At the suggestion of a friend from college, I’ve been reading and reading with the actual intent to learn and not merely for entertainment.
I’ve actually been studying, something that I rarely did in college.
Some of the concepts have been abstract, but the neurons still fire and the subject matter holds the potential for being of great use.
(as opposed to those metric tables junior high)
Thirty years ago, I was in eighth grade and mindlessly memorizing metric conversions that I would never use. Football and classmates of the female persuasion were the primary recipients of my interest and attention.
For the first time in my life, I was actually interested in music and spending increasing amounts of time with the radio on.
And five songs were making their debut on the Hot 100 in Billboard magazine…
The Go-Go’s – Our Lips Are Sealed
from Beauty And The Beat
(debuted #90, peaked #20, 30 weeks on chart)
The Go-Go’s built the perfect beast with Our Lips Are Sealed, their first hit, and the one-time punk band’s New Wave-tinged pop was both old and new (and completely irresistible) as its sunny vibe helped hold back the impending chill of autumn in 1981.
By summer of the following year, the all-female band was a pop culture juggernaut – Beauty And The Beat had sold millions of copies, We Got The Beat was playing over the opening credits of Fast Times At Ridgemont High, and the band memorably appeared on the cover of Rolling Stone in their underwear.
(which Jane Wiedlin and I discussed when I had the opportunity to interview her twenty years later)
Aretha Franklin with George Benson – Love All The Hurt Away
from Love All The Hurt Away
(debuted #89, peaked #46, 10 weeks on chart)
I’m certain I didn’t know Aretha Franklin in 1981. As for George Benson, I know that I’d heard his silky-smooth, lightly funky Give Me The Night a year earlier as it was pretty inescapable.
I didn’t know their duet Love All The Hurt Away then or until now. If Paloma was listening now, I think she’d nod and say, “Quiet storm.”
Love All The Hurt Away does have a mellow vibe, but the song builds to a dramatic crescendo.
Atlanta Rhythm Section – Alien
(debuted #88, peaked #29, 15 weeks on chart)
As a kid in the late ’70s, I remember hearing Atlanta Rhythm Section’s Imaginary Lover and So Into You often on the soft rock stations the parents would play in the car. I was listening to music more than I ever had in 1981, I don’t really recall hearing Alien, though.
The song has a laid-back groove like Imaginary Lover and So Into You, but Alien might be even more drowsy than those earlier hits.
I’ve read that much of Atlanta Rhythm Section’s catalog was more Southern Rock – the band came together as session players in a Georgia studio used by Lynyrd Skynyrd and .38 Special – but I’ve only heard the mellow stuff.
Dan Fogelberg – Hard To Say
from The Innocent Age
(debuted #72, peaked #7, 19 weeks on chart)
A Dan Fogelberg song was on the radio one recent Saturday morning and Paloma noted that she liked his voice.
I mostly know the late singer/songwriter for his early ’80s hits – songs like Same Old Lang Syne, Leader Of The Band, and Missing You – which I heard often while listening to the radio at the time.
Though Hard To Say is pleasant, it wasn’t my cup of tea for the months in late ’81 when I’d hear the song several times each day.
I had little interest in the song, but my neighbor and childhood friend Will seemed to harbor a burning hatred of Hard To Say. One snowy afternoon, having just seen the song on the Solid Gold countdown, he turned to me and said sullenly, “I think Dan Fogelberg just ruined the Solid Gold dancers for me.”
Hall & Oates – Private Eyes
from Private Eyes
(debuted #68, peaked #1, 23 weeks on chart)
Hall & Oates had resuscitated their career from a late ’70s commercial lull with 1980’s Voices. It was impossible to not hear You Make My Dreams or Kiss On My List on the radio at the time.
The duo followed that album with Private Eyes in the autumn of ’81. The title song was ridiculously catchy, had a bit of New Wave sheen and was a mammoth hit.
(and for the next half dozen years, there always seemed to be some new Hall & Oates song on the radio)