br /></span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><span><b>28. This Note’s for You (1988)</b><o:p></o:p></span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><span>Young’s Chicago blues album recorded with an ad hoc
backing band he dubbed The Bluenotes. (After Harold Melvin, whose vocal group
was called The Blue Notes, instigated legal action, it was retitled a Neil
Young solo album and the band was dubbed Ten Men Workin’.) Blues isn’t
necessarily Young’s wheelhouse (but do recall that before the folk rock band
Buffalo Springfield, Young was in a band called The Mynah Birds with future
punk funk star Rick James, and they actually recorded a few unreleased single
sides with Motown), but “This Note’s for You”—a snarky take on rock stars
endorsing commercial products—is a keeper. The video was originally banned by
MTV after Michael Jackson’s lawyers threatened legal action; the channel
reversed itself and eventually awarded Young the Video Music Award for best
video in 1989. Side note: this is Young’s first album back with Reprise after
five albums with Geffen; none of those five albums rank higher on this list
than #26.<br /><br /><br /></span></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span class="s1"><b><span>27. Broken Arrow (1996)<o:p></o:p></span></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><span class="s1">This marked the end of a creative period running from
1989 to 1996, and another album with Crazy Horse. <i>The Guardian</i></span>
offers the theory the death of frequent coproducer David Briggs in 1995 hurt
the quality of Young’s output in that Briggs was occasionally able to rein in Young’s
less worthy ideas, and I won’t argue the point: of the 43 albums on this list,
only one released after Briggs’ death ranks in the top 20. Anyway, I’ve
listened to this album a few times, but it’s typical of his work with Crazy
Horse: jamming, occasionally disjointed, but without any standout tunes that
stick in one’s head.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqG9eeIVFtL1uSdNd-X3gC4Odzim_0HtoOtJE9lr5UOkzHjQ5Sa7gF6KoDqhmq2UrVVkG_4LsU2v9Q6JEpVjOW-YkfThLa4j_3tIRKQQuzj3YH5dCzNVY1jLwaBrQU4SzDK1YSklFCCWM/s820/Trans.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="820" data-original-width="820" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqG9eeIVFtL1uSdNd-X3gC4Odzim_0HtoOtJE9lr5UOkzHjQ5Sa7gF6KoDqhmq2UrVVkG_4LsU2v9Q6JEpVjOW-YkfThLa4j_3tIRKQQuzj3YH5dCzNVY1jLwaBrQU4SzDK1YSklFCCWM/s320/Trans.jpg" /></a></span></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span>26. Trans (1982)<o:p></o:p></span></b></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Young’s first album for Geffen, and it’s another weird one. Young had
been trying to develop a communicating style with his son Ben, born with
cerebral palsy, and using a vocoder and synthesized voice seemed to work. So
two thirds of <i>Trans</i> consists of songs he’d recorded in the last couple
of years of his Reprise contract that were primarily synthesized material
(overdubbed material previously recorded with Crazy Horse), and the other three
songs were from a false start album called <i>Islands in the Sun</i>, which had
the tropics as its theme. (The track listing changed late; the original vinyl
release had a sticker with the track listing dropped on the back cover, with
“If You Got Love” pulled.) One of three I don’t have from the 1980s (the others
are <i>Life</i> and <i>Hawks & Doves</i>) and haven’t heard other than the
single, “Little Thing Called Love.”<br /><br /><br />
<br />
<b>25. Silver & Gold (2000)<o:p></o:p></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>I would say anything from here on up most listeners will at least like—no
one will listen to anything here and say “Well, <i>that</i> sucked” unless they
just don’t like Neil Young at all. Anyway, this is one of Young’s mellower
albums, with a roster of players featuring Ben Keith, Donald “Duck” Dunn, and Spooner
Oldham, plus Linda Ronstadt and Emmylou Harris on backing vocals. “Good to See
You” and “Buffalo Springfield Again” (which obviously pleased fans of that
short-lived band) were the most popular radio tracks. The title track had been
written in the early 1980s; it had taken Young a long time to get it right.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span>24. Prairie Wind (2005)<o:p></o:p></span></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Neil gets mellow, and gets rewarded (it’s his last release in the
United States to sell 500,000 copies and go gold). This one was beloved by
several critics when it first came out (Wilson & Alroy ranked it with <i>Freedom</i>
and <i>Rust Never Sleeps</i>), but recent reviews have not been kind. I like
it—“The Painter,” “He Was the King,” and “When God Gave Me” are especially
good. Some of the same musicians on <i>Silver & Gold</i> are here, so if
you like that one, this should be your next stop, and vice versa.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>23. Psychedelic Pill (2012)</b><o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>This was made with Crazy Horse, and it’s two CDs—although it’s only
around 88 minutes long (editing the 27-minute “Driftin’ Back” would have made
it work as a single disc, although “Driftin’ Back” is one of the strongest
songs on the album). I haven’t listened to it in a few years, but I think I’d
rank it a little higher than this. It’s a little more expensive than most Young
albums (due to the extra disc, I guess), but it’s probably worth the extra
money after you’ve gotten beyond the top-ranked discs.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>22. Chrome Dreams II (2007)</b><o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Leave it to Young to release an album with “II” on the end without
having a corresponding “I” volume. <i>Chrome Dreams II</i> refers to a 1977 <i>Chrome
Dreams </i>album he recorded but never actually released (some of those songs
would emerge on <i>American Stars ‘n Bars, Rust Never Sleeps</i>, and <i>Freedom</i>).
<i>Chrome Dreams II</i> features Young regulars Ben Keith, producer Niko Bolas,
and Crazy Horse drummer Ralph Molina, and includes songs that were originally
intended for <i>Old Ways</i> and <i>Freedom</i>. It’s not among his best works,
but it’s definitely worth a few spins.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfl-INAau3VgTGImo0r8jsYW0LfIPbvIxYAGIMOL940Vebt5KM_x638c_KbInVJipqn23NsfCIGgv9ucVC57Tgnt2IenkMAySV5ZndE5vbKsASDdgek1LVmYNvuGaPbkTLmdv_4-nnAOQ/s1425/Mirror+Ball.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1425" data-original-width="1425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfl-INAau3VgTGImo0r8jsYW0LfIPbvIxYAGIMOL940Vebt5KM_x638c_KbInVJipqn23NsfCIGgv9ucVC57Tgnt2IenkMAySV5ZndE5vbKsASDdgek1LVmYNvuGaPbkTLmdv_4-nnAOQ/s320/Mirror+Ball.jpg" /></a></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>21. Mirror Ball (1994)</b><o:p></o:p></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>The sobriquet “Godfather of Grunge” started to be hung on Young in the
1990s, and he embraced it—this album was recorded with Pearl Jam (although
they’re not billed as such on the album cover; apparently their label, Epic
Records, wasn’t happy about their presence on the disc). The general attitude
among critics was “good, but could have been better.” This is one I need to
listen to a few more times, especially since I like Pearl Jam very much.
Produced by Brendan O’Brien, who had been Pearl Jam’s regular producer at that
point, and later became Bruce Springsteen’s producer of choice in the 2000s.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span>19. (tie) Le Noise (2010)<o:p></o:p></span></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Here it is: the highest-ranking album Young has release in the past 20 years.
This one was produced by Daniel Lanois, best known for his work with U2. I’m
beginning to think Young may be one of those artists that works better with a
coproducer that can be strong enough to act as an editor and a check against
his impulses; John Hanlon has been Young’s most frequent coproducer of late,
and as he started out as an engineer that may mean Young may bulldoze his way
through disagreements. (I’m just speculating.) Anyway, this is more tape loops
and additional noise amongst the guitar feedback, which is something different
and interesting.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span>19. (tie) re – ac – tor (1981)<o:p></o:p></span></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Yet another album with Crazy Horse, produced with David Briggs and Tim
Mulligan. This is the first of several albums Young would use synthesized
sounds, which of course was his way of communicating with his son Ben.
“Southern Pacific” was the single (it’s a pretty good one), and “Shots” is
generally considered the best song (although “Surfer Joe and Moe the Sleaze”
has its proponents. I’ve got no use for “T-Bone,” but that’s me. I only
recently got this, and while it’s not among my all-time favorites I’d say it
could be ranked over a few other albums above this.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>18. Hawks & Doves (1980)</b><o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Such as this one. <i>Hawks & Doves</i> was pieced together from
songs originally planned for a 1975 album <i>Homegrown</i> (it was finally
released in its entirety earlier this year), along with a few songs Young wrote
specifically for this release. The sound is country, the tone is conservative
(which confused more than a few fans who were enamored by <i>Rust Never Sleeps</i>),
and it clocks in at less than 30 minutes long—Young’s shortest album save <i>Everybody’s
Rockin’</i>. (I have a real thing about very short albums.) Country music
artists often released very short albums in this era, but they also released
albums every six to nine months. I don’t actually own this one and haven’t
heard it; I’ll get it when I see it cheap enough.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ZTsqekAY1BQkCzGP5io77G-3sEY3R9DmngwCeyhqns6PitBEYCoXNuOHu-S_q_yeig5knwVefC4F2D7FWc8N3_Lt60kdjs3zydj4YoMfA3_nhjIv89FHgZleDUxjG2jSFE9dwAoZj64/s1500/Hitchhiker.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1497" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ZTsqekAY1BQkCzGP5io77G-3sEY3R9DmngwCeyhqns6PitBEYCoXNuOHu-S_q_yeig5knwVefC4F2D7FWc8N3_Lt60kdjs3zydj4YoMfA3_nhjIv89FHgZleDUxjG2jSFE9dwAoZj64/s320/Hitchhiker.jpg" /></a></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>17. Hitchhiker (1976)</b><o:p></o:p></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Well, <i>recorded </i>in 1976, anyway; the album wasn’t released until
2017. Most of the songs emerged in different forms on subsequent albums
(everything from <i>American Stars ‘n Bars </i>to <i>Hawks & Doves</i>,
although the title track was radically reworked and came out on 2010’s <i>Le
Noise</i>). It’s all acoustic—just Young on acoustic guitar and harmonica. The
plan was to release it as it was in 1976, but Reprise executives recommended he
rerecord them with a band. From his book <i>Special Deluxe</i>: “It was a
complete piece, although I was pretty stony on it, and you can hear it in my
performances... I laid down all the songs in a row, pausing only for weed,
beer, or coke.” I’ve got this, and it’s fine.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span>16. American Stars ‘n Bars (1977)<o:p></o:p></span></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Almost every Young album I have is an actual physical copy, on compact
disc. The only exceptions are the following: <i>Time Fades Away</i> (vinyl,
because it was unavailable on CD until very, very recently; I also have <i>Journey
Through the Past</i>, a two-LP soundtrack that has never been issued digitally,
on vinyl for the same reason), <i>Everybody’s Rockin’ </i>and <i>Old Ways</i>
(burned from library copies in the days I didn’t think that was such a bad
thing—I will replace them with physical copies at some point), <i>Live Rust</i>
and <i>American Stars ‘n Bars</i> (both legally downloaded). I’ve already paid
for the album, so I don’t feel like I <i>have</i> to get a physical album other
than to be completist, and I’m not sure it’s worth bothering. This is another
album of songs that had been previously recorded between 1974 and 1976; “Like a
Hurricane” is the key song here (and the version on <i>Live Rust</i> may be
better).<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span>15. Neil Young (1968)<o:p></o:p></span></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>His first solo album (although obviously he was known through Buffalo
Springfield); the original LP release didn’t have any identification of who he
was on the front cover, and used a technology for making vinyl albums
compatible on stereo and mono players (remember when that was a thing? Me
neither), but made the sound lousy. It was remixed and reissued with his name
on it a year later, but never sold much. Also, this has his temporary
compatriot Jack Nietzsche (who had worked frequently with Phil Spector)
creating orchestration for a few songs. Key songs are “The Loner” and “The Old
Laughing Lady.”<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>14. Sleeps With Angels (1994)</b><o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Fourth of four albums released between 1989 and 1994 that marked a
creative renaissance for Young. This is another one with Crazy Horse, and
stylewise it’s all over the map. Two songs stand out: the punk-influenced
“Piece of Crap,” a consumer anthem (and something that hints at Young’s ongoing
interest in Pono, a digital music format that’s considerably better than MP3s
but hasn’t received mass acceptance), and the title track, written and recorded
soon after Kurt Cobain’s suicide; Cobain mentioned Young’s “Hey Hey, My My (Out
of the Blue Into the Black)” in his suicide note.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia3d7rGho6IoaA5-scD9TMWjYT_kIcQ2ZKTQ7DYTcnnP2_DKrjtAK2hRadEsmBgSHgw4OrFY2yO_Rw6YqrF6cQNj3LaHUVRAqhyphenhyphenqi0I5Pwqymcnr9VA5P1W_Q9Fg2TXBpa_8s_WYtaOho/s1425/Harvest+Moon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1425" data-original-width="1425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia3d7rGho6IoaA5-scD9TMWjYT_kIcQ2ZKTQ7DYTcnnP2_DKrjtAK2hRadEsmBgSHgw4OrFY2yO_Rw6YqrF6cQNj3LaHUVRAqhyphenhyphenqi0I5Pwqymcnr9VA5P1W_Q9Fg2TXBpa_8s_WYtaOho/s320/Harvest+Moon.jpg" /></a></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>13. Harvest Moon (1992)</b><o:p></o:p></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>In the waning days when video music channels primarily played music
videos, I was entranced by the title track of this album, played on both MTV
and VH1. Clearly a love letter to then-wife Pegi, I suppose it was the first
time it occurred to me that marriage should be forever. (I had gotten married
myself the previous year.) As previously noted, Young is now married to Daryl
Hannah, but it doesn’t take away from my fondness for this album, which recalls
his 1972 LP <i>Harvest</i> (many of the same players returned). If anything,
the songwriting is even better.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>12. Ragged Glory (1991)</b><o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Made with Crazy Horse, so expect a loose, almost deliberately untidy
feel (although the way the album was constructed was playing different sets of
music every day for a few weeks, then picking the best takes). “Mansion on the
Hill” was the single and is a pretty great song, and "F*!#in' Up"
(the first word is pronounced the way you’d expect knowing the second, third,
and fourth characters replaced the letters U, C, and K) is well remembered.
