November 6, 1982

November 5, 2012

Unless you have a masochistic streak, you are as likely to have election fatigue as I am. However, the end of this highly-informative, enlightening period is near and, before the next president is inaugurated in January, a new slate of empty suits will already be jockeying for 2016.

(all of this is, obviously, contigent upon no year-end Mayan nonsense)

So, as I opt to periodically do – when I have no other viable or unviable ideas – it’s time to pull up an old Billboard magazine Hot 100 chart and note the songs that debuted that week.

And, since 1982 was the year during which I first truly fell in love with the radio, here is the octet of songs which first appeared on the Hot 100 thirty years ago…

Judas Priest – You’ve Got Another Thing Comin’
from Screaming For Vengeance (1982)
(debuted #90, peaked #67, 7 weeks on chart)

I didn’t go through a metal phase as a kid (or as an adult for that matter) and by the late ’80s – when the hair-metal bands were ruling MTV – I thought the genre to be laughable. Over the ensuing years, I’ve come to enjoy some of the stuff, but, if I’m opting for metal from that period, I’m likely to dial up Iron Maiden.

However, Judas Priest, led by Rob Halford and the twin-guitar attack of Glenn Tipton and K. K. Downing, were titans of the metal world and fixtures in Circus magazine, one of the few music magazines stocked in the rack of our local drug store.

Though I’ve never embraced Judas Priest, I do recall hearing their driving You’ve Got Another Thing Comin’ here and there at the time. It was catchy enough to give the band their lone US pop hit.

Bill Conti – Theme From Dynasty
from Television’s Greatest Hits, Vol. 3 (1990)
(debuted #89, peaked #52, 9 weeks on chart)

I knew the name Bill Conti as the composer of Gonna Fly Now, the theme from the movie Rocky, but, as I never watched the show, I had never heard his theme from the television series Dynasty.

I know that Dynasty was about rich people and there’s a snootier-than-thou vibe to the theme that I could imagine accompanying people playing polo, eating caviar, yachting, running for president or doing whatever else rich people do.

Frida – I Know There’s Something Going On
from Something’s Going On (1982)
(debuted #88, peaked #13, 29 weeks on chart)

I’m sure that, initially, I had no idea that the voice on I Know There’s Something Going On belonged to one of the women from ABBA. And, I doubt at the time that I recognized the drumming on the song to be Phil Collins (although I’d soon become familiar with the cavernous sound that was his trademark).

Instead, I loved the thunderous sound and omnious vibe of the song. And, in retrospect, it’s odd to think of Frida’s lone hit getting played on the rock stations playing Tom Petty, Saga, and Def Leppard that would have never touched ABBA.

Men At Work – Down Under
from Business As Usual (1982)
(debuted #79, peaked #1, 25 weeks on chart)

Men At Work had dominated the radio during the late summer and early autumn of ’82 with Who Can It Be Now? and, by Christmas, Down Under had become the Aussie act’s second smash.

I do know that my friends and I – living in a world without MTV – had seen both of those videos on Casey Kasem’s America’s Top 10 and been delighted by lead singer Colin Hay’s expressive antics and emotive nature. That Christmas, I received a copy of Business As Usual which I wore out over the following winter months.

Kim Carnes – Does It Make You Remember?
from Voyeur (1982)
(debuted #78, peaked #36, 13 weeks on chart)

Kim Carnes had unleashed the juggernaut Bette Davis Eyes upon the world in 1981 as music was beginning to tickle my fancy. Despite a lengthy career beginning in the ’60s as a member of The New Christy Minstrels and a number of solo hits including More Love and Don’t Fall In Love With A Dreamer, Bette Davis Eyes will headline the singer/songwriter’s obituary.

Carnes’ follow-up to Mistaken Identity, which contained Bette Davis Eyes, was destined to fail in matching its predecessors’ success. Voyeur‘s title track came and went quickly as the album’s initial single.

The second release was the mid-tempo Does It Make You Remember? which, like Voyeur, briefly reached the Top 40. It’s not a bad song and well-suited for Carnes’ raspy vocals, but my main memory of Does It Make You Remember? is that the singer seemed to appear on Solid Gold performing it every week that winter (accompanied by noted session guitarist Waddy Wachtel and his voluminous hair).

