Bradley's Buzz

The Top 5

I'll bet you can't even believe we made it to this can you? Finally, after she bopping in our sunglasses at night while passing strangers played night moves when the tide was high, we have come to the top 5 singles of the 80s and you know what that means, that's right - the #1 Single Of The 1980s is in here, so proceed with caution...

5. I GOT YOU - Split Enz
(Neil Finn)
A&M single #2252 (US) / #7546 (UK)
Chart Debut: August 23, 1980 (US)/ August 16, 1980 (UK)
Chart Position: #53 US / #12 UK

In the beginning there was video - at the birth of MTV in August of 81, only a handful of artists had gone to the video arena and made themselves a video of their latest single. The idea would explode shortly but at the time of its birth, there weren't too many videos to watch. In fact, I'd be very interested to know just how many videos MTV had at the time, I know the first video ever played was the Buggles "Video Killed The Radio Star" followed by the second video - Pat Benatar's "You Better Run" but after that I'm at a loss. What I'm quite sure of, however is that the Split Enz and this ultra cool new wave classic had to have been in the first 20. I remember seeing the video over and over and actually got quite excited when I would see Neil Finn lying in that bed, as I knew for the next three and half minutes I'd be in a bliss. "I got you/ that's all I want/ I won't forget/ that's a whole lot..." one of my all time fav opening lines but it's nothing compared to the chorus - "I don't know why sometimes I get frightened/ you can see my eyes/ you can tell that I'm not lying.." Incidentally, this little ditty brought me rave reviews on the Couer d'Alene, Idaho karaoke circuit. Relive the video here!

4. HE COULD BE THE ONE - Josie Cotton
(Bobby & Larson Paine)
Elektra single #47481 (US)/ #3414 (UK)
Chart Debut: August 21, 1982 US
Chart Position: #74 US (Mainstream Rock #34)

While Josie's "Johnny Are You Queer?" is the song she'll forever be known for, it's actually her second single "He Could Be The One" that not only opitimizes that 80s sound but makes you take notice from the opening chords and keeps your attention through all glorious 3 minutes of this gem. "Yesterday I met a guy/ the kind you dream about at night/ He said "come on let's take a ride" and I said okaaaay..." The innocence of the early 80s, the fun of the Valley girl hitting the mall, the Hollywood kids pogoing to new wave and goth all in the same two step, upturned collars and headbands - it's all right here in this song. Josie Cotton is and will always be to me - the 80s personofied. And even the Pansy Division cover with its turn on queer punk rock makes you realize just how timeless a classic "He Could Be The One" is.


3.HIT ME WITH YOUR BEST SHOT-Pat Benatar
(Eddie Schwartz)
Chrysalis single #2464 (US) / #2452 (UK)
Chart Debut: October 18, 1980 US
Chart Position: #9 US

When I was but a wee tyke, my pal Bobby Hallas came over to my house toting his brand new 45 - it was this classic Pat Benatar ditty. At first I didn't know what to think. I looked at the cover and thought she was intriquing enough but in my little mind, I couldn't fathom why a woman would have the name Pat. I knew a ton of Pats who were boys, but had yet to meet a woman with the moniker. Little did I know that Pat as in the female Benatar would turn my life completely around. Bobby put the needle on the record and I flipped out. It was a rocking little song with such catchy lyrics, I just knew everyone in the world would be singing it forever more. And I wasn't wrong.

Within days, it seemed Pat was everywhere. I ran out and got the 45 for myself. I played it repeatedly including the glorious "Prisoner Of Love" which was on the other side. When I went to my cousin's house I discovered that she too had the "Hit Me With Your Best Shot" 45 so I made her play it over and over. My aunt had a wood burning stove in their living room and it was set up on a stage like platform, so I thought it was only perfect that I should use that stage and entertain all the relatives with my lively interpretation of Pat Benatar. Paula put on the record, I started my Benatar moves, sang all the words with just as much gusto as my little boy frame could muster, "Well you're a real tough cookie with a long history/ of breaking little hearts like the one in me (take your thumb and point it at yourself for effect)/ well that's okay let's see how you do it/ put up your dukes and let's get down to it.." (Put up your fists and fire away!) Needless to say, I was amazing and everyone loved me.

I immediately had to run out and get the whole album - you know just to show up Bobby Hallas. As we entered Prange Way, I found out in great horror that Pat's album was sold out, they had two 8 tracks left of the parent album Crimes Of Passion. By now I'm sure you all realize I bought that 8 track and listened to it constantly. Bobby would come over and we would act out videos - you should've seen the interpretation of "Hell Is For Children" and "Prisoner Of Love" I played out, but it all came down to "Hit Me With Your Best Shot."

A few weeks later, my aunt Carol showed up with Pat's previous album In The Heat Of The Night for me. As it turned out, my cousin Paula was once again in the midst and we ran upstairs and put the album on. Imagine my surprise to hear "Heartbreaker" and "We Live For Love" realizing I did know those ditties. I can honestly say, that was the day I realized Pat Benatar would be in my life forever. She hit me with her best shot and I didn't even bother to flinch. Pat didn't do a video for the song but here she is singing it live circa 1983.

2. CALL ME - Blondie
(Deborah Harry/Giorgio Moroder)
Chrysalis single #2414 (US)/(UK)
Chart Debut: March 8, 1980 (US)/ April 12, 1980 (UK)
Chart Position: #1 US/ #1 UK

Before Benatar came into my life, Debbie, Jimmy, Clem, Chris, Nigel & Frank were there - keeping me entertained with the Parallel Lines and Eat To The Beat albums. In the spring of 1980 "Call Me" was released and completely redefined what a soundtrack song should sound like. Recorded for the movie American Gigalo, the song is a hybrid of punk/new wave and dance - you can't (like Debbie) put a label onto it. All you can do is sit back and enjoy how glorious a song really can be. Originally producer Giorgio Moroder had approached Stevie Nicks to sing the song for the movie - the title at the time was "Man Machine" when Stevie declined, my girl got involved and she took it to the Blondie heights that it has become.

From the frantic drum roll into the electronic backbeat, Debbie cooly enters, "color me your color baby/ color me your car" why you ask? Who cares, just continue listening as Debbie jumps in, "Call Me!" followed by the background boys reinstating her plea. It's classic, it's great, it hit #1 in both countries and was the biggest single of 1980. Need we really discuss any more?
Watch the video.

and before I give in and give you the very best song of the 80s - According to Bradley of course I think I'll let you call me and take a guess, come on hit me with your best shot, what could it be? who could be the one? Well hopefully I got you right where I want you and you'll come back tomorrow for one more little gander at the top 100 Singles of the 1980s! I'm just kidding, here you go....


and the TOP SINGLE OF THE 1980s According to Bradley is

"moving forward using all my breath
making love to you was never second best..."

I'll stop the world and melt with you

that's right

#1 I MELT WITH YOU - Modern English
(Modern English)
Sire/4AD single #29775 (US)/ 4AD single #212 (UK)
Chart Debut: April 2, 1983 US
Chart Position: #78 US

First of all, I'm sure you're all quite amazed that it wasn't my beloved Debbie or Pat that made it to #1, but in dictating what I thought was the top single of the 1980s, I took a few things into consideration, like not hurting my girls feelings, and of course what song I thought optimized the decade of the 1980s. I love "I Melt With You" and always have, from that very first time I ever heard way back when I was little. The song probably played like once on my radio station in Wausau, Wisconsin, but thankfully just like the classic Josie songs mentioned, director Martha Coolidge put this ditty into her movie Valley Girl. Not only did she put it in the film, it pretty much became the theme song of the flick. Being heard through all poignant parts of the film, the creepy apocolyptic love song turned into a sweet love song of two young LA kids who were meant to be together.

Musically, a song as good as this could only come out of the 80s, the drum beat, the synthesized back hooks, the oh so English male vocals; and most importantly (to me anyway).. what other decade would be so bold to create a love story where the lead characters love for each other is set amidst the somewhat disgusting yet totally alluring idea of stopping the world and melting? Pure pop genius, pure new wave, pure 80s and in my opinion the Top Single Of The 1980s!

Here's to you Modern English, you may have not ever hit the top 70, you may have never even scored in your homeland, and you may never had made another hit but you gave the 80s this gem, and forever and ever, I'll stop the world and melt with you... Watch the video~

Labels: Blondie, Josie Cotton, Modern English, Music Life Pat Benatar, Split Enz, Top 100 Singles Of the 1980s

posted by swivek @ 4:35 PM 0 comments

The Top 10

After weeks and weeks of waiting, we are finally here - the top 10 Singles of the 1980s According to Bradley - so since I made you wait all this time, let's get started:

10. DON'T CHANGE - INXS
(Andy Farriss/Michael Hutchence)
ATCO single #99874 (US)/ INXS1 (UK)
Chart Debut: July 16, 1983 US
Chart Position: #80 US

You know I love my Michael Hutchence, and the whole band of INXS has a lot to offer, but it's this little single from the album Shabooh Shabah that makes INXS one of the greatest 80s band. Blending new wave and guitar rock into one glorious song is just one of the brilliant things about this single, but Michael's vocal performance, the drums, the keyboards, all of it make it one of the top ten singles of the 80s. "I'm standing here on the ground/the sky above won't fall down/ seeing no evil in all directions..." I've always thought of doing a cover of this song, and apparantly I'm not the only one for No Doubt had the idea as well. When deciding to do an 80s cover song for their singles compilation a few years ago, it came down to "It's My Life" by Talk Talk and this gem by my boys of INXS. Watch the video here!