There’s also a remake of the 1960s song “Farmer John,” and “Love and Only Love”
has popped up on Young’s set list a few times.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span>11. Homegrown (1975)<o:p></o:p></span></b></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>This album was recorded in the 1970s and then set aside (it was
released in its entirety this past June). Primarily written and performed after
Young broke up with actress Carrie Snodgress, mother of his son Zeke. But Young
decided it was too personal, and friends had been urging him to release <i>Tonight’s
the Night</i> instead, so this was put in the vaults. (Some songs emerged over
the years, with ”Love Is a Rose” the most prominent.) This is another album
with only three reviews, so one review can skew the overall grade a bit more;
since it’s not likely to be available cheaply for awhile (i.e. the download
will be expensive and used copies aren’t likely to pop up), start elsewhere.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4F0pnPy_MY3nbmAra26UCxDC9QIJK6OZ6EMAUWq6l8vaRdCL9RCHtn11oPJY7hlUsHAm6gwox82ZzqQUFrexf670YqGYMsd3LBXDh00EbSkKOr3kRW4VvT1Qg4PYxhO7N64o3Krb_bvY/s1500/Time+Fades+Away.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1498" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4F0pnPy_MY3nbmAra26UCxDC9QIJK6OZ6EMAUWq6l8vaRdCL9RCHtn11oPJY7hlUsHAm6gwox82ZzqQUFrexf670YqGYMsd3LBXDh00EbSkKOr3kRW4VvT1Qg4PYxhO7N64o3Krb_bvY/s320/Time+Fades+Away.jpg" /></a></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>10. Time Fades Away (1973)</b><o:p></o:p></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>There are a lot of people who love this, and for the life of me I don’t
know why. Recorded live on tour with the crowd noise mixed out after <i>Harvest</i>
was released, and the songs are really more up Crazy Horse’s alley, but The
Stray Gators were the band (Ben Keith, Tim Drummond, and John Barbata filling
in for Kenny Buttrey, who had ticked off Young by demanding a huge salary for
the tour), and they’re mostly studio pros that sound more professional and less
loose than Crazy Horse. Anyway, Reprise, with Young’s urging, let this go out
of print and made it unavailable on CD and digitally for decades (it’s now
finally available). I have a vinyl copy, and I’m not impressed at all—there’s
not a single song that sticks with me.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>9. Comes a Time (1978)</b><o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>My first exposure to Young other than “Heart of Gold,” as our local
radio station played the title track and “Lotta Love” frequently. Somehow, they
ignored the actual single from the album, “Four Strong Winds,” a remake of a
classic Ian & Sylvia song that is almost a standard in Canada. Nicolette
Larson, who sings harmony vocals on most of the songs, rerecorded “Lotta Love”
solo and had a top 10 hit with it. There’s a variety of styles here, but it’s
almost the follow up album Reprise might have liked to release after <i>Harvest.<br /><br /><br /></i></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh48biyzSjTCF61tHrQGSUx_nhDXYyueneqMGj7231bqwVm0GKwuGdr7uxfU6Lsx_4Fl9MZ2LEmaq8nyYT3r8SC9GA4O-Rfj1-8B_s1IIZnzCRkHDSCmXAg2NmeQC3q2iNucfUmxvPsXGI/s1432/Freedom.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh48biyzSjTCF61tHrQGSUx_nhDXYyueneqMGj7231bqwVm0GKwuGdr7uxfU6Lsx_4Fl9MZ2LEmaq8nyYT3r8SC9GA4O-Rfj1-8B_s1IIZnzCRkHDSCmXAg2NmeQC3q2iNucfUmxvPsXGI/s320/Freedom.jpg" width="320" /></a></span></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span>8. Freedom (1989)<o:p></o:p></span></b></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>After a ton of unsuccessful albums through the 1980s (the last album
Young had hit the top 40 in <i>Billboard</i>’s album charts was with 1982’s <i>Trans</i>;
his previous 13 solo albums had all hit that standard), Young delivered an
album at the ‘80s end that compared to his 1970s decade closer <i>Rust Never
Sleeps</i>. It’s angry, but in control, and “Rockin’ in the Free World” has
become a (sometimes misunderstood) standard and a staple of AOR radio (although
“No More” and “Crime in the City” also got a lot of radio play). As with <i>Rust
Never Sleeps</i>, acoustic and electric versions of “Rockin’ in the Free World”
bookend the album.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>7. Harvest (1972)</b><o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Young’s biggest solo album, which yielded the #1 hit “Heart of Gold”
and “Old Man.” It also includes “The Needle and the Damage Done,” written
partly about the addiction issues of friends (including Danny Whitten), and
“Alabama,” which yielded Lynyrd Skynyrd’s answer record “Sweet Home Alabama”
(Young later wrote in his book <i>Waging Heavy Peace</i> his song “richly
deserved the shot Lynyrd Skynyrd gave me”). Most critics loved this record, but
not all; Robert Christgau ranked it a little below his best (which, given the
two Jack Nitzsche orchestral pieces, I can understand), while <i>The Guardian </i>placed
it below <i>Le Noise</i> and <i>This Note’s for You</i> (which makes me think
they’re looking for an argument). I like <i>Harvest Moon </i>(in theory the
sequel to this album) a lot better, but the high points here are fantastic.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy0yAMzjOsqZ7st4jra07Bp3tYKCw35JcgAwyO5PXSudZSQTmWE6FVNvTqef6yk_9IIzylaogwdzGhhl_k6KXQyPmUexIZH62n_4rTjU_qmHWfSx3jXVcwP3By3U7-gY0B8smI4g5J304/s1425/Zuma.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1425" data-original-width="1425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy0yAMzjOsqZ7st4jra07Bp3tYKCw35JcgAwyO5PXSudZSQTmWE6FVNvTqef6yk_9IIzylaogwdzGhhl_k6KXQyPmUexIZH62n_4rTjU_qmHWfSx3jXVcwP3By3U7-gY0B8smI4g5J304/s320/Zuma.jpg" /></a></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>6. Zuma (1975)</b><o:p></o:p></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>This is Young’s first album after the Ditch Trilogy, released just five
months after <i>Tonight’s the Night</i>. He’s back with Crazy Horse, but it’s a
lot more like <i>Everybody Knows This Is Nowhere</i> than some of the later Crazy
Horse albums. The key songs here are “Cortez the Killer” (which apparently
originally had an additional verse that was never recorded), and “Danger Bird,”
about his breakup with Carrie Snodgress. I’m not as familiar with this album as
I might wish—I usually try to listen to his albums in chronological order, and
usually conk out around <i>Time Fades Away</i>—so I can say it’s certainly
okay, but I can’t recommend it more than that.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>5. On the Beach (1974)</b><o:p></o:p></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>I really have to listen to the Ditch Trilogy a few more times; the only
one I really know well is <i>Tonight’s the Night</i>. This is, in effect, the
middle album (although <i>Tonight’s the Night</i> was recorded earlier). <i>Musichound</i>
is the only source that puts this outside their top 10; <i>Stereogum</i> ranks
it first, with the notation “List my ten ‘desert island discs,’ you ask? <i>On
The Beach,</i> and nine backup copies of <i>On The Beach</i>.” The most-played
songs are “Walk On” and “For the Turnstiles,” but this seems like one of those
albums that needs to be heard start to finish a few times.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKFdUUnf1q6KHiSm2fTLe25nQt6rEkvOmNAHeBEuUJCjZLOSSBiKG_bjrzE1noHd2HiTWjfSd8Kc8Yuiy3BY1gCbEbNX7WseWgAGVnq-AjqmAxTbQLIiJplRxfz7gHESRAmSX5mDjginI/s1200/Everybody+Knows+This+Is+Nowhere.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1195" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKFdUUnf1q6KHiSm2fTLe25nQt6rEkvOmNAHeBEuUJCjZLOSSBiKG_bjrzE1noHd2HiTWjfSd8Kc8Yuiy3BY1gCbEbNX7WseWgAGVnq-AjqmAxTbQLIiJplRxfz7gHESRAmSX5mDjginI/s320/Everybody+Knows+This+Is+Nowhere.jpg" width="320" /></a></span></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><span>4. Everybody Knows This Is Nowhere (1969)<o:p></o:p></span></b></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>One of my two personal favorite Young albums, along with <i>Harvest
Moon</i> (I got this one a few months later, so perhaps why those two stick
out). This includes my all-time favorite Young song, “Cinnamon Girl,” which
remains a standard on classic rock radio despite never having come close to
making the top 40 (it peaked at #55). It also has two great long songs, “Down
by the River” and “Cowgirl in the Sand,” which revealed Young’s penchant for
extended jams that’s lasted to this day. His first album with Crazy Horse, and
one of just two albums in which Danny Whitten plays a significant role. Absolutely
essential to me.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg918FiIGPF1B8epN5LCjcNrK_xBy7Zx2hXkrno_NPXkV7Jj0ipnjLQZp6-KPAdsK4gXpZ26esdeKPnrptBibZiyg56lDGaCaIR6sz1tjSaCXYwxWr__h0mHC-l6qqQ5TbvonENR4k7xmk/s1425/Tonight%2527s+the+Night.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1425" data-original-width="1425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg918FiIGPF1B8epN5LCjcNrK_xBy7Zx2hXkrno_NPXkV7Jj0ipnjLQZp6-KPAdsK4gXpZ26esdeKPnrptBibZiyg56lDGaCaIR6sz1tjSaCXYwxWr__h0mHC-l6qqQ5TbvonENR4k7xmk/s320/Tonight%2527s+the+Night.jpg" /></a></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>3. Tonight’s the Night (1975)</b><o:p></o:p></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Young’s dark night of the soul album (well, his first one, anyway).
Young wrote and performed this after the deaths of Danny Whitten (whose
recording of “Come On Baby Let’s Go Downtown” is on the record, with Whitten on
lead vocals) and roadie Bruce Berry (as noted in the title track). Young then
put it aside to work on other projects, thinking it was too personal, but
friends insisted it be released, and a reluctant Reprise Records acquiesced.
Not an easy listen, even in Young’s opinion: “Sometimes it’s too intense. If
you’re gonna put a record on at 11:00 in the morning, don’t put on <i>Tonight’s the Night</i>. Put on the
Doobie Brothers.”<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKLMht1SXsi-yFD4slgdcMLqZ2kVIrRzkTxW-T1UiBiwsApZNAq441NM0HEfETYlPyP-rb6G8lA2SuRVokwyvkDBVF2B8Q73fEn0bfMvcLoWPWAvHZ6JLqfxGFfopptFFaZYYTsWOTp1U/s1425/Rust+Never+Sleeps.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1425" data-original-width="1425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKLMht1SXsi-yFD4slgdcMLqZ2kVIrRzkTxW-T1UiBiwsApZNAq441NM0HEfETYlPyP-rb6G8lA2SuRVokwyvkDBVF2B8Q73fEn0bfMvcLoWPWAvHZ6JLqfxGFfopptFFaZYYTsWOTp1U/s320/Rust+Never+Sleeps.jpg" /></a></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>2. Rust Never Sleeps (1979)</b><o:p></o:p></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>A total turnaround after <i>Comes a Time, Rust</i> shows Young as
pissed as he’s been in years. As with <i>Time Fades Away</i>, Young recorded
these songs in concerts during late 1978 (although by that time Young’s fans
knew to expect the unexpected, and were likely not as surprised as when he
played <i>Time Fades Away</i>’s dour material during the <i>Harvest</i> tour).