Phil Collins – You Can’t Hurry Love
from Hello, I Must Be Going! (1982)
(debuted #77, peaked #10, 21 weeks on chart)

I knew little of Genesis and even less about The Supremes as 1982 wound down and Genesis’ Phil Collins released his cover of the latter’s classic You Can’t Hurry Love. I knew Genesis for their recent hits from Abacab No Reply At All, the title track, and Man On The Corner – but I doubt that I knew The Supremes whatsoever.

Though it obviously doesn’t match the original, Phil Collins take on You Can’t Hurry Love is likely as good as one might hope for from a drummer of a (increasingly less) progressive, English rock band.

John Cougar – Hand To Hold On To
from American Fool (1982)
(debuted #72, peaked #19, 18 weeks on chart)

Few acts had as good a year as Johnny Hoosier – as my buddy Bosco referred to local hero John Cougar – did in 1982. The gritty rocker had broken through with the mega-selling American Fool set which had spawned two hits in Hurts So Good and Jack And Diane that had dominated radio that summer and into the fall.

As I was living in Indiana, local radio had given heavy airplay to American Fool even before Hurts So Good broke nationally, meaning that by the time Hand To Hold On To was issued as the album’s third single, I was well and truly tired of anything Cougar.

So, Hand To Hold On To usually prompted me to change the station, but, now, thirty years later, I hear it as a solid, amiable rock song, hardly as memorable as the first two hits but a decent track nonetheless.

Michael Jackson/Paul McCartney – The Girl Is Mine
from Thriller (1982)
(debuted #45, peaked #2, 18 weeks on chart)

If there is one song among Thriller‘s seven Top Ten hits that I haven’t really heard on the radio in the three decades since it was a hit, it would be The Girl Is Mine, the duet that launched the album. Even at the time, it offered no hint at how Thriller would dominate the airwaves for the next eighteen months, well into 1984.

The Girl Is Mine was Paul McCartney’s second superstar duet that year – he had paired with Stevie Wonder that spring on Ebony And Ivory – and it’s a pleasant enough song with a goofy spoken word interlude. I always thought that its laid-back, breezy vibe would have made the song more suitable for warmer months.

Not long after The Girl Is Mine hit radio, the full album arrived and several of the stations I was listening to quickly jumped on Beat It with Eddie Van Halen on guitar, a far more intriguing track to me.

I hear The Girl Is Mine now and I can’t help but hear a buddy ad-libbing “the goddamned girl is mine” in place of the more benign “the doggone girl is mine” in the chorus which was high hilarity to us at the time.


October 2, 1982

September 29, 2012

At some point last year, I started a semi-regular tradition of pulling up a Hot 100 chart from Billboard magazine and dissecting the debut songs for a given week in the early ’80s (when I was first listening to music and most familiar with Top 40 radio).

It was an idea that I nicked from 70s Music Mayhem, a groovy blog that I’d been reading for awhile.

Each Saturday, like clockwork, there would be a new post in which Chris Stufflestreet would cover the songs that had been a debut on the Hot 100 from a corresponding date in the ’70s. It was an engaging mix of Joel Whitburn, Casey Kasem, and childhood nostalgia that was a favorite read.

And then, earlier this week, I was perusing another favorite internet outpost, The Hits Just Keep On Comin’, and was surprised to read that Chris had passed away last week.

I seem to recall exchanging an e-mail or two with Chris and the occasional comment on each other’s blog. I knew that he was considerably knowledgeable about baseball cards and I had been meaning to solicit his thoughts on a few items of sports memorabilia, but…

I didn’t know Chris, but, through his writing, I kind of felt like I did.

I’ll miss having his words to read as I lazily ease into a Sunday morning with coffee and offer my heartfelt condolences to any of his friends or family who might stumble upon here.

He seemed like a good guy.

Here are the ten songs that made their debut on Billboard‘s Hot 100 as October arrived this week thirty years ago…

The Clash – Rock The Casbah
from Combat Rock (1982)
(debuted #90, peaked #8, 24 weeks on chart)

Punk didn’t make it to our part of the Midwest and, though I knew The Clash by name, I had never heard their music prior to Rock The Casbah.

(it would be over the next few years – and thanks to the passion my buddy Streuss had for the band – that I would discover what all the fuss was over “the only band that matters”)

I thought that Rock The Casbah was übercool as was the song’s video which makes fine use of both Burger King and armadillos.