9. ONLY YOU - Yaz (oo)
(Vince Clarke)
Sire/Mute single #29844 (US)/ Mute #020 (UK)
Chart Debut: February 26, 1983 (US)/ April 17, 1982 (UK)
Chart Position: #67 US (#1 Dance Club Play)/ #2 UK

When Vince Clarke opted out of Depeche Mode after only one album, he immediately took up with the smoky voiced Allison Moyet who had been touting around England singing jazz songs. With her voice and Vince's excellance at synthesized pop, Yazoo (as it was known in England) was a brilliant little blip in music history. Recording only two albums, Vince would go on to create Erasure while Allison would go on to her own thing before retiring on a chicken farm - don't ask me I just report the news.

As for "Only You" the song is pure bliss. Beginning with the quietest tone of synth Allison's voice comes in, "Looking from a window above/it's like a story of love/ can you hear me?.." a mournful twitch of lost love and pop genius the song remains one of the best the 80s had to offer. See the video here.

8. TOTAL ECLIPSE OF THE HEART - Bonnie Tyler
(Jim Steinman)
Columbia/CBS single #38-03906 (US)/ CBS #TYLER1 (UK)
Chart Debut: August 13, 1983 (US)/ February 19, 1983 (UK)
Chart Position: #1 US / #1 UK

If including "Sunglasses At Night" won't be enough to send my pal Brian into a gin laced tizzy, including his most abhored song certainly will. But despite Brian's lack of appreciation for Bonnie Tyler's epic masterpiece, I love it. In fact I love the entire Jim Steinman written catalog, from Meat Loaf's Bat Out Of Hell albums, Air Supply's "Making Love Out Of Nothing At All", Barry Manilow's "Read Em And Weep" and the only Celine Dion song I can muster up the courage to listen to, "It's All Coming Back To Me Now" - Jim was a rock theatrical God. Even the video in all of its early 80s cheapness was of epic proportions - with Bonnie portraying some kind of insane school marm with boys with neon blue eyes trying to drive her mad. It was all too surreal and so unforgettable.

The song begins softly enough with a piano and the high octave male voice "turn around... bright eyes..." Bonnie and her ultra gravelly vocal enter, "Every now and then I get a little bit lonely.." and the song goes into an explosion before calming back down and then exploding again. Pure and simple theatrics but enjoyable theatrics none the less. Somewhere there's a Broadway musical in all of Jim's vocals - in fact the whole Bat Out Of Hell was meant to be a rock opera, but include all of his songs including lesser known gems by the likes of Karla Devito, and you have a winning Broadway musical that is not a rehash of a classic film. But I digress.. I guess I'll just turn around and see what my neon blue eyes can see.... Relive the electric blue eyed video here.

7. GLORIA - Laura Branigan
(Bigazzi/Tozzi/Veitch)
Atlantic single #4048 (US)/ #11759 (UK)
Chart Debut: September 4, 1982 (US)/ December 18, 1982 (UK)
Chart Position: #2 US / #6 UK

"If everybody wants you why isn't anybody calling?" Oh, poor poor Gloria and her messed up, screwed up love life. As told through the power packed lungs of Laura Branigan, "Gloria" enters our mind with a swirling synth intro where we discover Gloria is going through a number of troubled issues. She dates and dates and yet can't find the simplest of love, perhaps it's something some bastard told her that made her feel bad, or maybe it's just all those voices in her head. Is she sychophrenic?Is she unable to love? Does it really matter when the whole performance is so flawless? Perhaps it's the entire storyline that intriques me so, almost a desperate housewife Gloria isn't sure how she's going to go on her life, "how's it gonna go down?/ will you meet him on the mainline or will you catch him on the rebound?/ will you marry for the money, take a lover in the afternoon/ feel your innocence slipping away/ don't beleive it's coming back soon..." Oh how I felt for Gloria and somehow knew that I would end up being the male version of Miss G herself... See Laura in all her 82 glory-ah!

6. KIDS IN AMERICA - Kim Wilde
(Ricky Wilde/Marty Wilde)
EMI America single #8110 (US)/ RAK single #327 (UK)
Chart Debut: July 17, 1982 (US)/ January 26, 1981 (UK)
Chart Position: #25 US / #2 UK

My girl Kim Wilde in her ultra cool new wave best. It's creepy, it's dance inducing, it's new wave glory! Beginning with fanciful synth loop this English girl introduces the new world of the kids living in America, with their suburbs, malls and endless dance parties. "Looking out a dirty old window/ down below the cars in the city go rushing by/ I sit here alone and I wonder why/ Friday night and everybody's moving/ you can feel the heat but its soothing heading down/ I search for the beat in this dirty town/ downtown..." I love it.

When this song came out and I first saw the video, I thought it was one of the coolest things I had ever heard in the world. I think I have a love for songs that talk about kids, either cool or losers, it's just something I relate to. This was also released around the time of the Valley Girl status craze and it all somehow seemed related to me. As I would skate around and around in a giant circle at High Roller listening to Kim Wilde, it would occur to me that I was a Kid in America and I deserved to be in the Valley.

Incidentally, Kim, whose brother and father wrote most of her music including this song never once questioned the line, "New York to East California" though to this day, she, like the rest of us have no idea what it was supposed to mean. Were the kids west of East California not included in the wave of fun hitting the rest of America? I guess we'll never really know. Another side note, though this song was released in America a year later than it was in the UK, and though it hit the top 40 in July of 1982, it's actual US Top 100 chart debut was May 22, 1982 - my birthday (okay not the actual day I was born but close, very very close I tell you)... and perhaps somehow, someway I knew that and that is why the song has become so popular in my little mind... Watch the video here!

Well kids in America (and beyond) we are almost at the end of our countdown. I can't believe you've stuck with the total eclipse of this list so you deserve to come back and see the top 5 - tomorrow...

Labels: Bonnie Tyler, INXS, Kim Wilde, Laura Branigan, Top 100 Singles Of the 1980s, Yaz (oo)

posted by swivek @ 1:10 PM 1 comments

Back To The Cul-de-sac... Again!

Well it has finally happened – after 13 years off the air – you can now enjoy my obsession with me! That’s right my beloved Knots Landing has finally had its first installment in the DVD world! Featuring all 13 episodes from the first season, plus a little mini reunion between Val & Gary (Joan Van Ark and Ted Shackelford) and commentary by the beloved duo on 2, yes 2 episodes. Let me just tell you Knots Landing Season 1 is a little slice of suburban Heaven!

We get to follow along as we are introduced to the families of the cul-de-sac; Gary & Val who get guest star appearances from Gary’s family including his bad ass brother JR Ewing and his nice brother Bobby; their daughter Lucy in which we get commentary from Ted and Joan and my beloved Lilimae Clements – mother from Hell to Miss Valene.

Karen and Sid Fairgate get the brunt of the pilot episode when Sid’s daughter from a previous marriage wreaks havoc all over Southern California – played brilliantly by Karen Allen. Then Karen goes through a preganancy scare where she is both livid and pleased at a new baby so late in life – this episode is great just for the performance of Claudia Lonow as bratty teen Diana. Karen also feels the love from a young hot teacher at Diana’s school with unconvential teaching methods, and a visit from Sid’s ex-wife who like her daughter is prone to create drama in the suburbs.

Then there’s my ultimate fav Miss Laura Avery who spends her afternoons in a cocktail lounge where a man gets a little friendly for Ms. Avery’s liking, while her pesky husband – the swarmy Richard finds himself in deep deep debt and not willing to help our independent lady in waiting help him.

Of course added to the mix is my beloved Ginger Ward – who spends season 1 with her himbo husband, record producer Kenny Ward. Kenny might as well just let his little Ward blow in the wind for all the women he comes on to, or come on to him in this first season including for some god awful reason one of the worst things ever to hit the stage – Sylvie! Just Sylvie, one word like Cher or Madonna only with a big ass nose, no real singing style and a love for Kenny Ward.

But Ginger really shines in an episode where mysterious gifts begin to come to her door step and to her school where our gal is Teacher of the Year – to me anyway.

So as you can see, there is much to love in this little drama that could, so run, do not walk, do not run in a cul-de-sac circle, just go to your local video store and buy Knots Landing Season 1!

And visit the official website which includes photo gallery of my hottie tottie Gary Ewing, and some video clips:

www.warnervideo.com/dallas-knots/KnotsLanding.html

and finally, here's my little review of what I've seen so far:

After all these years of acting like Dusty Springfield as we were wishin'
and hopin' and prayin' - we finally got what we wanted - the DVD of the
first season of our beloved gem of a soap! I'm sure I'm not the only one who
ran to the nearest video store to claim my prize - well, actually my pal
called me from Tower where she picked up her copy as we were planning on
watching together last night - but regardless, how I got it - I got the
thing and I love it!