“Hey Hey My My (Into the Black)” continues to be played to this day, although no
singles were actually released from <i>Rust Never Sleeps</i> (I only realized
it a few years ago, but the version that hit the <i>Billboard</i> Hot 100 was
actually from <i>Live Rust</i>, a two-LP set released five months later). “Pocahontas,”
“Powderfinger,” “Sedan Delivery,” and “Welfare Mothers” are also essential
Young songs.<br /><br /><br /></span></span></span></p><span style="font-family: helvetica;"><span style="font-size: medium;"><span>
</span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh0DIRWwQct7M7Sdto1Cve5AHnBYiuT8xa6YS_Ns0okAdi5vSknN8djPPHCnToIby2C6bBS5Q0jv_t-gkHy4e26zA8QicEeBMzbw1p_iZiQ0TWieNDQbMJ06UwrUGTx-fh9UqizH-f-_o/s1200/After+the+Gold+Rush.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1187" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh0DIRWwQct7M7Sdto1Cve5AHnBYiuT8xa6YS_Ns0okAdi5vSknN8djPPHCnToIby2C6bBS5Q0jv_t-gkHy4e26zA8QicEeBMzbw1p_iZiQ0TWieNDQbMJ06UwrUGTx-fh9UqizH-f-_o/s320/After+the+Gold+Rush.jpg" width="320" /></a></b></span></span></span></div><span style="font-family: helvetica;"><span style="font-size: medium;"><span><b>1. After the Gold Rush (1970)</b><o:p></o:p></span><span>
</span></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: medium;"><span>Maybe I don’t like this quite as much as <i>Everybody Knows This Is
Nowhere</i>, but it’s deservedly beloved by nearly everyone. Young’s
songwriting abilities are his absolute peak here (and remember 1970 is the same
year CSNY released <i>Déjà Vu<u> </u></i>and the single “Ohio,” which Young
wrote immediately after the Kent State massacre). There are so many great songs
here (“Only Love Can Break Your Heart,” “Southern Man,” “I Believe in You,”
title track) it’s hard to know where to begin. Young also worked with a variety
of musicians (Crazy Horse, Nils Lofgren, Stephen Stills, and others), but the
sound is uniform. This one (like almost everything in the top 15) is a must own
for any Young fan.</span></span></span></p>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com1tag:blogger.com,1999:blog-6709252094146084846.post-55529204162368768032020-11-06T17:10:00.000-05:002020-11-06T17:10:41.766-05:00Superhits 1979, Parts 37 and 38<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjra9LZEmo5wdQxRz4mQvqQ4eQV-_xeUBY8kLBByBNQmQYLqSErzjhGl3rS9XxQZ0Oro-SWkEmpX9WXMTy3ivrTG1jZX6XMDGj4lcT7lDPzxclyrfuW6XOHg2LmwEjtJHxmINJmXyUAO70/s600/Nestle+Crunch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjra9LZEmo5wdQxRz4mQvqQ4eQV-_xeUBY8kLBByBNQmQYLqSErzjhGl3rS9XxQZ0Oro-SWkEmpX9WXMTy3ivrTG1jZX6XMDGj4lcT7lDPzxclyrfuW6XOHg2LmwEjtJHxmINJmXyUAO70/s320/Nestle+Crunch.jpg" width="320" /></a></p><div style="text-align: center;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">By Curt Alliaume</span></b></div>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Combining
two weeks again, as there were only three songs that peaked the week of
September 22.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><br /></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Earth,
Wind & Fire, “After the Love Has Gone,” #2, 9/15/79<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Second-biggest
hit for the band (behind the #1 “Shining Star”) and it has an interesting history.
First, it was written entirely by outside songwriters: David Foster, Jay
Graydon, and Bill Champlin (usually Maurice White wrote or cowrote everything).
The song had its beginnings when Foster helped produce an album for (of all
people) Jaye P. Morgan, and was trying to get her a deal with Motown (if you’re
dying of curiosity, the final eponymous album is on Spotify). While auditioning
songs at the label’s offices, he forgot the words to one of the choruses—and ad-libbed
the chorus to what became this song. He then worked with Graydon to come up
with the full melody, and then Bill Champlin added the lyrics to the verses.
The song was originally pitched by Foster to Daryl Hall & John Oates (who
turned it down, wanting only to perform their own songs), then Champlin was
going to record it for his own album, until Maurice White heard it and insisted
on first dibs. It worked out well for EW&F; it’s a classic sad last-dance
song that didn’t sound much like anything else they’d done.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/yG4ktUqqPHE" width="320" youtube-src-id="yG4ktUqqPHE"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">The
Charlie Daniels Band, “The Devil Went Down to Georgia,” #3, 9/15/79<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Huge
unexpected hit for this band, which hadn’t made the pop top 40 since 1975’s “The
South’s Gonna Do It.” It’s a story song about (not surprisingly) the devil, who
challenges a southern fiddler to a fiddling duel. Daniels has credited the
storyline to a poem by Stephen Vincent Benét (author of <i>John Brown’s Body</i>
and <i>The Devil and Daniel Webster</i>), “The Mountain Whippoorwill,” for the
song’s inspiration. At a time where there wasn’t a lot of pure country music
climbing the pop chart, this one struck a chord and revived Daniels’ career—none
of his previous albums had hit the <i>Billboard</i> top 30 albums (and the
previous two peaked at #83 and #105), but <i>Million Mile Reflections</i> made
it to #5 and went triple platinum. This video quality isn</span><span style="font-family: "Times New Roman", serif; font-size: 16px;">’</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">t the best, but the performance is fine.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/K2AoMF8C83A" width="320" youtube-src-id="K2AoMF8C83A"></iframe></div><br /><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Maxine
Nightingale, “Lead Me On,” #5, 9/15/79<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Pretty
ballad cowritten by David Lasley and Allee Willis, the latter of whom was on a
hot streak (she also cowrote “September” and “Boogie Wonderland” for Earth,
Wind & Fire). It comes from the perspective of a woman who’s been in the
friend zone with a guy she’s clearly attracted to, and is ready for him to make
a move, even if he breaks her heart later. (Vanessa Williams’ “Save the Best
for Last” explored this territory to better effect much later.) Willis later
said she was going through a breakup at the time, so the song was “completely
autobiographical.” Nightingale hadn’t had a United States hit since “Right Back
Where We Started From” in 1976, and while it was on her UK album <i>Love Lines</i>
(Nightingale was born and raised in London), it was acquired by Windsong
Records in the United States the following year, where the album was renamed
after this track.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/_XpieL2uBic" width="320" youtube-src-id="_XpieL2uBic"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p><br /></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Billy
Thorpe, “Children of the Sun,” #41, 9/15/79</span></b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Thorpe
had a lot of success in Australia from his teens onward (his family emigrated
there from Manchester, England), but this is his only song to chart in America
(coincidentally, it <i>wasn’t</i> a single hit in Australia). Not surprisingly,
it’s pretty spacey. Thorpe had several songs chart as part of Billy Thorpe
& The Aztecs, which were originally pretty squeaky clean at first and then
a lot less so. Thorpe got into scoring movies and TV series in the 1980s, then
returned to the stages in the 1990s, and continued to tour until his death from
a heart attack in 2007.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/DLhChJRSK5o" width="320" youtube-src-id="DLhChJRSK5o"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">The
Addrisi Brothers, “Ghost Dancer,” #46, 9/15/79</span></b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Here’s
one of the weirdest songs of the year—and for 1979, that’s saying something. It’s
a disco arrangement, and the brothers Addrisi, who normally sang in
tenor/baritone voices, both sing in falsetto here, so it sounds like a Bee Gees
song. The lyric is about the male protagonist, who’s dancing by himself. But
not like Billy Idol; apparently, he once had a female partner—<i>but now she’s
dead</i>. So she’s the “ghost dancer” of the title—as far as the guy is
concerned, he’s still dancing with her. I’m astonished this song got as far as
it did, especially given disco was on the way out, but dead
boyfriend/girlfriend songs can be surprisingly popular. This was the last chart
hit by the two brothers, who notched six chart hits in all (including a remake
of “Never My Love,” which they had written for The Association in 1967, and
also hit the top 20 for The Fifth Dimension and Blue Swede), dating all the way
back to 1959 with “Cherrystone.” The two brothers had been around a long time—they
auditioned for the original <i>Mickey Mouse Club</i>. Older brother Don died of
pancreatic cancer in 1984; younger brother Dick lives in Argentina.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/s7PacyTFI0k" width="320" youtube-src-id="s7PacyTFI0k"></iframe></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Buckeye,
“Where Will Your Heart Take You,” #63, 9/15/79</span></b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">This
is one of those entries that’s almost impossible to find out much by Googling; almost
every time I tried, I got dozens of hits on college marching bands. Anyway,
Buckeye’s one self-titled album was released on Polydor in 1979. Ronn Price
wrote or cowrote at least half the songs, as well as producing the album. (It
looks like he’s now president of Prisongs, a company out of Nashville.) It’s
standard pop rock, and I’m guessing it got a fair amount of airplay on Ohio
stations… and on WNEW-FM in New York (per <i>Cash Box</i>)? Weird.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/pc_ooal4vrQ" width="320" youtube-src-id="pc_ooal4vrQ"></iframe></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Peter
Brown, “Crank It Up (Funk Town) Pt. 1,” #86, 9/15/79<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Fourth
and final chart hit for Brown, from his second album <i>Stargazer</i>. It’s
standard-issue disco, which was not what radio stations were playing at this
point in 1979. Combined with the collapse of TK Records in 1980 (I’m sure the
signs were there the year before), that was pretty much it for Brown’s
recording career (although he did record an album in 1983 with Bob Gaudio of
The Four Seasons producing, <i>Back to Front</i>). He did cowrite<i> </i>“Material
Girl,” which hit #6 for Madonna in 1985, but a case on tinnitus pushed him away
from music for a long time and into interior design. His latest album, <i>Boom</i>
(2018), is available on Spotify.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/jnhogshWIhc" width="320" youtube-src-id="jnhogshWIhc"></iframe></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">GQ,
“I Do Love You,” #20, 9/22/79</span></b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Second
chart single from the band’s eponymous debut album; this is a remake of a 1965
hit ballad by Billy Stewart, which made it to #6 on the R&B chart and #26
pop—so GQ’s version slightly topped the original (it made it to #5). A smart
idea to release a ballad at this point after the success of the band’s “Disco
Nights (Rock Freak),” although Arista Records president Clive Davis always
released ballads whenever an opportunity presented itself. I’m guessing this
also became a popular wedding song around that time as well. (This video shows the album cover for the second GQ album <i>Two</i>, but this song is actually on their first album, which despite the presence of two top 20 hits isn</span><span style="font-family: "Times New Roman", serif; font-size: 16px;">’</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">t on Spotify.) <o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/YOKq1VmEbtc" width="320" youtube-src-id="YOKq1VmEbtc"></iframe></div><br /><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Mass
Production, “Firecracker,” #43, 9/22/79<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Second
and final pop hit for this funk band out of Norfolk, Virginia (their first, “Welcome
to Our World (Of Merry Music),” hit #68 in March 1977). It’s certainly more pure
funk than disco (which was helpful at this stage), but that also might explain
why it didn’t cross over to pop. Honestly, I don’t think this band was a high
priority for Atlantic Records (which probably explains why they spent their
career on sublabel Cotillion rather than going to the main label), although “Firecracker”
went top five on the R&B chart, and the parent album <i>In the Purest Form</i>
made it to the top 10 on <i>Billboard</i>’s R&B album chart and top 50 on
the pop chart. The band broke up in 1983, but they’ve apparently made some
reunion appearances in recent years.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/0Hw5ab5rHRw" width="320" youtube-src-id="0Hw5ab5rHRw"></iframe></div><br /><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Pousette-Dart
Band, “For Love,” #83, 9/22/79</span></b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Two
things: 1) “Pousette-Dart Band” isn’t named after two people in the band; the
group’s leader was Jon Pousette-Dart. And 2) Jon Pousette-Dart isn’t the
abstract artist from the 20<sup>th</sup> century; he’s that guy’s son.