Bad Company – Electricland
from Rough Diamonds (1982)
(debuted #87, peaked #74, 4 weeks on chart)

I can’t say that I’ve ever had much affinity for Bad Company, though I much prefer the Paul Rodgers era to the late ’80s/early ’90s stuff sans Rodgers that briefly saw the band return to mainstream success.

And I can’t say that I’d ever heard Electricland, though its subdued, mysterious vibe briefly held my attention before I lost interest.

Missing Persons – Destination Unknown
from Spring Session M (1982)
(debuted #85, peaked #42, 14 weeks on chart)

Missing Persons was as exotic as exotic got for me and my friends in 1982 and we totally took to the band. Their sci-fi, synth sound and the comely looks of lead singer Dale Bozzio – and her plexiglass, fishbowl bra cups, bikini bottoms made of posters, and cotton-candy hair – were irresistible to our teenage ears and eyes.

I think we all had a cassette of Spring Session M and I still dig it when Words or the spacey, hypnotic Destination Unknown pops up on the iPod or Sirius.

Billy Squier – Everybody Wants You
from Emotions In Motion (1982)
(debuted #84, peaked #32, 17 weeks on chart)

During my junior high/high school years, Billy Squier was a rock god to most of the kids in my hometown. Of course, he was toppled from that exalted position as minor deity by the infamously bad video for Rock Me Tonight in 1984.

But when Emotions In Motion came out, he was still cool and Everybody Wants You was constantly playing from a radio or car stereo.

In fact, DJ Mark Sebastian from Q102 in Cincinnati – the station most of us listened to at the time – played the damned song repeatedly one night on his shift for an hour or two after supposedly locking himself in the DJ booth.

Timothy B. Schmit – So Much In Love
from Fast Times At Ridgemont High soundtrack (1982)
(debuted #81, peaked #59, 7 weeks on chart)

Apparently it was Irving Azoff, one of the film’s producers, who pushed for the inclusion of four solo Eagles and other ’70s acts on the soundtrack of Fast Times At Ridgemont High. The movie was a sensation but the kids in my high school in 1982 were listening to The Go-Gos and The Cars – who also had songs used – not Graham Nash, Jimmy Buffett, or Timothy B. Schmit.

Schmit’s contribution was a cover of So In Love, a hit by The Tymes from twenty years earlier, making the song positively antediluvian to us. Yet the song played during a closing scene in which the geek got the girl and, if its charms escaped me then, I find it pleasant enough now.

Bill Medley – Right Here And Now
from Right Here And Now (1982)
(debuted #80, peaked #58, 8 weeks on chart)

I had never heard Right Here And Now by Righteous Brother Bill Medley or, if I had, it hadn’t stuck. I listened to it and promptly forgot almost everything about it.

But, I do recall thinking that it wouldn’t have been out of place on one of the three or four soft rock stations on our dial in 1982.

Paul McCartney – Tug Of War
from Tug Of War (1982)
(debuted #75, peaked #53, 8 weeks on chart)

Paul McCartney’s 1982 album Tug Of War arrived with great expectations as it found the former Beatle reuniting with producer George Martin. The album received glowing reviews at the time and became a huge commercial hit driven by the ubiqitous duet with Stevie Wonder, Ebony And Ivory.

The title track was pulled as the third single from Tug Of War – following the breezy, summer hit Take It Away – and alternates between gentle and dramatic with a lilting melody and a hopeful vibe.

Linda Ronstadt – Get Closer
from Get Closer (1982)
(debuted #72, peaked #29, 12 weeks on chart)

Linda Ronstadt had a fairly impressive run of hits in the ’70s, but her singles began to receive a less attention with Get Closer. To me, the title song from that 1982 album lacks the personality of her ’70s stuff.

(I thought the album’s lesser radio hits – I Knew You When and Easy For You To Say – were better)

I can’t hear Linda Ronstadt and not think of a classmate not long after Ronstadt had released Living In The USA album – the one with a cover shot of her on roller skates and wearing an inconceivably short pair of satin shorts.

Our teacher asked us to name something twelve-year old boys wanted.

The classmate raised his hand and replied, “Linda Ronstadt.”

Donna Summer – State of Independence
from Donna Summer (1982)
(debuted #70, peaked #41, 10 weeks on chart)

A cover of a track by Yes’ Jon Anderson and Vangelis, Donna Summer’s State Of Independence has a bouncy, reggae hitch and a quasi-spiritual lyric. The song builds to an inspirational swell with a vocal choir that included Michael Jackson, Brenda Russell, James Ingram, Dionne Warwick, Kenny Loggins, Lionel Richie and Stevie Wonder.