Some have complained about the packaging being rather minor, but I kind of
like it. Although I must admit, I make a lot of DVD/CD covers and it does
look like something I could create on Photoshop, but that's not the point -
the point is they took the time to give it a bit of a Sea Breeze feel, with
a pic of Val and Karen on the top and bottom of the cover and a color pic of
three of the four couples in the middle - it also has little color pictures
from almost all the episodes, though a pic of Gary & Val from the dream
sequence of season 6 is included for some reason...

but the real treasure trove lies within the discs themselves - 13 glorious
episodes of our knuts with Ted Shackelford & Joan Van Ark commenting on two
episodes - though I was surprised at the choices. The episodes they comment
on are the pilot (which I kind of guessed at) but where I thought the other
episode they would talk was going to be "Bottom Of The Bottle" they instead
talk about "Home Is For Healing" the episode in which our little cherub of
boobs, hair, lip gloss and stiletto heals (that would be Lucy) comes to
visit.

The commentaries are hilarious, okay Ted Shackelford is hilarious, while
Joan Van Ark is a little, how do you say "out there"... But they seem to
know each other quite well and I realize there is an awful lot of Ted
Shackelford in the character of Gary. Particular the parts of the series
where we see Gary's sense of humor - it was most definitely influenced by my
Teddie's sense of humor. He is saracastic, yet truthful and always on the
mark...

My fav parts include the "inside joke" of Ted & Joan whose favorite line in
the pilot is "Did Bobby get off all right?" A running joke they still talk
about almost 30 years later. Of course there is some interesting tid bits of
information included like the fact Barbara Bel Geddes was supposed to be the
one in the pilot who introduced the Ewings to Knots Landing, but she didn't
want to do it. Joan figures she was shy, Ted figures she wasn't going to be
paid enough money.

Also, we learn through a somewhat warped little interlude that Lisa Hartman
actually played her songs live while filming - the reason this comes up is
because that god awful Sylvie shows up in the episode "Home Is For Healing"
in which Joan declares she was a fabulous singer and completely builds Ted
up to hear it, only to for Ted to say "That's dubbed" and never really
saying anything else - he is so polite.

Also, Joan gushing and gooing all over Karen Allen's performance is note
worthy for the fact that Joan is absolutely right - Karen Allen is great in
the pilot episode. My boyfriend declares that they made a mistake by only
having the character on for one episode, but what does he know?

Ted's comments are a complete crack up with him noting the tension between
Sid & Karen - "I don't think that marriage is going to last. I think he's
going to fall off a cliff by next season." and then adding, "She (as in
Karen) probably hired those goons to drive him off the cliff."

There are only two problems I really have with the commentaries and they are
failry minimal - one is the fact that I want them on every single episode. I
think it would be great to hear their comments on everything... the second
is the fact that actors sometimes forget things or if they aren't
immediately involved in a scene, they just don't know about it - one comment
is about whether or not we ever meet Annie Fairgate's mother. Ted doesn't
remember and then thinks she was played by Millie Perkins - Joan remembers
Millie playing Sumner's wife, and the whole thing is dropped while I'm
shouting to the television, "Joan, Ted don't you remember it's in the
episode 'Civil Wives' it's there in season 1, just grab the next tape and
you should be able to see that she did come to town. Joan you did a
wonderful job by sitting on the sofa trying to communicate with the snotty
woman from back East." But alas, they just don't hear me... one more problem
I have with the commentary....

I noticed the sound isn't exactly in stereo so they didn't or couldn't fix
much of that but I did notice the picture quality of the episodes is better
than the ones shown on Soapnet and for sure the ones on the VHS tapes I have
taped from Soapnet.

Now I eagerly await our next season, and can only hope we have more
commentary from Ted & Joan, and wouldn't it be awesome if it was Ted, Joan &
Donna talking about their lives in the cul-de-sac? I would die...

as for picture and sound quaility - I eagerly await season 4 - not only
because it's Lisa's introduction of course but also because there were a few
episodes in that season which were green in tint - particulary "Abby's
Choice" and I hope there's a way of cleaning that stuff up.

So there you have some of my comments, I'll keep adding them as I think and
watch more of our show, which of course you know I will just have to do,
over and over and over...

posted by swivek @ 10:53 PM 1 comments

#15-11

and after our little break, we are back for more glorious singles from the decade that was the 80s - today we edge closer to the top ten with numbers 15 - 11 of the Top 100 Singles Of The 1980s!

#15. UNDER PRESSURE - Queen
(Bowie/Deacon/May/Mercury/Taylor)
Elektra single #47235 (US)/ EMI single #5250 (UK)
Chart Debut: December 5, 1981 (US)/ November 14, 1981 (UK)
Chart Position: #29 US / #1 UK

Combining two of the greatest forces of music together is never a small feat, and when the collaboration takes place and it is actually a worthy contribution to music well then you have a top single in my opinion. I love everything about this song (notable reactions to "Ice Ice Baby" not withstanding) and with Freddie Mercury and David Bowie trading off vocal performances, this is pure magic. The fact they are actually saying something in the lyrics as well, doesn't hurt the song at all. Telling the powers that "it's the terror of knowing what this world is about/ watching some good friends scream 'let me out'..." genius, and with Freddie's little seque into the world of rock scatting, well I just turn it up and try to sing along. Watch the video here.

#14. SUNGLASSES AT NIGHT - Corey Hart
(Corey Hart)
EMI America single #8203
Chart Debut: June 24, 1984 US
Chart Position: #7 US

My pal Brian will not only be horrified to find this song on my list, but to have it in the top 15 will probably send him to the bar for a cosmo, but the truth is, just like Brian's old roommate in Seattle who played this song with abandon, I too love it. Of course I've already talked about my love for the hotness of Corey Hart but not only is he hot, hot, hot in the video, the song is catchy as all hell. One of those 1984 versions of new wave - think "She Bop" or "99 Red Balloons" - the song combines rock guitar with a synth laden backing track and a lot of attitude as Corey tells us his sordid tale of the girl who would sleep with a guy in shades. Well who the hell wouldn't if he looked like this guy? See the hottie in action here!



#13. LOVE IS A BATTLEFIELD - Pat Benatar
(Holly Knight/Mike Chapman)
Chrysalis single #42732 (US) / #2747 (UK)/ #PAT1 (UK - re-release)
Chart Debut: October 15, 1983 (US) / January 21, 1984 (UK)/ March 23, 1985 (UK)
Chart Position: #5 US / #49 UK - #17 UK (re-release)

You know I love my Patty and to have my girl not only acting the tough in a video, but to have that video become a huge hit and go down in history as one of the most played in the hey day of MTV, well then you know you have a #13 Top Pop Single Of The 1980s. The video was directed by Bob Giraldi who would go on to direct "Beat It" by Michael Jackson - another street fight/dance hybrid. As for Patty, she told the powers that be for the video she just wanted to do something in the streets of New York and voila my girl was a runaway hooker!

Goofiness aside, the video was revolutionary at the time. It is the first video to have spoken dialogue in it, "you leave this house now you can't ever come back..." Telling the tale of a runaway rebel, our heroine finds herself in the streets of New York, looking ever cool with her new punky styled hair do. Then without much to look for, she finds herself working as a private dancer if you will. Sure, she's supposed to be a hooker, but it all starts with the innocent dance. But once, that pimp with the gold tooth tries to push around a fellow "dancer" well you know our Pat will have none of that. She throws a drink in her face, does some dancing and shimmies her way out the door, hookers in tow. There is a heart felt goodbye as Patty hugs her fellow whores and heads back on the bus to go home to her little brother. Well, I get just weepy thinking about it.

Now for the song, - "Love Is A Battlefield" was a sort of departure for my girl. Instead of the bombastic rock of albums like Crimes Of Passion or even the keyboard laden foray into new wave stylings of her previous album Get Nervous, "Love Is A Battlefield" incorporated drum machines, synthesizers and overdub upon overdub of Pat's powerful pipes. Written by Holly Knight and Mike Chapman, Holly would later record her own version, a very watered down ballady type of thing which I imagine is the way she intended the song to be; but Pat isn't watered down so the whole synth style is laced with Neil's guitar and through remix upon remix, the multiple layers of the song shine through.

In the UK, she actually scored a #49 chart position with the song which was her biggest UK hit to date, then they re-released the single the following March and she ended up scoring all the way to #17. Here in the US, where we loved her and couldn't get enough dancing hookers or bitchy love songs with whistling, Pat scored a huge hit going to #5 and forever being remembered as a dancing runaway liberating hookers. Watch the video epic here!