Pousette-Dart Band released four albums in the 1970s—this song was from the
fourth, <i>Never Enough</i>, produced by Norbert Putnam (who also worked with
Dan Fogelberg). The song “For Love” was written by David Finnerty, who’s best
known for his work with the band The Road Apples. Pousette-Dart Band broke up
after this album failed to find an audience, but they’ve had the occasional reunion
since then. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/F5TzTCE0vc0" width="320" youtube-src-id="F5TzTCE0vc0"></iframe></div><br /><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-margin-top-alt: auto;"><span lang="EN" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-margin-top-alt: auto;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Other Superhits 1979 entries you may
or may not enjoy:</span></b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-1.html"><span style="color: blue;">Week 1</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-2.html"><span style="color: blue;">Week 2</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-3.html"><span style="color: blue;">Week 3</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html"><span style="color: blue;">Week 4</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html"><span style="color: blue;">Week 5</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/02/shalamar-take-that-to-bank.html"><span style="color: blue;">Week 6</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html"><span style="color: blue;">Week 7</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html"><span style="color: blue;">Week 8</span></a><br />
<a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html"><span style="color: blue;">Week 9</span></a><br />
<a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html"><span style="color: blue;">Week 10</span></a><br />
<a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-11.html"><span style="color: blue;">Week 11</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-12.html"><span style="color: blue;">Week 12</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-13.html"><span style="color: blue;">Week 13</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html"><span style="color: blue;">Week 14</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-15.html"><span style="color: blue;">Week 15</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html"><span style="color: blue;">Week 16</span></a><br />
<a href="http://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-17.html"><span style="color: blue;">Week 17</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-18.html"><span style="color: blue;">Week 18</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html"><span style="color: blue;">Week 19</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html"><span style="color: blue;">Week 20</span></a><br />
<a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-21.html"><span style="color: blue;">Week 21</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-22.html"><span style="color: blue;">Week 22</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/07/normal-0-false-false-false-en-us-x-none.html"><span style="color: blue;">Week 23</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-part-24.html"><span style="color: blue;">Week 24</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html"><span style="color: blue;">Weeks 25 and 26</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html"><span style="color: blue;">Week 27</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html"><span style="color: blue;">Week 28</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html"><span style="color: blue;">Week 29</span></a><br />
<a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-parts-30-and-31.html"><span style="color: blue;">Weeks 30 and 31</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-32.html"><span style="color: blue;">Week 32</span></a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html"><span style="color: blue;">Week 33</span></a><br />
<a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-34.html"><span style="color: blue;">Week 34</span></a><br />
<a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-35.html"><span style="color: blue;">Week 35</span></a><br />
<a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-36.html">Week 36</a><o:p></o:p></span></p>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-27119640765065876782020-11-05T13:01:00.006-05:002020-11-05T13:49:33.798-05:00Superhits 1980, Week 6<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-sAv8ZN-mcLzx_VGhzLfEM4yAThjbiqoIT-vED9fAVhFTXNc5C0GsalUCyuI2P5-q97dVY_rB2TkQfYB7rn4p2cr3qSGvB8G3YAlQMpG_rBL3iA7QU8zLsR7v4KwBy7FQC_wCqLt2CQM/s590/3+Musketeers.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="590" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-sAv8ZN-mcLzx_VGhzLfEM4yAThjbiqoIT-vED9fAVhFTXNc5C0GsalUCyuI2P5-q97dVY_rB2TkQfYB7rn4p2cr3qSGvB8G3YAlQMpG_rBL3iA7QU8zLsR7v4KwBy7FQC_wCqLt2CQM/s320/3+Musketeers.jpeg" width="320" /></a></div><p></p><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><b>By Curt Alliaume</b><o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Great week last week. This week, not so much. It happens.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Kenny Loggins, “This Is It,” #11, 2/9/1980</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">First single from Loggins’ third solo LP, <i>Keep the Fire</i>, and
likely a relief for Columbia Records, which may have worried that Loggins could
only hit as part of a superstar duet. (His version of “Whenever I Call You ‘Friend’”
with Stevie Nicks had hit #5 in 1978; none of his other solo singles had
cracked the top 40.)<span style="mso-spacerun: yes;"> </span>Loggins did cowrite
the song with Michael McDonald (who performs backup vocals); they also cowrote “What
a Fool Believes” together. Loggins wrote in a 1999 blog post they were trying
to write a love song, but Loggins turned it into an encouragement to go for it
and fight worthy battles during a discussion with his father, who was suffering
from health issues at the time.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/VS52sEUqxMo" width="320" youtube-src-id="VS52sEUqxMo"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Styx, “Why Me,” #26, 2/9/1980</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Second single from the band’s album <i>Cornerstone</i>, a midtempo
rocker written and sung by Dennis DeYoung. Originally the ballad “First Time”
was going to be the second single, but that apparently became a point of
contention between DeYoung and guitarist/singer Tommy Shaw, who was concerned
consecutive ballads would alienate the band’s rock base (which would start to
occur with subsequent albums anyway). That may be the reason “Why Me” has never
made it to a greatest hits set (“First Time” is represented on their <i>Greatest
Hits, Volume 2</i> collection).<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/iuVP_exXJcs" width="320" youtube-src-id="iuVP_exXJcs"></iframe></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>John Stewart, “Lost Her in the Sun,” #34, 2/9/1980</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Stewart had run out of Stevie Nicks songs to release from <i>Bombs Away
Dream Babies</i>, so this one is on his own (albeit with Lindsey Buckingham
playing guitar and producing), and it’s pretty good. As one might surmise from
the title, it’s a song of regret. This was Stewart’s last chart hit single and
one of his last chart albums; his follow up for RSO Records, <i>Dream Babies Go
Hollywood</i>, was a flop, and he was dropped by the label. (It’s possible the
lack of success was due to the absence of Nicks and Buckingham; they were
likely touring in support of <i>Tusk</i>.) Stewart continued to release music
on independent labels and his own record company until his death in 2008. An
important note: <i>Bombs Away Dream Babies</i> is out of print and unavailable
for download, so almost all the versions of the album’s three singles on Amazon
and iTunes are remakes and live versions (and it should be noted Stewart’s
voice deteriorated as he aged). The exception is “Gold,” which is on the Stevie
Nicks anthology <i>Stand Back: 1981-2017 </i>(a misnomer, given “Gold” came out
in 1979).<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/XJTPs6C72NY" width="320" youtube-src-id="XJTPs6C72NY"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Dann Rogers, “Looks Like Love Again,” #41, 2/9/1980</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Ladies and gentlemen, I present Kenny Rogers’ nephew! This song came from
Dann Rogers’ first LP, <i>Hearts Under Fire</i>, released by International
Artists, which appears to have been a sublabel of A&M. The album was
released in 1978, so obviously it took awhile for this song to catch on (it did
make top 10 on the Adult Contemporary chart, where it’s a natural fit; it doesn’t
have his uncle’s country sound). Rogers’ second album, <i>Still Runnin’</i>,
came out in 1987 on MCA, then he took a long hiatus from the music industry,
based on the biographical information available on his web site and Amazon (where
his autobiography, <i>Love, Laughter and Rage</i>, can be ordered for Kindle)—alternately,
it’s attributed to label interference, addiction issues, and moving into the
financial field. He is still recording today; <i>Life Reflections/Life Revealed</i>
is available through his web site.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/RwTGfUdGi1Q" width="320" youtube-src-id="RwTGfUdGi1Q"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Sister Sledge, “Got to Love Somebody,” #64, 2/9/1980</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Sister Sledge got hit by a one-two punch for this release. First, the
disco genre had suffered a major backlash since their previous release, the
1979 platinum album <i>We Are Family</i>. Second, Nile Rodgers and Bernard
Edwards of Chic, who wrote and produced their material, were working with other
artists as well (they would helm four albums in 1980: Sister Sledge’s <i>Love
Somebody Today</i>, Sheila and B. Devotion’s <i>King of the World</i>, Diana
Ross’ hit <i>Diana</i>, and their own <i>Real People</i> with Chic), which
likely forced them to issue songs that they might have otherwise tried honing a
bit more. There’s nothing <i>wrong</i> with “Got to Love Somebody,” but it’s
reminiscent of “We Are Family” and Chic’s “Rebels Are We” and “My Forbidden
Lover” and Ross’ “Upside Down” and probably a couple of others I haven’t heard.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/oY85FnIoVPs" width="320" youtube-src-id="oY85FnIoVPs"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Aerosmith, “Remember (Walking in the Sand),” #67, 2/9/1980</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Aerosmith was in such turmoil due to drugs and financial problems by the
end of 1979 it’s almost a shock they could release their sixth album, <i>Night
in the Ruts</i>, at all. Joe Perry had left the group, and Steven Tyler had a
morass of addiction problems. As a result, this remake of the old Shangri-Las
song (Mary Weiss of The Shangri-Las is among the backing vocalists on the tune)
became the only charting single. But this was too pop for AOR to play, and didn’t
catch on at top 40 radio (it may not have helped that Carole King’s daughter
Louise Goffin had also released a single version of the song in 1979, which hit #43 in October). <i>Night in the Ruts</i> eventually went platinum, but “Remember
(Walking in the Sand)” is pretty much an orphan today (although it’s been performed in concert as recently as 2017; other than their 1980 <i>Greatest
Hits</i> set), it’s been excluding from all their anthologies.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/R-CKVgCndZk" width="320" youtube-src-id="R-CKVgCndZk"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Blondie, “The Hardest Part,” #84, 2/9/1980</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Surprising flop second single from the band’s <i>Eat to the Beat</i>. <i>Billboard</i>’s
review of the single described it as a “rock-disco number” (it’s danceable, but
it ain’t disco). It’s possible the world was getting a little tired of Blondie,
or just wanted something that was more disco than their recent releases (the
three singles that followed “Heart of Glass” didn’t break the top 20). Weird
video (which probably didn’t get much circulation, as MTV wasn’t around yet):
the guys in the band look like they’re channeling Devo and Harry (in a brunette
wig) looks stoned (although if you’re looking for Harry wearing not many
clothes, this should do it—so you may not want to play it at work).<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/vEjCDriXwnI" width="320" youtube-src-id="vEjCDriXwnI"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b>Other Superhits 1980 entries you may or may not enjoy:</b><o:p></o:p></p><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1980-parts-1-and-2.html">Weeks
1 and 2</a><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1980-part-2.html">Week
3</a><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1980-part-4.html">Week
4</a> <o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p>
</o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><a href="http://abandonedandheartbroke.blogspot.com/2020/10/normal-0-false-false-false-en-us-x-none.html">Week
5</a><o:p></o:p></p>
<o:p></o:p>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-69218789804215828392020-10-27T10:30:00.003-04:002020-10-27T10:44:11.872-04:00Superhits 1979, Part 36<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQGVp9X0eLAUVjsepsji91_1Pw3nCKDRbpmSmCH5ExyHl4DXPIDarf6ox1_iUghHOVs4FFHR2CICxTfb-hEi7h4wJtyf3PddQx8BI6waYkl9JxZ1JumQARPNtOZojggbQq_MwGLwvD3nY/s600/Wehrli+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQGVp9X0eLAUVjsepsji91_1Pw3nCKDRbpmSmCH5ExyHl4DXPIDarf6ox1_iUghHOVs4FFHR2CICxTfb-hEi7h4wJtyf3PddQx8BI6waYkl9JxZ1JumQARPNtOZojggbQq_MwGLwvD3nY/s320/Wehrli+2.jpg" /></a></div><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
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<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<p></p><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><b>By Curt Alliaume</b></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"> </p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">A short list this time, but a really good one—and one that bears