(supposedly the all-star vocal gathering inspired producer Quincy Jones for We Are The World a few years later)

I’ve not heard the original, but I was familiar with Moodswings’ version – retitled Spiritual High (State of Independence) – from the early ’90s which featured Chrissie Hynde on lead vocals.

Diana Ross – Muscles
from Silk Electric (1982)
(debuted #61, peaked #10, 17 weeks on chart)

Even though there wasn’t a lot of R&B on the radio when I first started listening – we had one station on a remote portion of the dial – Diana Ross was all over pop stations with songs like Upside Down, Endless Love, and Why Do Fools Fall In Love?

Still, about the only time I heard Muscles was when listening to Casey Kasem and American Top 40 on the weekends. It struck me as an odd song – a slow, sparse track with Ross cooing and sighing of her longing for buffness.

Of course, each week Casey would remind listeners that the song was written by Michael Jackson who soon was on the countdown with The Girl Is Mine, his duet with Paul McCartney and the first single from Thriller which would arrive that Thanksgiving.


May 22, 1982

May 26, 2012

As I opt to periodically do – when I have no other viable or unviable ideas – it’s time to pull up an old Billboard magazine Hot 100 chart and note the songs that debuted that week.

I nicked the concept from Chris at 70’s Music Mayhem who uses the format with far greater attention to detail as he works his way through the ’70s.

The first few years of the ’80s was when pop radio provided much of the music for me and Casey Kasem’s American Top 40 was appointment listening. Thirty years ago, twelve songs debuted on the Hot 100…

Leslie Pearl – If The Love Fits Wear It
from Words And Music (1982)
(debuted #90, peaked #28, 16 weeks on chart)

I know nothing about Leslie Pearl.

If I didn’t know If The Love Fits Wear It, I might believe Leslie Pearl was the name of a character pitched as a “female James Bond” for some proposed movie that never materialized.

But I do know If The Love Fits Wear It. I’d hear it on occasion as its soft rock style was well suited to the sound favored on our hometown radio station before it went full-frontal country a few years later.

It wasn’t much my cup of tea as a fourteen-year old guy in 1982, but now I find it a pleasant if undistinctive momento from the time.

Eye To Eye – Nice Girls
from Eye To Eye (1982)
(debuted #89, peaked #37, 13 weeks on chart)

I was surprised to find that Nice Girls only got to #37, as it was all over the radio stations I was listening to during the summer of ’82.

It’s not surprising that the debut album by the duo of American singer Deborah Berg and British pianist Julian Marshall would find success, though, as it boasted an impressive array of noted session players like Abe Laboriel, Jeff Porcaro, and Jim Keltner as well as guest appearances by Donald Fagen and Rick Derringer.

Tying it all together was producer Gary Katz, who had a lengthy resume working with Steely Dan and, though it lacks the lyrical bite of Becker and Fagen, Nice Girls is similarly sophisticated pop.

(Paloma loved the song when I played it for her but didn’t recall hearing it in the ’80s)

Kim Wilde – Kids In America
from Kids In America (1982)
(debuted #88, peaked #25, 18 weeks on chart)

We didn’t know much about Kim Wilde when she arrived with the New Wave bubblegum of her song Kids In America. She was a comely blonde and I imagine that’s all we needed to know.

But we did love the song.

It bounded along.

It had a chanted chorus.

It was about kids in America and we happened to be kids in America.

The J. Geils Band – Angel In Blue
from Freeze Frame (1981)
(debuted #87, peaked #40, 11 weeks on chart)

The R&B-laced blues-rock of the J. Geils Band earned them comparisons to the Rolling Stones and throughout the ’70s the Boston band was a popular live act with the occasional hit song.

In late ’81, the group released Freeze Frame and scored major pop radio success with Centerfold – one of the biggest songs of the year – and the title track.

The third track pulled from Freeze Frame was the mid-tempo ballad Angel In Blue which found its inspiration in doo-wop. Though the song failed to equal the success of the prevous two singles, the lovely, melancholic song retained the band’s soulful vibe and blue-collar grit as it told the tale of a world-weary cocktail waitress.

