CHART ATTACK! #29: 4/28/84


Welcome back, everybody, to another week of CHART ATTACK!  This week’s another good one for the charts; I had a great time writing about every single one of these songs.  Hope you enjoy reading about them. Because 1984 was one of those years when just about every song had a visual counterpart, every single entry is accompanied by a music video.  Feel free to waste your entire day here, as we attack April 28, 1984!

10.  To All The Girls I’ve Loved Before – Julio Iglesias & Willie Nelson  Amazon iTunes
9.  Automatic – Pointer Sisters
  Amazon iTunes
8.  They Don’t Know – Tracey Ullman  Amazon iTunes
7.  You Might Think – The Cars  Amazon iTunes
6.  Love Somebody – Rick Springfield  Amazon
5.  Miss Me Blind – Culture Club  Amazon iTunes
4.  Hold Me Now – Thompson Twins  Amazon iTunes
3.  Footloose – Kenny Loggins  Amazon iTunes
2.  Hello – Lionel Richie  Amazon iTunes
1.  Against All Odds (Take A Look At Me Now) – Phil Collins  Amazon iTunes

10.  To All The Girls I’ve Loved Before – Julio Iglesias & Willie Nelson

This is probably the only time I’m going to say this during this Chart Attack!: what is this shit?  And who can I blame for this one?  I suppose some of the blame has to go to Dick Asher, the CBS executive who plays a big role in the oft-recommended book Hit Men (I’m still reading it, don’t spoil the ending!), and was Iglesias’ primary champion when it came to bringing the biggest Spanish singer of all time to the U.S.  But enough blame has been thrown Asher’s way, according to the book, so I’m going to leave him alone.  Instead, let’s blame Willie.  Fuckin’ Willie.  Tell me the idea for this song wasn’t concocted while stoned.  I dare you.

I can get behind this duet, though it’s mainly for its unintentional humor.  I mean, as unlikely duets go, this is pretty unlikely.  Way more unlikely than Diddy and Sting, or Elton John and Axl/Eminem/Rick Santorum.  (That last one may not have happened, I’m not sure, but man, does Elton love him some homophobes.)  The differences between the two accents are hysterical, and I’m not positive that either one of them actually knows what they’re saying.

What’s that?  You want to see if it’s funny visually as well?  You got it!

You know how artists mainly just "know" how to duet in concert?  They know how to look at each other, at the audience, etc.  (See Cliff and Olivia in Mellow Gold.)  Willie and Julio have no idea how to do it.  When they look at each other, they look like they’re in love.  When they look at the audience, they look like they’d rather be anyplace else but the stage.  And Julio makes a few inappropriate gestures, too: check out the moment at :40 when he says "for helping me to grow" and then runs his hand down his stomach towards Lil’ Julio!  Or how about when he touches Willie’s stomach?  Julio, didn’t anybody tell you that Willie’s from Texas?  Did the fact that you’re in a tuxedo and he’s wearing jeans and a t-shirt not tip you off?  Not okay, Julio!  Not okay!

As for the song’s lyrical content, well…take a second to try and envision the girl that might have heard this song and thought, "holy shit…I slept with both Julio Iglesias AND Willie Nelson!"  Both attracted the ladies (in vastly different ways, of course), and saw their share of action.  Perhaps they should have left in the line "To all the girls I’ve loved before…you may want to get that rash checked out."

Here’s a little-known fact about "To All The Girls I’ve Loved Before": it actually came with its own disclaimer.

Effective upon the listening of this song, all the girls Mssrs Nelson and Iglesias have loved before, for themselves and for  their  successors, heirs, assigns, agents and representatives, completely, unconditionally and forever release, acquit and discharge Mssrs. Nelson and Iglesias, together with their respective successors, heirs, assigns, representatives, agents, affiliated entities, employees, attorneys, and partners, of and from any and all actions, causes of action, claims, contracts, debts, demands, liabilities, losses and damages of every kind and nature whatsoever,  whether known or unknown,  including but not limited to, alimony, paternity, loss of consortium, emotional distress, assault, abuse of controlled substances, sexually transmitted disease (including syphilis, gonorrhea, Chlamydia, crabs, and etc) or which in any manner relate to any and all whispering of sweet nothings, serenades, moonlit walks, hand holding, necking, heavy petting, french kissing, tender, sensual lovemaking, drug fueled orgies, quasi-satanic sex rituals, gay French sex farces, and all other instances of "before loving" between the Parties.

This disclaimer, of course, was only included on the 12" mix.

(thanks to the lawyer I stole the above from.)

9.  Automatic – Pointer Sisters (download)

I took stock of all the Pointer Sisters songs that I know.  (I know a lot: in the ’80s, I think they played all of them in my mother’s aerobics class.)   This one would easily be one of my favorites.  It’s not as good as "Pinball Number Count" from Sesame Street ("12345, 678910, 11 12!"), but it’s still up there.  Apart from the era-appropriate synth-and-guitar funk, it’s one of the few hits sung by Ruth Pointer, or as I like to call her, "Mr. Pointer."  (I’m on my way, Satan!)  I mean, I went through puberty at least a year or two ago, and Ruth can still sing lower than me.  She’s once twice three times the man I’ll ever be.  That’s just embarrassing.  In all honesty, though, I love her voice, and it’s the main reason why I really dig "Automatic."