witness that disco was on the way out.</p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"> </p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Electric Light Orchestra, “Don’t Bring Me Down,” #4, 9/8/79</b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Second single from <i>Discovery</i>, and their highest-charting single
in the United States; the only song that did better in their native United
Kingdom was “Xanadu” (which was just as much Olivia Newton-John’s song as
theirs). A thumping rocker, it was a welcome departure for some longtime fans
upset by the disco beat used in “Shine a Little Love.” The use of “Gros”
(that’s how it’s spelled on the lyric sheet) on the bridges has been confused
over the years; Lynne claimed it was a made-up temp word, then made the
discovery (get it?) that the German word <span lang="EN" style="mso-ansi-language: EN;">Gruß actually meant “greetings” and kept it—and that it was not “Bruce”
(Springsteen or otherwise), although he now sings it as such at times.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/prUozUy_erg" width="320" youtube-src-id="prUozUy_erg"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><span lang="EN" style="mso-ansi-language: EN;"> </span><span lang="EN" style="mso-ansi-language: EN;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span lang="EN" style="mso-ansi-language: EN;">The Cars, “Let’s Go,”
#14, 9/8/79</span></b><span lang="EN" style="mso-ansi-language: EN;"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;">First single from the band’s
second LP <i>Candy-O</i>, this has Benjamin Orr on lead vocals, who had also
done the honors on “Just What I Needed.” (It took me years to realize Orr had
done lead vocals on many Cars song; I thought he’d only sung the 1984 ballad
“Drive.”) This would be their biggest American hit until 1981’s “Shake It Up,”
and their biggest overall hit in both Australia and Canada. It’s yet another
song about a teenage girl who’s becoming attractive to the protagonist, and is
also interested in “the nightlife, baby.” Looking back, it doesn’t seem too
salacious, but I may have missed something over the years.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/rpA3NVafsdo" width="320" youtube-src-id="rpA3NVafsdo"></iframe></div><span lang="EN" style="mso-ansi-language: EN;"> </span><span lang="EN" style="mso-ansi-language: EN;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span lang="EN" style="mso-ansi-language: EN;">Supertramp, “Goodbye
Stranger,” #15, 9/8/79</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;">Second single from
Supertramp’s monster 1979 album <i>Breakfast in America</i>, this one was
written and sung by keyboardist Rick Davies. (If you’re ever wondering who
wrote and sung what for the band, Davies has the lower voice, Roger Hodgson has
the higher one. Some of their albums, including <i>Crime of the Century</i> and
<i>…Famous Last Words…</i> actually color code the lyric sheets to make the
difference between the two clear.) Hodgson plays the great guitar solo at the
song’s end, which fortunately was left intact for the single version.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/uHM88mZ4k50" width="320" youtube-src-id="uHM88mZ4k50"></iframe></div><span lang="EN" style="mso-ansi-language: EN;"> </span><span lang="EN" style="mso-ansi-language: EN;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span lang="EN" style="mso-ansi-language: EN;">Herman Brood & His
Wild Romance, “Saturdaynight,” #35, 9/8/79</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;">Herman Brood may have been
the biggest Dutch rock star of all time… which isn’t necessarily saying a whole
lot. Born in Zwolle in The Netherlands, Brood’s attempts to establish a career
in music were often derailed by his drug use. But he did manage to secure a
contract in 1977, and his second album, <i>Shpritsz </i>(which was a play on
the German word syringe), was successful enough that he got a contract with a
minor American label, Ariola (not to be confused with Arista), which had hit
with Amii Stewart’s “Knock on Wood” earlier in the year. Brood’s album was reissued
here as <i>Herman Brood & His Wild Romance</i>, and the song, a strong and
harrowing tale of what goes on in the sketchier parts of town, scraped into the
Top 40. Brood’s later albums didn’t chart in the States, but he did continue to
record in the Netherlands. Continued drug and alcohol problems, along with his
despairing of ever finding a cure, led to his suicide by jumping from the
Amsterdam Hilton Hotel in 2001, dying at age 54.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/brBfBtm4pkE" width="320" youtube-src-id="brBfBtm4pkE"></iframe></div><span lang="EN" style="mso-ansi-language: EN;"> </span><span lang="EN" style="mso-ansi-language: EN;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;"> </span></p>
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Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span lang="EN" style="mso-ansi-language: EN;">Triumph, “Hold On,” #38,
9/8/79</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;">Say hello to Canada’s second
most popular power trio (apologies to the group’s fans, but I think it’s fair
to say Rush holds that title). Still, Triumph did quite well over the years,
racking up eight gold or platinum albums in Canada and another four in the
United States. “Hold On” comes from their third LP, <i>Just a Game</i>, which originally
featured a gatefold cover that folded out into a game board (sorry, cassette
and 8-track buyers!). The song itself had a long history—originally they
performed it as an acoustic piece in concert, but when it came time to record,
they added the electric part in the middle and end. As a result, it was impossible
to perform it in concert to make it sound like the album track. There’s a full
acoustic version of the song on their live album <i>Stages</i>, which is the
only version they ever did, and the single included only the electric parts. I’ve
included the full version here, and it’s totally awesome. It’s not a blues
song, but it’s a wonderful way to get over your troubles.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;"> </span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/RaoHw2ZA_KU" width="320" youtube-src-id="RaoHw2ZA_KU"></iframe></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span lang="EN" style="mso-ansi-language: EN;">Deniece Williams, “I’ve
Got the Next Dance,” #73, 9/8/79</span></b><span lang="EN" style="mso-ansi-language: EN;"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;">Okay, there’s one disco
track here, but it’s hard not to love Deniece Williams, who has a fantastic
voice, even if it’s not shown to full effect here. This is the first single
from her album <i>When Love Comes Calling</i>, her first solo album after she
hit #1 duetting with Johnny Mathis on “Too Much, Too Little, Too Late.” The
song is catchy, and hit #1 on <i>Billboard</i>’s Club Play chart, but didn’t
really cross over to pop. “I’ve Got the Next Dance” was one of the few songs on
the album that Williams didn’t have a hand in writing; she has cowrite credits
on six of the other nine songs.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/6JFDui15AyA" width="320" youtube-src-id="6JFDui15AyA"></iframe></div><span lang="EN" style="mso-ansi-language: EN;"> </span><span lang="EN" style="mso-ansi-language: EN;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="EN" style="mso-ansi-language: EN;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Other Superhits 1979 entries you may or may not enjoy:</b><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-1.html">Week
1</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-2.html">Week
2</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-3.html">Week
3</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html">Week
4</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html">Week
5</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/02/shalamar-take-that-to-bank.html">Week
6</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html">Week
7</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html">Week
8</a><br />
<a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html">Week
9</a><br /><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html">Week
10</a><br /><a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-11.html">Week
11</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-12.html">Week
12</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-13.html">Week
13</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html">Week
14</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-15.html">Week
15</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html">Week
16</a><br /><a href="http://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-17.html">Week
17</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-18.html">Week
18</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html">Week
19</a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html">Week
20</a><br />
<a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-21.html">Week
21</a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-22.html">Week
22</a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/07/normal-0-false-false-false-en-us-x-none.html">Week
23</a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-part-24.html">Week
24</a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html">Weeks
25 and 26</a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html">Week
27</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html">Week
28</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html">Week
29</a><br /><a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-parts-30-and-31.html">Weeks
30 and 31</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-32.html">Week
32</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html">Week
33</a><br /><a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-34.html">Week
34</a><br /><a href="http://abandonedandheartbroke.blogspot.com/2020/10/superhits-1979-part-35.html">Week
35</a></p>
Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-12304508726303332422020-10-26T13:40:00.003-04:002020-10-26T13:53:45.273-04:00Superhits 1980, Week 5<p style="text-align: center;"> <span style="font-family: helvetica;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ0j43DW-NpEWzrEKsv0hACe9aaKF9hvr8q5737OrMS7nTR5q_qqS_epNN1WnjuwEFVKFWtJcwp9yaZiyjbqlJ1p6iOlVaQl-A8aOKCBj5mMu4RMShSE82E8udpvjQGgvvZIavQTeAFok/s600/Wehrli+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ0j43DW-NpEWzrEKsv0hACe9aaKF9hvr8q5737OrMS7nTR5q_qqS_epNN1WnjuwEFVKFWtJcwp9yaZiyjbqlJ1p6iOlVaQl-A8aOKCBj5mMu4RMShSE82E8udpvjQGgvvZIavQTeAFok/s320/Wehrli+2.jpg" /></a></span></span></p><!--[if gte mso 9]><xml>
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<![endif]--><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>By Curt Alliaume</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">This is arguably one of the best weeks in 1980. If you’re going to read
any of my nonsense blog posts, read this one.</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Smokey Robinson, “Cruisin’,” #4, 2/2/80</b> </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">This was Smokey’s first top 10 pop hit in a decade, with the last one
being 1970’s “The Tears of a Clown” with The Miracles (and that song itself was
a leftover from 1967). Smokey had taken seven songs into the top 10 of the
R&B charts (or “Soul,” as <i>Billboard</i> called it back then), but
nothing was crossing over. The song came from his 1979 LP <i>Where There’s Smoke…</i>,
and took awhile to chart. Motown had pushed a quasi-disco remake of Robinson’s
song “Get Ready” (which had been a top 30 hit for The Temptations in 1966 and
hit #7 for Rare Earth in 1970), but that bombed, peaking at #82 on the R&B
chart and missing the pop chart altogether. R&B radio stations started picking
up on “Cruisin’,” though, and Motown wound up releasing the song as a single in
the fall of 1979, and watched it become a standard. The song has had two significant
remakes: D’Angelo took it to #10 on the R&B charts in 1995, and five years
later Gwyneth Paltrow and Huey Lewis saw their version, recorded for the movie <i>Duets</i>,
become a #1 Adult Contemporary hit.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/5sVRn5q4ntM" width="320" youtube-src-id="5sVRn5q4ntM"></iframe></span></div><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span><span style="font-family: helvetica;"><span style="font-size: small;"><br /></span></span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Fleetwood Mac, “Sara,” #7, 2/2/80</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">Gorgeous Stevie Nicks ballad, released as the second song from <i>Tusk</i>—possibly
partially to bring fans of the band back to earth after being monumentally
confused by the title track’s release as the first single. (“What’s a marching
band doing on a Fleetwood Mac song?”) I’ve seen different stories of who “Sara”
is—Don Henley, Nicks’ lover around that time, claimed it was the name of the
child they conceived (Nicks had an abortion, convinced being a mother and a
rock star were incompatible). Mick Fleetwood has said it was written about a friend
of Nicks’ named Sara, who had an affair with Fleetwood when he and Nicks were
an item. Nicks has been quoted as saying both are “accurate, but it’s not the
entirety of it”—so we may never know. The original CD release of <i>Tusk</i> includes
the edited single version of the song (at that point CDs could only be 72
minutes long); virtually every other release of the song keeps the full
original album version intact.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/9bWGy0K5VF0" width="320" youtube-src-id="9bWGy0K5VF0"></iframe></span></div><span style="font-size: small;"><br /> </span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"> <b>The Eagles, “The Long Run,” #8, 2/2/80</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">Speaking of Don Henley, he sang lead and cowrote this song with Glenn
Frey. It’s kind of a “screw you” song for music critics, who were critical of
the band (as they still are) during the period where punk was emerging.