#12. THE TIDE IS HIGH - Blondie
(John Holt)
Chrysalis single # 2465
Chart Debut: November 29, 1980 (US) / November 8, 1980 (UK)
Chart Position: #1 US / #1 UK

As I've said before, when you lived in the middle of nowhere and were still just a small child with a love for music, the only time you knew a new record was out was when you walked into the store and saw it. So it was on a cold December afternoon that I got one of the biggest surprises of my still relatively short life. On this particular day, my uncle Kermit was visiting and he, my mother and I were on our way to my aunt Dianne's house for my cousin Paula's birthday - did you get all those relatives? My uncle hadn't bought Paula a gift so on the way to Dianne's we stopped at Prange Way so he could run in and buy her a 45. Now I was so excited because that meant I could go into the store and look around at the records too. But my Mother was wiser than that - she made me stay in the car, cause they were just going to run in and out and didn't have time for my endless searching. I was pissed, but what could I do as an abused child whose own mother wouldn't indulge his love for record shopping? But don't feel too sorry for the little blonde boy sitting in the Chevy in the parking of Prange Way for this tragic tale has a happy ending...

When my mother and uncle returned to the car, he showed me the record he bought Paula but he showed me something even better. "Here you go, but don't tell Paula," said Kermit as he handed me the brand new Blondie single! I didn't even know it was out, I had never heard it before and I was peeing my pants in excitement (and for warmth). I looked at the 45, with Debbie all painted and looking uber cool, while the back of the jacket informed me the B-side was only available on this single! I couldn't wait to hear it, and then I realized if I couldn't tell Paula about it, I wasn't going to be able to hear the song until I got home. I had a whole evening of waiting in store for me and I didn't think I could take it.

As it turned out, I didn't have to take it for long. You see Paula was a bit of brat in those days, and for some reason she and I would always end up in some argument or another. I'm sure she was jealous of me, I mean who wasn't? So as the evening progressed and she teased me, made me mad and the like, I informed her finally, "Yeah well you know what? Kermit bought me a record too and it isn't even my birthday!" She didn't believe me so I showed her my Blondie record and that was the ultimate in revenge in my 8 year old mind!

Although Paula still had her way as she wouldn't allow me to play my new record. So it wasn't until I got home that I actually heard those string arrangements, the horns and the super cool smooth vocals of Debbie Harry, as they sent me into a reggae tinged delirium.

To this day, "The Tide Is High" is one of those songs where you think if you never really hear it again it won't matter.. an overplayed number if you follow. But the minute you hear the song begin it changes the whole mood. Right from the opening, I'm hooked all over again. It's one of those 'take you back to another time' thing. I recall getting the album Autoamerican a few months later, after pleading with my grandmother. I remember Kermit and I listening to the whole album from beginning to end. I remember me and Bobby Hallas from school bonding over the greatness of that album as we talked for hours about the genius that was my favorite band. I recall my excitement of running over to another relatives - My Aunt Carol's with "The Tide Is High" 45 in my hot little hand so she could hear it as she was the one who had given me the last Blondie album Eat To The Beat. And most of all, I recall shoving that 45 in Paula's face! I'm sure you're all wondering what record Paula got for her birthday; well it was "He's So Shy" by The Pointer Sisters - a relatively fun song (that didn't make my list) but nowhere as cool as a Blondie single. Watch the video here.

#11. SEND ME AN ANGEL '89 - Real Life
(David Sterry/ Richard Zatorski)
MCA/Curb single #10531 (US)/ #42961 (UK)
Chart Debut: May 13, 1989 US
Chart Position: #26 US

This song sends me right into a tizzy. Originally released in 1984, this version came out four years later and though only slightly altered, this is the one that had me out on the underage dance club floor. Hurried and hectic, Real Life takes synth pop to a new level with chugging bass line, drum programming and overdubbed "angelic" back vocals. "Do you believe in Heaven above/ do you believe in love?" I certainly did back in 1989 as I was in love with just about anything that moved, oh those hurried teenage angst days of endless angels. "Don't give up/ you can be lucky at love/ it gets in your eyes/ it's making you cry/ don't know what to do/ looking for love/ calling Heaven above/ Send Me An Angel right now!" Oh, I just love it. In fact, I think I'm going to have to go listen to it right now.. right now... right now. Watch the video and re-live the magic of the song.

and now we are about to enter into the most sacred of sacred - the top ten of a list long and heavily laden with pop and rock classics - love is a battlefield when the tide is high but luckily for you, you've been sent an angel who dons sunglasses at night and is never under pressure in his quest to give you his top singles of the 1980s!

Labels: Blondie, Corey Hart, David Bowie, Pat Benatar, Queen, Real Life, Send Me An Angel, Top 100 Singles Of the 1980s

posted by swivek @ 10:06 PM 0 comments

Priceless

Price for drinks at the House Of Blues: $85
Talking with Shirley Manson and rubbing elbows with Johnny Rotten: Priceless

So yesterday at around 4 pm, my pal Luther rang me up to tell me that his ex boyfriend had two tickets to the Pretenders show at the House Of Blues, he wasn't able to go and was willing to sell them for $40. Since it was at the House Of Blues on Sunset Boulevard, just up the street from my house and since it was my beloved pissy Chrissy, I thought, "what the hell, why not go".

So Luther and I decided we would go see the Pretenders at the overpriced House Of Blues as we figured it was a once in a lifetime type of experience - particularly since Chrissie has reunited with Martin Chambers, the original drummer. Before Luther ever even made it to my house, he rang me up again to tell me that Steve Jones (of the Sex Pistols) was talking to Chrissie on his radio show - he hosts an interesting and excellant radio show on 103.1 called "Jonesy's Jukebox" in LA - Anyhoos, he was talking with the ever entertaining Ms. Hynde and asked her if she recalled the time they had sex in a bathroom at a party. As it turns out, Chrissie didn't remember the sex but ended up remembering the party since she had eaten some meat and that's something she will never forget. She chalked up the experience of going off her extreme vegetarian diet as a crutch from having sex with Steve Jones.

Anyhoos, Luther picked me up and my beloved Leivas drove us up the big giant hill to the House Of Blues. We waited in line and chatted amongst ourselves about the glorious Blondie induction into the Rock & Roll Hall Of Fame and such. If anyone didn't watch, I highly suggest you do - Shirley Manson of Garbage inducted the band, and she gushed and gushed about my favorite band; making me realize Shirley and I have so much in common when it comes to music - which is where this story is heading...

So we were finally able to get into the venue and I immediately bolted to the bar with Luther just behind me. We ordered our drinks and I shelled out the million dollars they wanted for two rail rum and cokes. Then we walked around where I pissingly looked at all the reserved seating with name labels on the back of chairs, wondering who the hell the people were who would be occupying said chairs.

The opening band played and let me tell you, I am now a huge fan. The band called 4 Thieves was awesome! Four semi hot British dudes with a flair for rock and roll in all of its incarnations. I highly recommend checking out their EPs - the band was formally known as Nic Armstrong, then Nic Armstrong & The Thieves, but I guess Nic has checked his ego at the door and renamed the band 4 Thieves. But let me just say, they were brilliant - all of the members except the drummer sang songs and they were one of the most talented groups of guys I have seen. I love them and I'm so pleased as I have begun to think there isn't any interesting bands making music anymore... but that's for another blog. But to let you know how much I really liked these guys, I bought the three EPs they had on sale at the show, and it wasn't even because I was drinking.



Then I decided it was time to smoke. After asking ten different employees how and where one could get out to smoke, we ended up at the smoking section. The smoking section is outside of course and just to the right of the "Industry Booth" where celebrities, their friends and their agents check in for their tickets. As we were smoking and chatting, Luther informed me that the chick wearing striped nylons, short skirt and a baseball hat was Shirley Manson of Garbage. I am not good at all when it comes to spotting celebrities, even celebrities I am huge fans of. I mean Debbie Harry, sure, I'd like to think if I saw her on the street, I'd recognize her, but with my bad track record of spotting, I'm not sure.

So with Shirley, it was the same thing. I thought she looked like Shirley well enough but wasn't entirely convinced. I had to hear her voice. Having just watched the Rock & Roll Hall Of Fame on VH1, I heard Shirley and her very thick Scottish accent, so I knew that was something this wanna be Manson couldn't fake. I told Luther to run over to her and the guy she was with to see if he could hear her speak. I even suggested throwing my light down by her feet so he had an excuse to go over there. For some reason, he just didn't feel like doing that. Imagine!

As Luther was convinced this was indeed Shirley, we decided to follow her to the door of House Of Blues. When you are outside in their oh so trashy "smoking section" you get to go through the door that is the same door for people with the "industry tickets," so as this would be Shirley and her hottie male companion waited to show their tickets we walked past them.

Luckily for me, Luther is not shy about such things and just as we were passing the couple he yelled out, "Miss Manson?" And what the hell do you know, she turned around and smiled. It was frickin' Shirley Manson after all! We told her how we enjoyed her induction of Blondie and what a fantastic job she had done, she thanked us and introduced her boyfriend Billy to us who immediately shook our hands. Luther told Shirley he didn't want to impose but had to say hello to which the very down to Earth and very Scottish Ms. Manson responded, "Oh please," with a wave of her hand. Luther and I introduced ourselves to her by name and the whole thing went smashingly well. She asked us if we were there for the Pretenders show and I told her how incredible the opening band had been. We were like old pals really.