(for some reason, I’ve long mentally linked the unnamed waitress in Angel In Blue to Brandy in the hit by Looking Glass)

The Greg Kihn Band – Happy Man
from Kihntinued (1982)
(debuted #86, peaked #62, 7 weeks on chart)

Two of my friends were rabid fans of the work of power pop heros Greg Kihn Band even in 1982. I knew the band – as most people probably did – for the insanely hooky The Breakup Song (They Don’t Write ‘Em) from a year earlier.

I don’t recall ever hearing Happy Man, but it’s certainly in the same vein as The Breakup Song and far more appealing to me than the shuffling dance-rock of Jeopardy, which would be a mammoth hit for the band the following spring.

The Gap Band – Early In The Morning
from Gap Band IV (1982)
(debuted #83, peaked #24, 14 weeks on chart)

There was essentially one R&B station in our listening area and it rarely caught my ear when I’d surf the channels. The pop stations I was listening to would play the hits, but I don’t remember hearing the funky cool and percussive Early In The Morning much at the time.

(which is too bad)

Jon And Vangelis – I’ll Find My Way Home
from The Friends Of Mr. Cairo (1981)
(debuted #81, peaked #51, 8 weeks on chart)

Jon And Vangelis is a duo, so they have that in common with Hall & Oates.

However, this duo is comprised of the lead singer for Yes and the man best-known for the theme from Chariots Of Fire and, unlike the singles of Hall & Oates, I’ll Find My Way Home is utterly devoid of a hook.

(though it is jam-packed with New Age sentiments)

Melissa Manchester – You Should Hear How She Talks About You
from Hey Ricky (1982)
(debuted #76, peaked #5, 25 weeks on chart)

Melissa Manchester was also an act which I associated with the hometown radio station. Her mellow hits like Midnight Blue and Don’t Cry Out Loud were staples I’d hear a breakfast as a kid.

You Should Hear How She Talks About You sounded nothing like those melodramatic ballads. It was upbeat, synthesized dance-pop and it seemed like Manchester was on Solid Gold every other week that summer performing the song.

Van Halen – Dancing In The Street
from Diver Down (1982)
(debuted #74, peaked #38, 11 weeks on chart)

Van Halen’s Diver Down was the first of the band’s albums to be released after my interest in music had become more than passive. So thirty years ago, I was far better acquainted with the band for their recent cover of Roy Orbison’s (Oh) Pretty Woman from earlier that spring than stuff from their classic catalog.

And I have no doubt that I had yet to be introduced to Martha & The Vandellas when I heard Van Halen’s version of Dancing In The Street.

I still love their remaking the Motown classic as a hard rock anthem complete with gurgling keyboards, Eddie’s guitar heroics, and David Lee Roth’s vocal howl.

(a position that is likely considered blasphemy to many)

Neil Diamond – Be Mine Tonight
from On The Way To The Sky (1981)
(debuted #73, peaked #35, 11 weeks on chart)

I vividly recall hearing a lot of Neil Diamond’s hits from the ’70s from the vantage point of the backseat of the car as songs like Cracklin’ Rosie, Song Sung Blue, and You Don’t Bring Me Flowers streamed from the soft rock stations my parents seemed to favor.

By 1982, I had (mostly) wrested control of the radio from the parents and I would have been far more intent upon finding Kids In America somewhere on the dial than Be Mine Tonight.

Journey – Still They Ride
from Escape (1981)
(debuted #72, peaked #19, 14 weeks on chart)

Of course I loved Journey in the ’80s. I was in junior high and high school when Escape and Frontiers were multi-million selling albums and allegiance to the band was hardly uncommon.

Like J. Geils Band, as summer arrived in 1982, Journey was still having hits from an album released before Thanksgiving break. Still They Ride – which I’d already been hearing for months – was the latest hit from the monstrously successful Escape,

Though I dug Journey and had worn out a cassette of Escape, I wasn’t too enamored with Still They Ride and often skipped it. Three decades later, I have considerably more affection for the wistful song that builds to a rather dramatic crescendo.

Alabama – Take Me Down
from Take Me Down (1982)
(debuted #69, peaked #18, 13 weeks on chart)

During the first couple years of the ’80s, our hometown radio began to shift from Top 40 to light rock to, eventually, whatever was passing for country at the time. Alabama managed to fit into all three formats and, thus, I was used to hearing Feels So Right, Love In The First Degree, and the laid-back, slightly twangy Take Me Down on the kitchen radio.

(not that I was particularly happy about it)