Obviously most of the band’s music is still more popular than punk, but… ah, I’m
not going to pick up that argument. Dave Marsh, in his <i>The Heart of Rock and
Soul</i>, noted the song’s similarity to that of Otis Clay’s 1972 top 30
R&B hit “Tryin’ to Live My Life Without You,” which may or may not have
been the reason Eagles buddy Bob Seger included a remake of the song on his 1981
live double album <i>Nine Tonight</i> (the remake itself wound up charting
higher than “The Long Run” did on the <i>Billboard</i> Hot 100, peaking at #5). Note this video does</span></span><span style="font-family: helvetica;"><span style="font-size: small;"><span style="font-family: helvetica;"><span style="font-size: small;">n’</span></span>t have the greatest sound quality<br /></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/A-PxM0uGyi4" width="320" youtube-src-id="A-PxM0uGyi4"></iframe></span></div><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span><span style="font-family: helvetica;"><span style="font-size: small;"><br /></span></span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Tom Petty & The Heartbreakers, “Don’t Do Me Like That,” #10,
2/2/80</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">This was the band’s first major hit (“Breakdown,” their previous
biggest song, peaked at #40 in 1977, with “I Need to Know” making it to #41 the
following year). Petty had written it years before, even recording a demo version
with his first band, Mudcrutch (Petty, guitarist Mike Campbell, and keyboard
player Benmont Tench were in both bands), in 1974. That version can be found on
the band’s 1995 box set <i>Playback</i>, which I’m pretty sure is both out of print
and unavailable for download. It’s a great rock & roll anthem that remains
a part of classic rock playlists today—and kicked the band into the first tier
of American groups.</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/XbMsdCMC_N0" width="320" youtube-src-id="XbMsdCMC_N0"></iframe></span></div><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span><span style="font-family: helvetica;"><span style="font-size: small;"><br /></span></span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Dionne Warwick, “Déjà Vu,” #15, 2/2/80</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">Arguably Warwick’s finest post-Burt Bacharach & Hal David
performance, this charming song was the second single release from her 1979
comeback album <i>Dionne</i>. The melody was written by Isaac Hayes, who had
been working on it during their 1977 concert tour, which was released as <i>A
Man and A Woman</i> later that year. (I haven’t heard good things about the
album, which is out of print.) Anyway, Warwick remembered the song and got a
tape from Hayes when working on <i>Dionne</i> to have lyrics added, giving it
to producer Barry Manilow. Little-known fact: Manilow ain’t a lyricist, so he sent
it on to one of his regular collaborators, Adrienne Anderson (who’s also worked
with Peter Allen and Melissa Manchester). The resulting song was a great fit
for Warwick’s smoky voice, without the excess orchestration prevalent in Manilow
productions. Perhaps that’s why it still sounds good today.</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/H7iAum50qK4" width="320" youtube-src-id="H7iAum50qK4"></iframe></span></div><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span><span style="font-family: helvetica;"><span style="font-size: small;"><br /></span></span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Isaac Hayes, “Don’t Let Go,” #18, 2/2/80</b><br />
And speaking of Isaac Hayes… this was his last <i>Billboard</i> Hot 100 hit,
and for late-period disco, it’s not bad. <a href="http://www.warr.org/isaac.html">Wilson and Alroy’s Record Reviews</a>, which
is usually both accurate when it comes to facts and prescient in their
opinions, misses the mark altogether here, calling the song “soulless formula
disco”; the song was written in 1958 by Jesse Stone, well before disco was a
thing. Originally a #2 R&B hit and top 15 pop hit by Roy Hamilton, the song
has lived a long life, recorded by such acts as Clyde McPhatter, The 4 Seasons,
Jerry Lee Lewis, Mel Tillis, Commander Cody and His Lost Planet Airmen, The
Manhattan Transfer, Jerry Garcia, Carl Perkins, and Jeff Lynne. (I’ve got a
version by blues singer Jimmy Witherspoon that I enjoy very much.) Hayes would
continue to hit the R&B charts until 1988, but his biggest claim to fame
later on was voicing “Chef” on <i>South Park.</i> He quit the show (or somebody
in his management group quit for him) in 2006 over an episode of the show that
made fun of Scientology. Hayes suffered a stroke at around the same time, and
passed away two years later.</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/c_WPq8fIcIo" width="320" youtube-src-id="c_WPq8fIcIo"></iframe></span></div><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span><span style="font-family: helvetica;"><span style="font-size: small;"><br /></span></span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>The O’Jays, “Forever Mine,” #28, 2/2/80</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">It’s unfortunate the last top 40 hit for this classic soul act is such
a minor (albeit pleasant) song, but that’s the way it goes. “Forever Mine” came
from the group’s 1979 album <i>Identify Yourself</i>, recorded during the
height of the disco boom but released just as the genre was starting to feel
backlash; this ballad kept the group’s name out there for audiences not
listening exclusively to R&B stations. (I should point out The O’Jays’ last
top 20 R&B hit came nearly 20 years later; they didn’t just fade away.)
Worth a spin for slow dancing on retro dance nights.</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/rfRKzouM9lo" width="320" youtube-src-id="rfRKzouM9lo"></iframe></span></div><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span><span style="font-family: helvetica;"><span style="font-size: small;"><br /></span></span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Rufus & Chaka Khan, “Do You Love What You Feel,” #30, 2/2/80</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">Was this a good week or what? This may not have been Rufus’ very best
song (“Tell Me Something Good”? “Sweet Thing”? “Once You Get Started”?), but it’s
right up there in the next tier. Written by keyboardist David “Hawk” Wolinski, it
comes from the album <i>Masterjam</i>, produced by Quincy Jones (whom Khan
recommended after working with him on his album <i>Sounds… And Stuff Like That!</i>
in 1978). At that point, Khan was trying to maintain a presence with the band and
a burgeoning solo career (she’d made #21 with “I’m Every Woman”), and the
juggling act might have been a little much. (The band released a few albums
during this time without Khan, which went nowhere.)</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/rnkUw0OURnE" width="320" youtube-src-id="rnkUw0OURnE"></iframe></span></div><span style="font-size: small;"><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"></div><br /></span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Cheap Trick, “Voices,” #32, 2/2/80</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">Second single from the band’s 1979 LP <i>Dream Police</i>, and it was a
successful departure for the band; more of a midtempo song than their usual
edgier hard rock. Critical reaction was divided on this (Dave Marsh called it “disastrous”
upon release, but most current critics have the opposite reaction. It’s about
lovers pining for one another (at least I think it is), with a solid vocal
performance from Robin Zander (actually, bass player Tom Petersson originally
recorded the lead vocals). Most famously, it was used on <i>How I Met Your
Mother</i> in its first season, in which Ted Mosby drunkenly calls Robin from
the bar (while she’s on a date) and sings the song to her over the phone before
passing out. (Don’t feel bad for him; he winds up bringing home Danica McKellar—a.k.a.
Winnie Cooper from <i>The Wonder Years</i>—later in that episode.)</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/G1p-F1P602E" width="320" youtube-src-id="G1p-F1P602E"></iframe></span></div><span style="font-size: small;"><br /> </span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">Oh, heck, I'll throw in the <i>How I Met Your Mother </i>version, too. I</span></span><span style="font-family: helvetica;"><span style="font-size: small;"><span style="font-family: helvetica;"><span style="font-size: small;">t’s</span></span> short. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/MMADr75peIM" width="320" youtube-src-id="MMADr75peIM"></iframe></div><br /><span style="font-size: small;"></span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Santana, “You Know That I Love You,” #35, 2/2/80</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">Okay, they can’t all be gems. Santana (the band) had done a pile of
remakes for its previous album <i>Inner Secrets</i>, which was not unnoticed by
rock critics; for their <i>Marathon</i> album they went with all originals,
only to discover the band wasn’t loaded with great songwriters (Gregg Rolie,
who had cowritten such Santana songs as “Soul Sacrifice,” “Hope You’re Feeling
Better,” and “No One to Depend On,” had long since left the band to form
Journey). Cowritten by Carlos Santana, lead singer Alex T. Ligertwood, and
keyboard player Alan Pasqua, “You Know That I Love You” is pleasant but hardly
a necessary addition to anyone’s Santana collection, which is probably why it’s
not on many of their greatest hits sets.</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/L2iPX_PsIQs" width="320" youtube-src-id="L2iPX_PsIQs"></iframe></span></div><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span><span style="font-family: helvetica;"><span style="font-size: small;"><br /></span></span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Electric Light Orchestra, “Last Train to London,” #39, 2/2/80</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">Fourth and final top 40 single from the band’s 1979 album <i>Discovery</i>,
this one sounds more like the danceable “Shine a Little Love” than the rocker “Don’t
Bring Me Down.” In the UK it was released as a double A-side with “Confusion”
(which had scraped into the US Top 40 a few months before); the combined single
made the UK and Irish Top 10 (maybe because of the obvious British references).
It’s catchy and has a pretty good Jeff Lynne vocal, but by the fourth single, the
song has to be really outstanding to chart as high as the first few, and this
didn’t hit that mark.</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/Up4WjdabA2c" width="320" youtube-src-id="Up4WjdabA2c"></iframe></span></div><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span><span style="font-family: helvetica;"><span style="font-size: small;"><br /></span></span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Robert John, “Lonely Eyes,” #41, 2/2/80</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">Third and final single from John’s self-titled 1979 album that also
yielded his #1 single “Sad Eyes.” Oddly, this came after the second single, “Only
Time,” could do no better than <i>Billboard</i>’s Bubbling Under the Hot 100
chart at #102—which is a pretty poor showing for a follow up to a #1 hit. Anyway,
those first two songs were both ballads, but this one is a dance number, albeit
a sad one (woman gives in and says she loves the guy, but she’s really just
settling). John only breaks out the falsetto on the background vocals on the
chorus and the fade; the rest of the song is sung in his normal tenor voice.</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/k1-6tkRVGZI" width="320" youtube-src-id="k1-6tkRVGZI"></iframe></span></div><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span><span style="font-family: helvetica;"><span style="font-size: small;"><br /></span></span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Joyce Cobb, “Dig the Gold,” #42, 2/2/80</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">This is a weird one. Cobb had been on the fringes of the music industry
for years, working in country music for the first few years of the 1970s, then
signing with Stax Records just before that company went out of business. “Dig
the Gold” was on independent Cream Records, and has an almost African/reggae
feel to it, although it has a bit of a novelty song feel if one doesn’t listen
very carefully. Her Wikipedia entry claims this made it to #10 on <i>Cash Box</i>,
although I suspect that was on their soul or dance chart; I looked at a few
issues and it never made it above the 70s on the pop charts. Anyway, Cobb has
had a long history of singing blues and jazz in Memphis—check out her album <i>Beale
Street Saturday Night</i> on Spotify sometime.</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Rod Stewart, “I Don’t Want to Talk About It,” #46, 2/2/80</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">Surprising flop single from Stewart’s greatest hits album <i>Rod
Stewart’s Greatest Hits</i>, although the song itself was originally recorded
for Stewart’s 1975 debut with Warner Brothers, <i>Atlantic Crossing.</i> It was
the best-known song for songwriter and guitarist Danny Whitten, best known for
his work with the band Crazy Horse, which has worked with Neil Young on and off
for the last 50 years (their first album together was 1969’s <i>Everybody Knows
This Is Nowhere</i>, the most recent was 2019’s <i>Colorado</i>). Whitten died
of a drug overdose in 1972 after being dismissed by Young from rehearsals for
his upcoming tour because of his drug addiction. Crazy Horse’s version appears
on their debut 1971 album, and Stewart’s version carries all the pain of a lost
relationship with it. Do note he rerecorded the song for 1989’s box set <i>Storyteller.</i></span></span></p>
<span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/SCGiXnlsyWw" width="320" youtube-src-id="SCGiXnlsyWw"></iframe></span></div><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span><span style="font-family: helvetica;"><span style="font-size: small;"><br /></span></span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Robert Palmer, “Can We Still Be Friends,” #52, 2/2/80</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">Great song that probably didn’t need a remake quite this early—Todd Rundgren’s
original version had peaked at #29 in August 1978. Palmer’s version is
perfectly okay, but it doesn’t seem to have quite the sense of having been in
the situation the protagonist sings about—a couple hitting the end of a
relationship after many efforts to keep it together, but saying they could
still be friends. (The general assumption is that Rundgren wrote it about it
about his breakup with longtime girlfriend Bebe Buell.) I’ve never heard it,
but I’d avoid the version on Palmer’s greatest hits set <i>Addictions, Volume 2
</i>(which appears to be out of print anyway); Palmer remixed all the uptempo songs
to give them the same echoey, thudding sound as “Addicted to Love” and “Simply
Irresistible,” so I’d hate to think what he did with a slow one like this.</span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/OHiQzb1xm6A" width="320" youtube-src-id="OHiQzb1xm6A"></iframe></span></div><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span><span style="font-family: helvetica;"><span style="font-size: small;"><br /></span></span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Gamma, “I’m Alive,” #60, 2/2/80</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;">The first chart hit from Ronnie Montrose’s follow up band after the
first one, Montrose, broke up in 1977 (that’s the one that had Sammy Hagar as
lead vocalist). Montrose (the guy) was a guitar wizard (he recorded an all-instrumental
album, <i>Open Fire</i>, after his first band broke up), but was not a singer;
Davey Pattison was lead vocalist here. It was really almost a Montrose band
reunion; of the five band members, only Pattison and drummer Skip Gillette hadn’t
played with the original band.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/XjWTayc3iDA" width="320" youtube-src-id="XjWTayc3iDA"></iframe></span></div><span style="font-size: small;"><br /> </span><p></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"> </span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><b>Other Superhits 1980 entries you may or may not enjoy:</b></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1980-parts-1-and-2.html">Weeks
1 and 2</a></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1980-part-2.html">Week
3</a></span></span></p><span style="font-family: helvetica;"><span style="font-size: small;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: helvetica;"><span style="font-size: small;"><a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1980-part-4.html">Week
4</a></span></span> </p>
Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0tag:blogger.com,1999:blog-6709252094146084846.post-55735714185712942342020-10-20T14:09:00.006-04:002020-10-26T13:49:47.112-04:00Superhits 1979, Part 35<p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYrTdlnTDK6Y-v4APvk7PqHR_0LSniDDahHaOqWY2zG3PouN3bgY569Qwgs-ttJTbbRqjJau-nB1gYvkKm5tBHvL4JvaQVUMB8Pa2dilThlyH47kTgkEt8AqF6x9IT7TCpZZEKcJOjduw/s600/owl.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="596" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYrTdlnTDK6Y-v4APvk7PqHR_0LSniDDahHaOqWY2zG3PouN3bgY569Qwgs-ttJTbbRqjJau-nB1gYvkKm5tBHvL4JvaQVUMB8Pa2dilThlyH47kTgkEt8AqF6x9IT7TCpZZEKcJOjduw/s320/owl.jpg" width="320" /></a></div><b><div style="text-align: center;"><b>By Curt Alliaume</b></div></b><p></p><p>No huge hits this week, but it’s a great entry (if I do say so myself). There are songs that
should have been hits, one-hit wonders, last gasps of disco, and surprising
flops from name bands.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Eddie Rabbitt, “Suspicions,” #13, 9/1/79</b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">First top 20 pop hit for Rabbitt, who had become a country music
superstar over the latter part of the 1970s (“Suspicions” was his fourth
country #1 in a row), but hadn’t quite made it throughout the rest of the music
world until then. Raised in that country music paradise, East Orange, New
Jersey, Rabbitt (yes, that’s his real name) grew up a big country music fan and
recorded his first songs in 1964. But he didn’t get his real big break until
Elvis Presley recorded his “Kentucky Rain” a few years later. (Of course, that
probably means Rabbitt also gave up half the songwriting royalties on that tune
to Elvis; that was The King’s common practice at the time.)</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/J7EtDeynHxc" width="320" youtube-src-id="J7EtDeynHxc"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Night, “Hot Summer Nights,” #18, 9/1/79</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">I noted <a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html">a
few entries back</a> Chris Thompson, lead singer of Manfred Mann’s Earth Band,
was kissed off on their album cover <i>Angel Station</i> as starting a new
group; here it is. Night began when Thompson met singer Stevie Vann (known at
that time as Stevie Lange; she was married to producer / songwriter / eventual Shania
Twain husband Robert John “Mutt” Lange at the time) when she was recording
backing vocals for the Earth Band’s 1978 <i>Chance</i> album. Among the other
band members: future Pretender Robbie McIntosh and veteran keyboard player
Nicky Hopkins. This was sorta kinda their biggest hit; written by Walter Egan,
who made #55 with the same song in 1978.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/-WQGEJE-WYQ" width="320" youtube-src-id="-WQGEJE-WYQ"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Blackfoot, “Highway Song,” #26, 9/1/79</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">“Southern rock” was slowly dying out as a chart force by 1979—The
Allman Brothers were struggling, Lynyrd Skynyrd had temporarily come to an end
after the 1977 plan crash, and Capricorn Records (home of The Allman Brothers
Band, The Marshall Tucker Band, Wet Willie, and others) filed for bankruptcy.