I have to say that she is one of the most down to earth celebrities I've met. I had the dinstint feeling had things been just slightly different, like had we been in line behind her, we would've been invited to join her and her boyfriend for the evening. She was that cool, it was like running into someone you worked with; very upbeat, very friendly and so cool.

So that was our celebrity run in #1, then the Pretenders show began and I have to say Chrissie isn't as pissy as I thought she was. She was downright hilarious at times during the show. Of course the band was tight, but I have to say there were a few mix ups with song order and a drum roll out of place here and there, but for some reason it played off excellant. For such a seasoned group, they seemed to genuinely enjoy being up there and they were having fun! It was very loose, but very tight; which is I guess very hard to explain.

Chrissie, did of course ask the audience if they had heard the Steve Jones show in which she said, "I'm not going to talk too much about it; you know and I know; I just gave too much information" before breaking into "Talk Of The Town." It was a glorious concert as she provided song after song of my favs.

As the concert I ended I realized with some excitement that Martin Chambers is a big old Daddy Queen. I had no idea; they never told me that on VH1 Behind The Music. It really explains his sassiness with Chrissie (fun bitchy sisterly like sassiness). Dressed in pirate bands and the new skull Pretenders skull logo, he is this big beefy guy with gray hair and a killer drum set. But it's the little twists of the wrist and the kisses that set my gay dar on fire. Needless to say, I was even more excited than I had been before.

So the concert ended and we waited for the encore, an encore that was sure to be fabulous. Chrissie and the boys returned and introduced a special guest, which both Luther and I thought it would be Shirley Manson, but it wasn't - it was Steve Jones! He came out and played with the oh so hottie bass player Chrissie has hired on. (That's him at the very right in the pic below - imagine hot, sweaty and swinging a bass guitar!) The band broke into the Sex Pistol's "Pretty Vacant" while Chrissie looked down to the lyrics written on a piece of paper. For someone who didn't know the song well enough to have the verses memorized, she pulled it off pretty damn well.


For anyone in need of a breif history lesson, you're lucky I'm here, for this is the circle of the Pretenders and Sex Pistols. Chrissie who was born and raised in Akron, Ohio is pretty much really a British girl. She moved to London in the 70s and immediately found herself in the world of what was cool. She got a job working at a boutique called "Sex" owned by Malcom McLaren - producer and promoter.

Some of the people who frequented the shop included Steve Jones, who ended up forming the Sex Pistols and being produced/managed by Malcom. So you see, the history of Chrissie and the Pistols goes way back.

Anyway, they finished up "Pretty Vacant", and broke into another song when we noticed a blonde spiky haired drinker heading into the crowd. I looked at Luther, Luther looked at me and we both looked at Johnny Rotten making his way right in front of us. He walked to the stage and as Chrissie finished her song, she thanked LA and gave him the mic. He sang the correct lyric to "Pretty Vacant" and we all laughed and laughed before he made his way back through the crowd and Chrissie and her boys left the stage again.

It's interesting to note that a band has to be pretty damn good if they do a whole concert without doing one of their biggest hits and you don't even notice. Such was the case when I didn't even realize they hadn't performed "Brass In Pocket."

and it wasn't until the band came out for their second encore and broke into the song that I realized they hadn't played it. So they finally played the song, they were dead on, Chrissie was actually uber sexy, strutting her stuff and acting out the lyrics.

All in all, I have to say it was a damn good experience. Shaking hands and talking with Shirley Manson, discovering a new band, realizing Chrissie Hynde has a sense of humour, watching Steve Jones perform right in front of me and having Johnny Rotten walk in front of me all in one night - I tell you this shit just never happened in Wausau, Wisconsin.

posted by swivek @ 9:09 AM 0 comments

#20-16

Well we're off to a place where only a few dare to go, a place that everybody knows as the top 20! That's right only 20 more songs to go until we get to the #1 Top Single of the 1980s - According to Bradley (we mustn't ever forget that part)...
So I won't spoil the five that start out our top 20, nope I won't, cuz my lips are sealed baby!


20. OUR LIPS ARE SEALED - Go - Gos
(Weidlin/Hall)
IRS single #9901 (US)/ #1007 (UK)
Chart Debut: June 12, 1981 (US)/ June 15, 1982 (UK)
Chart Position: #20 US / #42 UK

To anyone around in the summer of '81, feel free to correct me if I'm wrong, but it seems to me that when the Go Gos hit, they hit HUGE - a sort of GoGos mania happened. In fact I believe they even ran the country for a few months in 1981 (just kidding), but I do recall once they were introduced into the musical lexicon of the 80s they were every where. People couldn't get enough and rightly so, the entire album Beauty & The Beat, is one incredible song after another, no doubt due to the fact the band had been working and playing those songs for a few years prior to its release. In fact, Belinda Carlisle has mentioned her endless frustration around 1980 when male dominated bands the Go Gos were playing with were all getting record contracts while the Go Gos continued being ignored. That all changed soon enough, however. First they did a one off single of "We Got The Beat" on Stiff Records - one of the greatest early 80s labels for new wave and 'off the radar' artists. The record started a bit of stir and they signed to IRS Records in the US - no doubt due to an inside connection to the owner of the company (isn't it always about connections). Of course no one could reasonably argue that the Go Gos didn't deserve to be signed. Their entire process of playing non stop fun surf summer new wave pop has never been duplicated by another band - male or female. Okay, Blondie of course, but then again the gals of the Go Gos have always said what an infuence Blondie was on them. As for this single itself, to me it is the quissessential Go Gos song - incorporating the fun time drums and guitar of the entire band, Belinda's vocals are matched by the soft tones of Jane's middle bridge vocals. This is the song that proves (like Blondie) the Go Gos were not a bunch of session musicians backing up a female lead singer, they were a band through and through. To this day, the video is a sure fire smash when played and the fact the band are performing live at what is now the Viper Room only adds to the allure of the early 1980s LA music scene for me. "Our Lips Are Sealed" and its parent album are to me one of the most important pieces of the 80s culture. Watch the video here!

19. YOU DON'T WANT ME ANYMORE - Steel Breeze
(Ken Goorabian)
RCA single #13283 (US)/ #283 (UK)
Chart Debut: September 18, 1982 US
Chart Position: #16 US

"You Don't Want Me Anymore" is one of those elusive songs of a decade full of elusive songs. Steel Breeze was one of oh so many faceless male rock bands of the 80s (think Survivor and the like) but the band had this clever little single that thanks to the onset of MTV actually got a lot of play. Thanks to the incorporation of keyboards and timing changes, the song is a lot more interesting and notable than a lot of the stuff from the era. The music itself and the lyrics are only part of the reason it scores so high on my chart for the fact is that I truly, truly love this song! I think its one of those golden gems so many forget about until you actually hear the song. I sing along everytime I hear those beginning synth guitar slide, and the endless homage to new wave stylings gone by - "You don't want me anymore/ so let me explain cuz I don't want to lose you/ you don't want me anymore/ I tried so hard, so hard to please you..." Story of my life! Love it! Relive the exciting song and watch the video!

18.GOODBYE TO YOU - Scandal
(Zack Smith)
Columbia/CBS single #38-03019
Chart Debut: November 13, 1982 US
Chart Position: #65 US (#5 Mainstream Rock Tracks US)

One of the all time best kiss off songs, "Goodbye To You" was a staple of MTV and proved that for about $20 you too could make a video. I loved the song from the moment I saw Patty Smyth and her boys pogoing along to the new wave sounding rock song. "Those times I waited for you seem so long ago..." and the ultra cool bridge, "it's finished/over now/ no need to talk about it/ it's not the same/ my love for you is just not the same/ oh my heart, oh my heart can't stand the strain/ and my love, and my love won't stand the pain/ and my love and my looooovee...." which immediately goes into one of the coolest keyboard solos on vinyl - which is in itself ironic since the solo is actually played by Paul Schaffer of David Letterman fame, who is not cool in anyone's book. The song did fairly well in local clubs and local rock radio but only scored #65 on the main charts, though the self titled EP which spawned the single was until about two years ago the biggest selling EP on Columbia Records. Watch the video!


17. CRASH - The Primitives
(Court/Dullaghan/Tracey)
RCA single # 8682 (US)/ #41761 (UK)
Chart Debut: February 27, 1988 UK
Chart Position: Modern Rock #3 US/ #5 UK

"here you go/ way too fast/better slow down you're gonna crash..." and so begins one of the best modern pop tracks of the decade. A few years ahead of its time, this song probably (and was)would be more popular in the 90s culture. Not sounding dated at all, this is a song that with a little more grunge instrumentation could be a Garbage track. Sing songy, clever in its delivery, always a summer fun frill and a tad bitchy (which I love) "so just shut/ shut your mouth/ cause I'm not listening anyhow/ I've had enough/ enough of you/ enough to last a lifetime through", "Crash" deserves its place as one of the best singles of the 1980s which is probably why it shows up in films over and over and over again. Watch the video!