Blackfoot came from Jacksonville, FL (although they spent some time in their
formative years in New York City and Morristown, NJ). Their working
relationship with Lynyrd Skynyrd—vocalist/guitarist Rickey Medlocke and bass
player Greg T. Walker were with Skynyrd from 1971 to 1972; Medlocke rejoined in
1996 and still plays with Skynyrd today—helped them attract a following and a
record contract. “Highway Song,” about life on the road, was the first single
from their album <i>Strikes!</i>, which eventually went platinum.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/jUYhIYCPvM0" width="320" youtube-src-id="jUYhIYCPvM0"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Rockets, “Oh Well,” #30, 9/1/79</b><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Second single from the band’s debut album, and probably what they’re
best remembered for today. “Oh Well” is another piece of evidence from my
theory that whatever Fleetwood Mac touched in 1978 and 1979 sold records (Walter
Egan, John Stewart, Kenny Loggins, Bob Welch, etc.)—“Oh Well” is a remake of an
<i>old</i> Fleetwood Mac song, written and sung by Peter Green in their English
blues years. The Rockets gave it a Detroit hard rock sheen (two of the band’s
members got their start with Mitch Ryder & The Detroit Wheels), and the
result is pretty awesome. Happily, Fleetwood Mac has kept it on the setlist off
and on over the years; Lindsey Buckingham sings lead on the version that can be
found on their 1980 release <i>Live</i>. This video, by the way, first appeared
on <i>The Midnight Special</i>.<o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/zoLHfVo8B2s" width="320" youtube-src-id="zoLHfVo8B2s"></iframe></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Bram Tchaikovsky, “Girl of My Dreams,” #37, 9/1/79<o:p></o:p></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Another really great song, and nothing to do with classical music.
Peter Bramall was a guitarist and vocalist for the British band The Motors under
the pseudonym Bram Tchaikovsky. He joined the band in 1977 and departed in
1978, after they hit the UK Top 20 with “Airport” and “Forget About You.”
Starting his own band thereafter, Tchaikovsky decided to keep his “name” as the
band’s name, and signed with Radar Records in the UK. <i>Strange Man, Changed
Man</i> followed in 1979, and “Girl of My Dreams”—a power pop song that made
rock fans realize disco wouldn’t last forever—became their only US chart hit.
After two more albums, the band broke up, and Tchaikovsky has since owned a
record studio and played with several blues acts. </p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/RLZDaJgkUMw" width="320" youtube-src-id="RLZDaJgkUMw"></iframe></div><div><br /></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Rickie Lee Jones, “Young Blood,” #40, 9/1/79</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Not the old Coasters song, if that’s what you were thinking. Second
single from Jones’ debut album, and obviously less of a big deal than “Chuck
E.’s in Love.” It’s not a bad song—I like the arrangement a lot—but it just
didn’t catch people’s attention the way her first hit did. Jones did okay,
however, selling two million copies of her album and winning a Grammy Award in
1980 for Best New Artist, beating out The Blues Brothers, Dire Straits, The
Knack, and Robin Williams. (See, the Grammy voters get it right once in
awhile.)<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/fvC6-_G1fng" width="320" youtube-src-id="fvC6-_G1fng"></iframe></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Bonnie Boyer, “Got to Give Into Love,” #42, 9/1/79</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Not to be confused with Boni Boyer (who played with Sheila E. and was a
briefly a protégé of Prince), Boyer appears to have been a beautiful singer
that someone at Columbia Records decided could be a disco star. Unfortunately,
her record came out right as disco was going downhill fast. “Got to Get Into
Love” has a Philadelphia soul feel (her self-titled album was recorded in
Philadelphia and was produced by Nate Checker), but nothing to make it stand
out from other product at the time. Boyer would later sing backup with Lenny
Williams and Michael Penn.<o:p></o:p></p>
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Funky Communication Committee, “Baby I Want You,” #43, 9/1/79<o:p></o:p></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Here’s another one I never heard, and it’s out of print and unavailable
for download, so except for YouTube you won’t hear it either. This five-man
band began with guitarists Dennis Clifton and Larry Byrom, who had been with
Steppenwolf from 1969 to 1971. The duo had southern roots, but the sound here
is pretty much late disco and pop. Released on Free Flight Records (a sublabel
of RCA), this was the band’s one and only hit, and after 1980’s <i>Do You
Believe in Magic</i> (somebody might have whispered in the band’s ear that
naming their albums after classic hits without actually including them on their
albums might not be a good strategy) they broke up. Clifton played in various
bands was a studio musician after that, dying of cancer in 2008. Byrom is still
a studio musician today.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/S18PlHO6APg" width="320" youtube-src-id="S18PlHO6APg"></iframe></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Switch, “Best Beat in Town,” #69, 9/1/79<o:p></o:p></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Give Motown credit—they did their best to break this band on the pop
charts, but nothing ever really happened. This was the lead single from their
second album, <i>Switch II</i>, and while their first single “I Call Your Name”
made it to the pop Top 40, this was another example of songs released during
the waning days of disco that didn’t make the grade. This song was written,
produced, and sung by Bobby DeBarge, who would later help helm Motown releases
by his family’s group, DeBarge. </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/G9vxFNclQu8" width="320" youtube-src-id="G9vxFNclQu8"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p><br /></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>The Barron Knights, “The Topical Song,” #70, 9/1/79</b><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">One-hit wonder in the United States, but The Barron Knights are well
known in the United Kingdom, with 13 chart hits, including five top 10s,
between 1964 and 1983. The five-man group originally started out as a straight
pop/rock band with something of a music hall background, and toured with both
The Beatles and The Rolling Stones in their early days. But their first big hit
was the jokey “Call Up the Groups,” where they imagined various British pop
groups were conscripted in the Army, and what their hits would sound like. That
led them down the road to music hall comedy, including straight parodies of
hits (a la “Weird” Al Yankovic). “The Topical Song” was a parody/homage of
Supertramp’s “The Logical Song,” instead joking about the oil crisis, and while
it made the American <i>Billboard</i> charts, it never charted in the UK. The
group still tours, albeit with Pete Langford as the only original member. So
rare nowadays I couldn’t even find a decent video, and apparently there’s more
than one version; the lyrics here don’t match the ones I have on my copy.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/S5FCs4oIi0Q" width="320" youtube-src-id="S5FCs4oIi0Q"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>A Taste of Honey, “Do It Good,” #79, 9/1/79<o:p></o:p></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Well, you had to expect this. A Taste of Honey became an overnight
sensation thanks to “Boogie Oogie Oogie” in 1978, with both the single and
album going platinum and the band winning a Grammy for Best New Artist (beating
out Elvis Costello—years later, <i>Sports Night</i> conflated A Taste of Honey
with 1977 Best New Artist winner Starland Vocal Band and claimed that band beat
out Costello). But the subsequent singles from the first album didn’t chart,
and this song, released toward the end of the disco era, didn’t go far.
Cowritten by band members Janice Marie Johnson and Perry Kibble, who were also
the band’s rhythm section (Janice played bass, Perry played drums). It’s not a
bad song at all. </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/GX7OohBQBjU" width="320" youtube-src-id="GX7OohBQBjU"></iframe></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p><br /></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Abba, “Voulez-Vous,” #80, 9/1/79</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Another surprising flop, especially given this was a pretty major hit
elsewhere in the world (top 5 in Belgium, Ireland, the Netherlands, and the
United Kingdom). It was paired up in many territories (including the United
States) as a double A-side with “Angeleyes,” but this song was definitely a nod
toward disco, even more than their biggest American hit, “Dancing Queen.” In its
review of the single, <i>Billboard</i> claimed it had “intriguing, almost
Russian-sounding musical accents”—which makes me wonder who was writing the
reviews. </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/za05HBtGsgU" width="320" youtube-src-id="za05HBtGsgU"></iframe></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><br /></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Chicago, “Must Have Been Crazy,” #83, 9/1/79</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Speaking of bombs, wow. Chicago hadn’t had the first single off an
album miss the top 30 since their debut in 1969, so this was a massive whiff. I’m
not sure why they thought they had to release this album so soon after <i>Hot
Streets</i> (ten months), plus the first song off the album, “Street Player,”
had already been the title cut from a Rufus album the previous year (it had
been cowritten by Chicago drummer Danny Seraphine and Rufus keyboardist David “Hawk”
Wolinski), and gave it a disco feel at precisely the wrong time. “Must Have
Been Crazy” isn’t at all disco, but it was written and sung by newcomer Donnie
Dacus, who had taken Terry Kath’s place as guitarist after Kath’s death—and perhaps
that was the problem: an unfamiliar vocalist, and no horns whatsoever. This
would lead to a huge downturn in Chicago’s fortunes for the next few years. By
the end 1979, Dacus had been dismissed from the band.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" height="266" src="https://www.youtube.com/embed/8PLlBH00ItQ" width="320" youtube-src-id="8PLlBH00ItQ"></iframe></div><br /><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b>Other Superhits 1979 entries you may or may not enjoy:</b><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-1.html">Week 1</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-2.html">Week 2</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-3.html">Week 3</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html">Week 4</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html">Week 5</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/02/shalamar-take-that-to-bank.html">Week 6</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html">Week 7</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html">Week 8</a><br /><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html">Week 9</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html">Week 10</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-11.html">Week 11</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-12.html">Week 12</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-13.html">Week 13</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html">Week 14</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-15.html">Week 15</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html">Week 16</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="http://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-17.html">Week 17</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-18.html">Week 18</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html">Week 19</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html">Week 20</a><br /><a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-21.html">Week 21</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-22.html">Week 22</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/07/normal-0-false-false-false-en-us-x-none.html">Week 23</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-part-24.html">Week 24</a><br /><a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html">Weeks 25 and 26</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html">Week 27</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html">Week 28</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html">Week 29</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-parts-30-and-31.html">Weeks 30 and 31</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-32.html">Week 32</a><o:p></o:p></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html">Week 33</a><o:p></o:p></div><div><a href="http://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-34.html">Week 34</a></div>Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0Naperville, IL, USA41.7508391 -88.153535215.782933888759704 -123.3097852 67.7187443112403 -52.997285199999993tag:blogger.com,1999:blog-6709252094146084846.post-67298755649195288892020-03-29T14:05:00.001-04:002020-03-29T14:05:25.002-04:00Superhits 1979, Part 34<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX4RXg91-FKsn4ONjoLed4yI8xuC2NWJPH07Zp00VS64ti79CjBqP99M06Hvu3AJF_2sapMR2mIUmXV0HmEOyVevGuaeWe5RAuHi8peZ57YCtA1ORMEF4LIT9ID0iVbXGRfTNWIJApaMU/s1600/ladies+night.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="317" data-original-width="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX4RXg91-FKsn4ONjoLed4yI8xuC2NWJPH07Zp00VS64ti79CjBqP99M06Hvu3AJF_2sapMR2mIUmXV0HmEOyVevGuaeWe5RAuHi8peZ57YCtA1ORMEF4LIT9ID0iVbXGRfTNWIJApaMU/s1600/ladies+night.jpg" /></a></div>
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<b>By Curt Alliaume</b></div>
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<o:p></o:p></div>
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Another week with one huge classic, a couple of other familiar tunes,
and a bunch of songs that you’ve probably never heard before.<o:p></o:p></div>
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<b>The Knack, “My Sharona,” #1, 8/25/79</b></div>
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You may have heard this one. The Knack formed in 1978, although lead
singer and guitarist Doug Fieger had been in the Detroit-based band Sky (not
the R&B band Skyy) before that. Getting a contract with Capitol Records in
1978, they issued <i>Get The Knack</i> in June 1979, with “My Sharona” as the
lead single. The song has an amazing power pop/rock hook that put it on
stations all over the country, especially rock stations that had gotten sick of
disco. Somehow they managed to miss the lyrical content, which included “Always
get it up for the touch of the younger kind.” (Fieger was 25 when he wrote the
song about his then-girlfriend Sharona Alperin, who was eight years younger.