16. NIGHT MOVES - Marilyn Martin
(Marilyn Martin/John Parr/John Astley)
Atlantic single #89465 (US) / #9465 (UK)
Chart Debut: February 22, 1986 US
Chart Position: #28 US

Oh the days of my rebellious teens - it was Marilyn Martin who almost had me sent to juvenile hall. How could one pop rock chanteuse whose main claim to fame is singing over and above Phil Collins in the 1985 ballad "Seperate Lives" cause such trauma to one so cute and adorable? Well let me tell you.

It all begins sometime in early 1986, there I was washing dishes as I was prone to do since I was the child labor of our household. I had the radio on and from the blaring fun of WIFC, came a keyboard loop and some strange backing vocals before a full voiced gal began singing, "Slipping away/ silently into the night.." I was hooked, then the bridge came and some drums pounded as the voice sang, "We're on the edge/ reaching the point of no return/ caught in a web/ daring to touch/ is it the love of the danger or the danger of the love?" then the guitar kicked in and so did the voice, "you know I'm not afraid of your night moves/ you know I'm not afraaaaaid...." and the keyboards began again. The second verse stuck to the formula but by the middle of the song, the guitar solo was in full gear and the whole thing ended with the keyboard and backing muffled background vocals which began it all. I was in love, I had to know who was singing this brilliant song. As it turned out it was Marilyn Martin, who I of course knew thanks to the White Nights ballad I mentioned earlier. I realized I did like that ballad and didn't think it was nearly as schmaltzy as most ballads plus I did recall how powerful Marilyn's voice was.

I immediately got the 45 and then I saw the video - Marilyn as a modern day vampire! Apparantly, her night moves included sucking the blood out of hot guys. I was in love. I couldn't wait to have the whole album in my hot little hands! As it was, this was around the time my friend Mona introduced me to the great art of shoplifting. I had almost doubled my 45 collection in just a few weeks. So on one balmy afternoon while staying at my father's house, I went to Prange Way to score me some new music. The problem was I couldn't decide what I wanted to steal that day. After running back to the music section a few times and totally making my half brother jittery, I opted to stick the Marilyn Martin self titled LP in my jacket. Thinking I had made the wisest choice possible, my half brother and I went to the front door where a big butch hand of a lesbian "shopper" grabbed me by the coat and pulled me back in. As I saw my half brother run from the store like he was dodging bullets, I was whisked away to a back room where I was put under hot lights before being sent to the local police station.

My father eventually came to get me and I decided I needed a nap. My mother came to my father's and picked me up and to my horror when I got home, all of my posters were torn off my wall, my stereo was out of my room and it appeared I was grounded. The worst part of the whole situation was really the fact that I never even got to hear the Marilyn Martin album.

A few months later, my mother and I went shopping and I got that prized Marilyn album and I never once regretted finally hearing a legitimate copy that was actually paid for with money. I never shoplifted again but I did listen to Marilyn. As it turned out, as much as I love the album, nothing on it was as good as "Night Moves", though there were a few gems thrown in. Atlantic Records unwisely released a ballad called "Move Closer" as the next single and Marilyn took a more dance move for her follow up album, which didn't do much better. I seriously believe had she stuck to the formula of this great single, she could've been huge. But what do I know, I'm practically a hardened criminal.

Marilyn Martin, who had spent a lot of time as a back up singer including working on Stevie Nicks' 1985 album Rock A Little, ended up returning to the world of standing behind the "real artist" but I'm sure she's doing fine, though I think now she's given up all musical aspirations and is doing real estate in Tennessee. It's really too bad cause she's had some major contributions to music, after all some of her work includes working on Madonna's Like A Prayer album, and there's no doubt her voice is just as powerful as it is on this record. Plus she has a damn good attitude, when asked about her #1 song with Phil Collins she constitutes, "No one knew who the hell I was, they thought it was Crystal Gayle singing on that song." Watch the kick ass video of 'Night Moves' here!

Well, after that "breif" story I think we all need a break don't you? So you spend your time doing some night moves but make sure your lips are sealed or you could crash and then nobody will want you anymore.... until next time!

Labels: Go Gos, Marilyn Martin, Scandal featuring Patty Smyth, Steel Breeze, The Primitives, Top singles of the 1980s

posted by swivek @ 12:35 PM 0 comments

#25-21

and we're back for more glorious 80s fun with numbers 25-21 of our countdown of the top 100 singles of the 1980s!

#25. LIAR LIAR - Debbie Harry
(James Donna)
Reprise single #27792 US
Released: 1988 US
Chart Position: #14 Modern Rock US

The music world can be a complete injustice, this excellant modern pop cover of a 1960s Castaways song should've been HUGE! Laced with modern guitar, Debbie's awesome vocal inflections, and reuiniting her with producer Mike Chapman, why this song didn't take off I'll never know! It didn't even crack the regular pop charts, yet I recall seeing the video on MTV quite a bit. Featured in the equally brilliant and overlooked film Married To The Mob, "Liar Liar" is a new wave cut up with Debbie even screaming in the middle while the synthesizer is up front and Debbie croons, "Liar Liar pants on fire/your nose is longer than a telephone wire..." "Best be leaving while I'm sad/ Been out all night I know you've been bad..." The video featured Debbie in a room full of mob bosses conducting a meeting by intimidating them with what's in her gun case. As it turns out she whips out not a shot gun but a giant sausage while the mob guys look on completely in awe and dancing around. Did I mention one of the mobsters is Grandpa Munster reprising his role from the film? What could've been.... Watch the video here!

#24. FUNKYTOWN - Lipps Inc.
(Steven Greensberg)
Casablanca single #2233 (US)/ #533 (UK)
Chart Debut:April 16, 1980 (US)/ May 17, 1980
Chart Position:#1 US/ #2 UK

Not really disco, not really electronica, not really pop - "Funkytown" transcended most models of popular music, creating instead a hybrid of just about everything available at the time. One of the most recognizeable songs of the ages, and my own list, this song was and still remains a rather huge hit. The very best way to hear all the greatness that flows through this song is to strap on a pair of headphones and turn up the volume. You will be amazed at all the layers in the instrumentation, not to mention the great vocal performance. The album that spawned the single Mouth To Mouth, was actually released in late 1979 after the band scored a record contract with Casablanca, but the song that got them their deal fizzled on the charts so in early 1980, this song was released as the second single and took the airwaves and discos by storm. Incidentally, the town the group is so intent on getting out of is Minneapolis, and after spending a few winters there myself I can completely understand. Watch a rare video of the song here.

#23. JOHNNY ARE YOU QUEER? - Josie Cotton
(Bobby & Larson Paine)
Bomp single #12133 / Elektra single #42755 (re-release)
Released: August 1981
Chart Position: #38 Dance Club Play US

Josie Cotton is one of the most brilliant things to ever come out of the new wave movement in the early 1980s. Just one listen to this song and everybody should be convinced that the girl had her Hammond organ on the right key for the time. Every song Josie did during the 80s should be considered new wave classics. The first time I was introduced to her debut single "Johnny Are You Queer?" was when my cousin Paula recited it to me. I thought she made the whole thing up until a few a while later when I saw one of the BEST movies of all time - Valley Girl. There on the screen in all her new wave glory was Josie performing at the prom. From that movie, the new wave sounds, and the whole Valley Girl movement I knew I had to move to LA - it took a few years and a few musical landscape changes but I finally made it here. "Johnny Are You Queer?" itself was I'm sure quite controversial at the time of its release and its probably no coincidence that the place it got the most play was at the dance clubs. Originally a song the Go Gos did live, Josie got the writers to produce the track for her and what was originally an angry punkish number about a woman whose boyfriend liked the boys better than her, turned into a poppy punchy little new wave number. And luckily for all of us we can all enjoy this song and all of Josie's music which finally got a CD release when the double album of Convertible Music/From The Hip was released by Collectibles Records. If you can find it, you buy it - it'll be one of the smartest purchases you've ever made. Josie also gives a great account of the song on her My Space page. I couldn't find any performance clips but here you can enjoy the song set to a number of still pix of Johnny Knoxville - if you're into that kind of thing.


#22. JESSIE'S GIRL - Rick Springfield (Rick Springfield)
RCA Records #12201 (US)/ #76 (UK)
Chart Debut: May 9, 1981 US
Chart Position: #1 US

Well here he is, my very first celebrity crush. How I loved Rick and his wife beater, his smashing the mirror when he can't get the girl since she belongs to his friend Jessie. This was what the rock of 1980s was all about, melodic layers with lyrics about unrequited love where even the hot guy didn't get the girl. I have a friend who would to this day gladly step in for Jessie's girl if she didn't want Rick, and who could blame her? To this day, just hearing that opening guitar riff makes me long for the days of early MTV and the hot boys of 80s rock. Watch the hottie in action here!

#21. XANADU - Olivia Newton-John & Electric Light Orchestra
(Jeff Lynne)
MCA Records single #41285 (US) / Jet #185 (UK)
Chart Debut: August 30, 1980 (US)/ June 21, 1980 (UK)
Chart Position: #8 US / #1 UK

I've established repeatedly my love for the Livvie and you just had to realize I wasn't about ignore the Xanadu soundtrack in my list. But even I was surprised at how much I really do enjoy this song. From what I've read and heard many people found the film Xanadu to be lacking something - perhaps a storyline, I'm not quite sure. But to me the film was a staple of my early childhood television viewing. We had Cinemax when I was little and I swear the only three movies they played were 9 To 5, Coal Miner's Daughter and Xanadu. Everytime I turned around there it was. But I'm not in any way complaining because I loved it. In fact, I recently went to a special 25th anniversary screening and saw it on the big screen, which in itself was something to sing about. The whole movie is basically a way to mesh old and new musical trends together in a brilliant 1980 way. This song is provided by the two bands who provide most of the work on the soundtrack, Electric Light Orchestra and our Olivia. It's the big moment at the end of the movie and it's the best song on the entire soundtrack. If only the single had the roller skating kids stomping and the chants, "Xanadu" this song would probably be in the top 10. Incidentally, I am going to argue that Madonna is a fan of Xanadu as in her new video for "Sorry" she is rollerskating in a giant circle with a group of Xanadu throw outs. If it isn't a homage to Xanadu then I'm just plain crazy... please don't respond to that... See some hot Xanadu action here!



so now we are on the edge of entering the top 20 - things can only get stranger from here on out for all those big hits of the 80s are probably unlikely to show up on a list created by me, so you will all be on the verge of neon paranoia as we enter the top 20 singles of the 1980s!

Labels: Debbie Harry, Electric Light Orchestra, Funkytown, Josie Cotton, Lipps Inc, Married To The Mob, Olivia Newton-John, Rick Springfield, Top 100 Singles Of the 1980s

posted by swivek @ 8:54 AM 0 comments

#30-26

and the count goes on... today, we sift through another five classic singles on our way to the #1 Single Of the 80s!

30. PASSING STRANGERS - Ultravox
(Cann/Cross/Currie/Ure)
Chrysalis single #2457
Chart Debut: October 18, 1980 UK
Chart Position: #57 UK

This lesser known track is a true gem, and if you haven't heard it - I suggest you email me so we can talk and I can send you one of the greatest singles of the 1980s or at least the 35th greatest single of the 1980s. Ultravox is known mostly for their "Vienna" single which though not terribly popular here in the US, was a big success in the UK, and is the song most historians choose to put on the endless new wave compilations that come out. But "Passing Strangers" is the real piece of musical genius in the Ultravox catalog. It's steamy and creepy and driven with a sense of danger. The video was one of the very first videos I ever saw on MTV and to this day the whole imagery is captured in my head forever. Anytime I hear the beginning synth I'm lost to the world of secret strangers and black and white film noir. Watch the video here.

#29. LITTLE TOO LATE - Pat Benatar
(Alex Call)
Chrysalis single #03536 US
Chart Debut: March 5, 1983 US
Chart Position: #20 US

Back in the early 80s if you lived in the middle of nowhere and didn't read every music magazine every week, the only time you knew a new album or single was out was when you walked into the store and there it was in front of you. Which is exactly how I found out Pat Benatar had a new single out when "Shadows Of The Night" was staring at me. Of course I had to buy it and loved it. But I would have to wait until Christmas to get the album Get Nervous that the single and its heavy metal mania B-side "The Victim" had been pulled from.

From the minute I put my Get Nervous cassette into my new tape recorder I was in heaven. Luckily the first song was the forementioned single, but when I flipped that cassette over, something amazing hit me. "Little Too Late" with its pounding drum rhythm and keyboard backing - the sassy vocals, "Now the conquered has been back/I feel the heat of your attack/ want me to take you back/ I'm giving you the sack/ so don't waste your time..." cuz baby it's a little too little, it's a little too late.

With the drum break in the middle and Pat growling, this is the Benatar I love. And just like the Go-Gos "Vacation," I saw the MTV World Premiere video for Little Too Late with my girl in a black leather skirt and jacket and hot pink high heels. She was tough, sexy and luckily for us all it is never too late to enjoy all that is Pat - so turn it up and hiss along with the rock goddess. Watch her goddess in hot leather here!

#28. HARDEN MY HEART - Quarterflash
(Marv Ross)
Geffen single #49824 (US) / #1838 (UK)
Chart Debut: November 7, 1981 (US)/ February 27, 1982 (UK)
Chart Position: #3 US / #49 UK

Oh, that saxophone, that guitar, that hard ass vocal and that leotard in the video - "Harden My Heart" has everything I look for in 80s rock. Quarterflash emerged onto the scene with this killer single and provided all the punch and attitude as some of their contemporaries - the Pretenders, Pat Benatar. Though the music was more inclined to radio friendly pop than say Chrissie Hynde and her boys, Rindy Ross and her husband Marv Ross provided enough gusto to at least make it interesting. Quarterflash would provide a few more note worthy singles - "Find Another Fool," "Take Me To Heart", "Take Another Picture" before fading away, but this little chunk of radio history still gets plenty of airplay. Watch the video here.

#27. EDGE OF SEVENTEEN (Just Like The White Winged Dove) - Stevie Nicks
(Stevie Nicks)
Modern single #7401 US/ WEA single #79264 UK
Chart Debut: March 16, 1982 US
Chart Position: #11 US

Only someone in Stevie Nicks' league could pull off a five and a half minute rock song filled with unknown poetry, strange ethereal instances and a nightbird singing "come away." But since it is the Welsh witch we are talking about, we already know we are powerless against her unique blend of rock. Stevie insists the song "Edge Of Seventeen" is inspired or written because of the deaths of both her grandfather and John Lennon, but for some reason I just don't hear those references in the song. Of course with our girl it's fairly hard to decipher what she means, it's best to just sing along and enjoy the ride. This song is in my opinion Stevie's best single ever. With it's rocking guitar riff and Stevie's dead on vocals, the song weaves and bends through five minutes of strangeness - but lovable strangeness. "The clouds never expect it when it rains but the sea changes color but the sea does not change..." What? Oh well, who cares, let the girl chant on about the white winged dove and her singing, while we wonder who or what was at the edge of 17, past the stairs, down the hall; we'll never find the answer, we'll only hear the call of the nightbird singing "come away..." Watch the video here with Stevie's own commentary.




















#26. KISS ME DEADLY - Lita Ford
(Mick Smiley)
RCA/Dreamland single #6866 US/ #49575 UK
Chart Debut: May 14, 1988 US / December 17, 1988 UK
Chart Position: #12 US / #75 UK

"I went to a party last Saturday night/ I didn't get laid, I got in a fight/ huh huh/ it ain't no big thing..." such is the story of my life, and the story so well told by rocking Lita Ford in this gem of a single. Full of angst, fun and melody, Lita proved the boys weren't the only ones who could handle hair metal. Though when it came to Lita, she was so much more than the Warrants, Cinderellas and Poisons.. coming from the Runaways, she had learned and studied with some of the best female rock musicians. Joan Jett, spent her time trying to mesh and mold glam rock with the fringes of hard rock while Lita went the other way meshing hard rock with pop melodies. Lucky for us, they both succeeded very well. Prior to 1988's Lita album, which "Kiss Me Deadly" is taken from, Lita's brash was showing through on two prior albums, but bring in Mike Chapman (Yes, that Mike that I love so) and he helped her create one of the best hard rock albums of the 1980s. Lita can growl, punch, sing and play her way through a melody like a mad woman, and that is something no amount of big hair or a pair of nads can compete with. Watch the video here.

And so we were passing strangers who found out it was a little too late to kiss deadly at the edge of seventeen, unless of course you have a hardened heart... what new and exciting things will we learn when we head into the top 25? You'll have to come back and see....

Labels: Lita Ford, Pat Benatar, Quarterflash, Stevie Nicks, Top singles of the 1980s, Ultravox

posted by swivek @ 5:29 PM 0 comments

#35 - 31

Welcome back for another glorious fiver where we count down 5 more classic singles from the 80s on our way to the #1 Single Of The 1980s!

#35. 99 RED BALLOONS - Nena
(Karges/Fahrenkrog Peterson)
Epic/CBS Single #34-04108 (US)/ #4074 (UK)
Chart Debut: January 21, 1984 (US)/ February 4, 1984 (UK)
Chart Position: #2 US / #1 UK

I know you're all waiting with baited breath whether I'm putting the English language version or the original German version on my list, well despite my Midwest roots where kielbasa and beer free flowly, the fact is I only know about 3 German words retained from living in Germany when I was like 5, so it's the English version I always play. In fact that was the first version I heard as apparantly my radio station didn't like playing the German version. As for the song this little bit of apocolyptic dance pop is great - though perhaps slightly morbid, but in the Cold War Days of Reagan era 80s, this is exactly what we needed. As the lyrics go, our heroine and her pal buy some red balloons at the toy store and send 99 of those puppies out into the air. As is the case with shady and trigger happy politicians, the whole scenario sets off World War III. As no one can figure out what the strange objects in the air mean, they push the button and the nuclear bombs go off. As we dance through the war, the music comes to a grinding halt and we are left in the same ballad feel we were brought in with - a synthesized wind and Nena's vocals telling us she is left alone in the nuclear fallout ("in this dust that was a city"). Luckily, she finds "a souvenir/just to prove that I was here.." and she sets one last red balloon out into the atmosphere. Don't you just love the 80s? Watch the video!