Okay, math majors…) The song stayed at #1 for six weeks. Sharona Alperin,
pictured on the sleeve above, is now a realtor in Los Angeles. This would chart
again in 1994, after being included in the movie <i>Reality Bites</i>. Oh, and
a warning if you’re doing any Googling: the single sleeve was Photoshopped a
bit at some point; on the original, her tank top is considerably more
transparent.</div>
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<b>Elton John, “Mama Can’t Buy You Love,” #9, 8/25/79<o:p></o:p></b></div>
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Elton recorded this song in 1977, along with several others, with
production by famed soul producer Thom Bell (The Stylistics, The Spinners).
However, the project was stopped before an album could be completed (several
sources say Bell and Elton didn’t get along, but Elton makes no mention of this
in his recent autobiography). A year and a half later, with disco at its peak,
three of the six songs were remix by Elton and Clive Franks, and released as an
EP (or disco single, depending on your preference), with “Mama Can’t Buy You Love”
pulled as a standalone regular single. The end result was Elton’s first top 10
hit in the States in two and a half years. It’s not pure disco, but solid
Philadelphia soul, written by Bell’s nephew LeRoy and Casey James, who had hit
with “Livin’ It Up (Friday Night)” earlier in the year. It also features Elton
singing in a lower register for the first time, which he now always does.<o:p></o:p></div>
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<b>Spyro Gyra, “Morning Dance,” #24, 8/25/79</b></div>
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This is the second of Spyro Gyra’s four Hot 100 hits, and their most
successful. As I’ve noted before, I have a theory that instrumentals were more
prevalent on top 40 stations in the 1960s and 1970s because they could lead
into network news at the top of the hour, and cutting an instrumental off a
little early didn’t seem to be the worst thing. Anyway, this is a sprightly
jazz fusion piece, much like Spyro Gyra’s other work. Released on Infinity
Records, which was folded into the parent company MCA later in the year after the
label issued an album of speeches and songs by Pope John Paul II that performed
way, way below expectations. As far as I can tell, Spyro Gyra, Orleans, and
Rupert Holmes were the only three acts that were carried over to MCA. This
appearance on <i>Top of the Pops</i> is notable because they’re playing live,
rather than miming; the result is it sounds very different than the recorded
version.</div>
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<b>Dire Straits, “Lady Writer,” #45, 8/25/79<o:p></o:p></b></div>
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This may have seemed a bit early for a follow up album for the band,
which had only hit with “Sultans of Swing” from their first album four and a
half months before. Their previous self-titled album had been released in
October 1978, but hadn’t started getting airplay in the States until a few
months later—and by the time “Sultans of Swing” started climbing the <i>Billboard</i>
charts, the second album was already in the can. Anyway, this is a perfectly
serviceable song along the lines of their previous hit, it doesn’t break much
new ground. Coproduced by legend Jerry Wexler with Barry Beckett, the parent
album <i>Communiqu</i><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">é</span></i> went to #1 in four different countries, and peaked at
#11 in the States.<o:p></o:p></div>
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<b>Beckmeier Brothers, “Rock and Roll Dancin’,” #53, 8/25/79</b></div>
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<b><o:p></o:p></b>These are the hardest song bios to write—bands that had one minor hit, and some of the information out there is incorrect. This band was formed by Freddie Beckmeier, who was apparently associated with blues singer and guitarist Paul Butterfield at one point, and his brother Stevie; both of them had worked with Gregg Allman. AllMusic says they were a funk band, but that’s not the case from my viewpoint—based on the three songs I’ve heard (all on YouTube, nothing’s available for streaming or download on Spotify or Amazon), this is Southern blues rock all the way. Anyway, this was the lead track on their self-titled debut on Casablanca, which appears to be their only album.</div>
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<b>Bad Company, “Gone, Gone, Gone,” #56, 8/25/79<o:p></o:p></b></div>
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Second single from Bad Company’s <i>Desolation Angels</i> album, this
was the first song written by bassist Boz Burrell that the band recorded—which makes
me think either his songwriting abilities were just beginning, or the band was
desperate for material. It’s typical Bad Company material—you’ve left me, I’m
going to console myself with lots of drinking and maybe another woman, you didn’t
mean anything to me unless you did. Burrell, who’d previously been with King
Crimson, performed with a few other bands after Bad Company collapsed in 1982
(he’s listed on the first reunion album, 1986’s <i>Fame and Fortune</i>, but
didn’t actually fully reunited with them until recording a few songs for 1998’s
<i>The ‘Original’ Bad Co. Anthology</i> and touring afterward), died of a heart
attack in 2006.<o:p></o:p></div>
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<b>Oak, “This Is Love,” #58, 8/25/79</b></div>
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Oak was a five-man band that met at the University of New Hampshire
(most of the band members were from New Hampshire or Maine). After they started
playing around the Boston area, they gained a following and were signed up to
Mercury Records. “This Is Love” was the first single from their eponymous debut
LP, recorded at Eastern Sound Studios in Methuen, MA, north of Boston. It was
written by lead singer and pianist Rick Pinette. It’s a building ballad, with a
string section conducted by Van Hunter and contracted by Bob Schott (I guess
there’s a difference between the two); it might have been helped by an extra
verse or something (two minutes and twenty-five seconds was pretty short for a
single in 1979). This would be the first of three Oak singles to hit the Hot
100.</div>
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<b>Ian Hunter, “Just Another Night,” #68, 8/25/79</b>Ian Hunter has been the lead singer of Mott the Hoople and has had an interesting solo career, but hasn’t seen a ton of United States chart success—this is his one solo Hot 100 hit. It’s a rocker from his fourth solo album, <i>You’re Never Alone With a Schizophrenic</i>, which according to a bio on the albums’ producer, Mick Ronson (who was also in Mott the Hoople), Ronson first saw as a bathroom wall graffito. Hunter loved it so much he gave Ronson a cowrite on this song in order to use the phrase for his album title. Fortunately for Hunter, he didn’t give away so cavalierly songwriting credits for two other cuts on the album: the ballad “Ships” (later a top 10 hit for Barry Manilow) and “Cleveland Rocks” (rerecorded in the 1990s by The Presidents of The United States of America and used as a theme for <i>The Drew Carey Show</i>). Among the musicians on this song: Roy Bittan, Max Weinberg, and Garry Tallent from The E Street Band, and Ellen Foley on backing vocals.<b><o:p></o:p></b></div>
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<b>Edwin Starr, “H.A.P.P.Y. Radio,” #79, 8/25/79<o:p></o:p></b></div>
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Fifteenth and final Hot 100 hit for Starr, who had, of course, reached
#1 at the beginning of the decade with “War.” This song has no great angry
theme; it’s just about listening to the radio (“This is station H.A.P.P.Y./ We plan to help your day go by”). <i>WKRP in Cincinnati </i>fans
will recognize it as the “Gotta Dance” theme from the two-part episode “Dr.
Fever and Mr. Hyde.” Written and produced by Starr, this was released on 20<sup>th</sup>
Century Records (yes, 20<sup>th</sup> Century-Fox had a record label back in
the day, although it was distributed by RCA). Starr would continue recording,
primarily in England (where he’d moved in 1973). He would die of a heart attack
in 2002 at the age of 61. Shake it, ladies.</div>
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<b>Maynard Ferguson, “Rocky II Disco,” #82, 8/25/79</b></div>
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Maynard Ferguson was one of four acts to hit the pop charts in 1977
with a version of the theme from the movie <i>Rocky</i> (the Bill Conti
Orchestra hit #1, while Current and Rhythm Heritage both were on the low end of
the charts), so why not try again? This song wasn’t on the official <i>Rocky II</i>
soundtrack, but it was on Ferguson’s 1979 LP <i>Hot</i> (although the 45s
listed the album as “Blow Your Own Horn”; I guess there was a late title
change). Ferguson was renowned for playing in a much higher register than most trumpet
players. He released dozens of albums during his lifetime. Ferguson died at age
78 in 2006 of kidney and liver failure. This clip from <i>The Mike Douglas Show</i>
(that’s Melissa Manchester with Mike) has several different Ferguson
performances, of which “Rocky II Disco” is the first (you may want to catch the
end credits, where he plays out the <i>Star Trek</i> theme).<o:p></o:p></div>
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<b>Long John Baldry and Kathi MacDonald, “You’ve Lost That Lovin’
Feelin’,” #89, 8/25/79</b></div>
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Standard-issue remake of the classic song, which no one is playing instead of The Righteous Brothers’ version nowadays (or even Hall & Oates’ version, for that matter). Baldry (whose nickname stemmed from his 6’7” height) was a blues and rock singer primarily based in England who had a few major hits there, and led his own band, Bluesology (his piano player Reg Dwight later changed his name to Elton John, using Baldry’s first name as his surname). Although this wasn’t much of a hit here, it did make #2 in Australia. MacDonald was a former Ikette with the Ike & Tina Turner revue, who collaborated on and off with Baldry. Baldry died in 2005 at age 64 of a chest infection; MacDonald died in 2012. Trivia note: Baldry did the voice of Dr. Robotnik in the early years of <i>Adventures of Sonic the Hedgehog.</i></div>
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<b>Other Superhits 1979 entries you may or may not enjoy:</b><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-1.html">Week
1</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-2.html">Week
2</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-3.html">Week
3</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/01/superhits-1979-part-4.html">Week
4</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-week-5.html">Week
5</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/02/shalamar-take-that-to-bank.html">Week
6</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/02/superhits-1979-part-7.html">Week
7</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/02/normal-0-false-false-false-en-us-x-none.html">Week
8</a><br />
<a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-week-9.html">Week
9</a><o:p></o:p></div>
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<a href="http://abandonedandheartbroke.blogspot.com/2019/03/superhits-1979-part-10.html">Week
10</a><o:p></o:p></div>
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<a href="http://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-11.html">Week
11</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-12.html">Week
12</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-13.html">Week
13</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-week-14.html">Week
14</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-15.html">Week
15</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/04/superhits-1979-part-16.html">Week
16</a><o:p></o:p></div>
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<a href="http://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-17.html">Week
17</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/05/superhits-1979-part-18.html">Week
18</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/06/superhits-1979-part-19.html">Week
19</a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-20.html">Week
20</a><br />
<a href="http://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-21.html">Week
21</a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/07/superhits-1979-part-22.html">Week
22</a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/07/normal-0-false-false-false-en-us-x-none.html">Week
23</a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-part-24.html">Week
24</a><br />
<a href="https://abandonedandheartbroke.blogspot.com/2019/08/superhits-1979-parts-25-and-26.html">Weeks
25 and 26</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2019/09/superhits-1979-part-27.html">Week
27</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-28.html">Week
28</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-29.html">Week
29</a><o:p></o:p></div>
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<a href="http://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-parts-30-and-31.html">Weeks
30 and 31</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2020/02/superhits-1979-part-32.html">Week
32</a><o:p></o:p></div>
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<a href="https://abandonedandheartbroke.blogspot.com/2020/03/superhits-1979-part-33.html">Week
33</a><o:p></o:p></div>
<br />Curt Alliaumehttp://www.blogger.com/profile/05875046706746482871noreply@blogger.com0