#34. CRIMSON & CLOVER - Joan Jett & The Blackhearts
(James/Lucia)
Boardwalk single #144 (US)/ Epic single #2485(UK)
Chart Debut: May 15, 1982(US)/ July 10, 1982(UK)
Chart Position: #7 US / #60 UK

Joan Jett has the gift of taking any cover song and completely turning it into her own. This follow up to her mega hit "I Love Rock & Roll", was another cover, only this time it was not quite as obscure as Tommy James & The Shondells will forever be remembered for their version of this song and their somewhat creepy arrangement. But Joan tones down the psychedelic, amps up her guitar and polishes up the production on her version making one of the cleanest sounding hard rock songs ever. Beginning with Joan's breathy "aaah", the song almost breathes life through the speaker. The change in rhythmic timing and the repeated chorus at the end fall back to the psychedelic original but that Jett-kick gives it a timeless quality that still sounds fresh some 20 years after its release, and 40 years after the original. Watch the video and see Joan chew on some roses - it's hot!

#33. TURNING JAPANESE - The Vapors
(David Fenton)
Liberty single #1364 (US)/ United Artists single #334 (UK)
Chart Debut: November 15, 1980 (US)/ February 9, 1980 (UK)
Chart Position: #36 US / #3 UK

Where punk rock began its foundation with loud, short anti-politics rants, new wave began to develop as a hybrid of that punk sound with the pop hooks of 60s surf music, full of keyboards and strange innuendo - new wave was the 80s answer to teen angst. "Turning Japanese" is sleek new wave in its early form - the music makes you pogo and the melodies make you sing along, despite the fact you're not quite sure what the real subject matter is. For years, this song has been in debate over what the lyrics actually mean. People have started with the title, which in the un PC days of 1980 was a term used to describe cumming. That's right as your eyes squinted in the throes of your climax it was said you were "turning japanese." I don't write this stuff, I just repeat it. Listening to the songs' lyrics the analysts have said this is a pure piece of masturbation euphoria - "I've got your picture/I like to kiss you when there's no one else around" - to - "No sex/no drugs/no wine/ no women" - which leaves our singer with nothing to do but send his hand heading South. My guess, is singer David Fenton heard the term and did in fact build a song about masturbation around it. With its tale of unrequited love, our hero is left using his hands a lot and may in fact be actually turning permanently Japanese - in other words permanently looking like he's in orgasm. I guess "Cumming Eyes" just wouldn't have worked for radio. Relive the new wave 80's on video here!

#32. NO MORE WORDS - Berlin
(John Crawford)
Geffen single #29360 (US)/ Mercury single #160 (UK)
Chart Debut: March 7, 1984 US
Chart Position: #23

A few years ago I went to one of those 80s revival tours, you know the ones I'm talking about where a bunch of bands reunite and tour together thus making sure promoters get their money's worth. The particular year I went the headlining band was Berlin and my pal had some backstage passes so I was all amped up to go. I was always a fan of Teri Nunn & the boys' sordid synthesized new wave sexual revolution and it is with great pleasue I can tell you that Teri Nunn has lost none of her sex appeal. She pushed her tight little body through the crowd, singing with a gusto I hadn't realized she had. It was a truly brilliant performance and when I went home and re-listened to my Berlin collection, I realized how great her voice always was. I guess I was lost in the sexualness of everything and never really paid attention to the talent that is Teri Nunn.

As for the talent, it is evident through out every single second of "No More Words." Produced by Euro pop genius Giorgio Moroder, it was Berlin's big break. Set to the synth pop grind they had already been sporting, Moroder's production just added all the more depth to the song and Teri's vocals are incredible. As for the video, does it get any better in video form to have your lead singer and guitaritst re-enacting Bonnie & Clyde? It's classy, trashy and totally 80s! Watch it here!

#31. SHE BOP - Cyndi Lauper
(Lauper/Lunt/Corbett/Chertoff)
Portrait/CBS single #37-04516 (US)/ #4620 (UK)
Chart Debut: July 28, 1984 (US)/ September 1, 1984 (UK)
Chart Position: #3 US / #46 UK

Where The Vapors left you wondering if their song was actually about masturbation, Cyndi Lauper laid it all out in the open in "She Bop." There is no doubt the song is about pleasuring yourself and making sure you know everyone bops and bops and bops. At the time of its release, I certainly did NOT know what she was talking about, but I guess that's the genius of the lyrics. Only people who had talked about it knew what "they say I better stop or I'll go blind" really was referring to. I guess no one in the third grade was talking about such things! But now they do, and now I know many who have bopped, and even got caught bopping, but somehow it's so much easier on your nerves to hear someone singing a poppy little new wave hysteric about it than actually walking in on your roommate and his favorite website. Relive the Cyndi glory on video here!

And now we all have a little time to do our own bopping, cuz I'm taking a break and will return tomorrow with songs #30-26 as we continue bopping down to the #1 Song of the 1980s according to me!

Labels: Berlin, Cyndi Lauper, Joan Jett and the Blackhearts, Nena, Teri Nunn, The Vapors, Top 100 Singles Of the 1980s

posted by swivek @ 7:40 PM 0 comments

The Hall Of Attitude

So finally the Rock & Roll Hall Of Fame did something right by me - they finally inducted my all time favorite band Blondie. But as is the case with my girl Debbie & her boys, the thing did not go off without a hitch.

While the Sex Pistols, also inducted made a huge stink about not attending, thus assuring them their place in the punk hall of fame, Blondie was more than willing to attend the awards ceremony, concert and dinner with fellow inductees including Black Sabbath and Lynyrd Skynryd. But as Blondie the band is full of bad blood there were a few moments of pause.

For anyone not associated with the history of this legendary band - here's a short bio. Blondie formed in 1975 with Debbie Harry, Chris Stein on guitars, Clem Burke on drums, Jimmy Destri on keyboards and Gary Valentine on bass/guitar. By the end of the first album in 1976, Gary had left the band. In 1977, Frank "The Freak" Infante and Nigel Harrison joined Blondie, and though they weren't on the album cover for Plastic Letters, they are on the record. By 1978 and the band's most successful album Parallel Lines, the Freak and Nigel were full fledged members of Blondie.

But tensions about fame and money and drugs ended up causing rifts between the members with Clem & Jimmy on one end, Frank and Nigel and the love birds (at the time) Debbie & Chris. By 1980, Frank was just called in when everything was done to put his guitar licks on tape. And by 1982, the end, Frank sued the band claiming he was being left out. And then the band quietly dissolved.

Chris became ill with a strange disease and Debbie left her career to take care of him, showing up sporadically for a new single here and there. By 1986, Debbie was off on her own doing fairly well, in music and film.

Until 1998 came around and Chris decided to put the band back together - sans Nigel, Frank and Gary. Once again Frank and Nigel sued Blondie saying they couldn't use the name. Debbie, Chris, Jimmy & Clem, meanwhile recorded a song for an Iggy Pop tribute under the moniker Adolph's Dog (Blondie was in fact the name of Adolph Hitler's dog - though that isn't how the band got its name).



Somehow, the law suit was worked out and Blondie was able to reform as Debbie, Chris, Clem & Jimmy and thus we got the reunion album No Exit & in 2003 The Curse Of Blondie. While they were recording and touring Debbie & The boys recruited Leigh Foxx and Paul Caboranna to join as semi-Blondies. And that is where we stood yesterday... but the Hall of Fame inducts all members of the band so Nigel, Frank and Gary were at hand for the ceremony.

And finally this is what went down:

When Blondie, the most commercially successful band to emerge from a fertile New York rock scene that also produced Talking Heads and the Ramones, reformed after 15 years, they didn't include former members Frank Infante and Nigel Harrison. They sued unsuccessfully to join.

Infante, Harrison and Gary Valentine, another former member left behind in a business dispute, were barely acknowledged by former chums Deborah Harry, Chris Stein and Clem Burke as they received their awards. Infante begged to perform with the band.

"Debbie, are we allowed?" he pleaded before Blondie performed their hits "Heart of Glass," "Rapture" and "Call Me."

"Can't you see my band is up there?" Harry replied. The three rejected members walked offstage, but not before Infante groaned into the microphone.

But before chastising Debbie and her attitude, I have to wonder if the whole thing wasn't staged. Debbie took a ton of grief for appearing at Wigstock one year because she attacked two drag queens who were performing one of her songs. The problem was it was all a big fake - the whole thing was planned out but Debbie and the attacked queens were so convincing people believed Debbie had turned Diana Ross.

So as I get the latest from the kids in the know, I'll let you all know what is true and what is staged and the most probing question of all - Where in the hell was Jimmy Destri?

posted by swivek @ 8:50 AM 0 comments