What’s that?  You want a video that combines breakdancing, poppin’-and-lockin’, and weird guys playing with fans?  Here ’tis!

[youtube]4fxR4ZXd9yE[/youtube]

8.  They Don’t Know – Tracey Ullman

You have to love Tracey Ullman.  Even if you don’t love Tracey Ullman, you have to love Tracey Ullman.  The woman’s got balls.  Big balls.  Almost as big as Ruth Pointer’s.  As a performer, I can’t help but admire her for never doing a damn thing half-assed.  Here in the U.S., we didn’t know much about her until The Tracey Ullman Show became a hit for Fox in 1987, but between 1983 and 1985, Ullman was known for her singing career, and had five hits in the U.K. Top 40.  "They Don’t Know" was written by the late, great Kirsty MacColl (not to venture too far off-topic, but if you don’t know anything MacColl’s fantastic music and her tragic death, you should remedy this).  MacColl, for reasons beyond her control, was not able to create a success out of "They Don’t Know," but Ullman (her labelmate) hit #2 in the U.K. and peaked at #8 in the U.S.

What’s that?  You want a video featuring Paul McCartney in a cameo?  Piece of cake!

[youtube]i0FIl4-cC9U[/youtube]

7.  You Might Think – The Cars

You might think wonder how I go about picking the weeks that I do for Chart Attack!  (Or you might not.)  Basically, I try to pick years that aren’t directly adjacent to the year I just attacked, and I pick whatever year gives me the best gut reaction.  Sometimes, I’ll pick a week I don’t know if I have the time to do all the research.  This week, I didn’t have much time, and thought, "awesome, two of these songs have been covered on Kurt’s This Week In Rock!  Less work for me!"  This song is one of the ones we covered – right here, as a matter of fact – so please stop by Kurt’s site and read what a bunch of brilliant nerds music bloggers have to say.  I’ll echo what I said on TWIR:  I always loved "You Might Think," but mainly because I was raised on MTV and its video was so iconic.  If not for MTV, I’m fairly certain I never would have heard the song at all. 

Musically, I never thought about it until my band, Evil Prince Ludwig The Indestructible, gave it a go.  This song is nowhere near as simple as you might think imagine.  (groan)  Sure, it’s only about four chords, but the synths and backing vocals really are so intricately layered and the production (courtesy of Mutt Lange) is so specific that it’s hard to accurately recreate the Cars/Lange sound.  That being said, I thought we did a credible job, and Mike, who tackled lead vocals, sounded great.  (Thankfully, he looks nothing like Ric Ocasek.)

What’s that?  You want to see the video that won Music Video Of The Year at the very first MTV Video Music Awards?  I’m here for you!

[youtube]4NXmK1YISpk[/youtube]

6.  Love Somebody – Rick Springfield (download)

This is the one song on the Top 10 that I didn’t recognize, not even for a second, when I heard it earlier this week.  When I saw the title, I started singing Bryan Adams’ "Somebody."  That’s how much I suck.

All this being said, when I finally did hear "Love Somebody," all I could think of was how much this song rocks.  Perfect ’80 glimmering rock song – perfect, perfect, perfect.  I dare you to find something wrong with it.  This is the sound that Adams and Eddie Money so desperately desire.  There’s even a bit of the Def Leppard choppy-guitar sound in there, as well as a clear tribute to Boston’s "Peace Of Mind."  Check out the bridge – I don’t know what those chords are, but I love ’em.  Great transition.

Am I supposed to say something factual about this song?  Fine.  "Love Somebody" was part of the Hard To Hold album, also the soundtrack to his movie of the same name, and…aw, fuck it – I’m just going to shut up and rock out to this song.  If you want any factual matter on Rick Springfield, look elsewhere – like Jefitoblog’s Idiot’s Guide, for example.

But what’s that?  You want to see Springfield’s performance, somewhat digitized, at Live Aid – complete with big hair?  It’s yours!

[youtube]GRLEbnM63Qg[/youtube]

And if that’s not enough – there are at least SIX other "Love Somebody" videos at YouTube.  (Hopefully it’s enough.)

5.  Miss Me Blind – Culture Club

Am I the only one whose childhood was a little screwed-up after seeing Boy George?  Being only six when this song came out (and yes, I was watching MTV at six), I just didn’t know what to make of this guy.  Girl.  Whatever.

All that said, I don’t have much to say about "Miss Me Blind."  I think it’s a good song, but I was never really a Culture Club fan.  Wham! is another matter entirely, but one I’m not sure I should divulge.  But what’s that?  You want to see the video that took away a little of my childhood?  Not a problem!

[youtube]48n0WZvRvzY[/youtube]

4.  Hold Me Now – Thompson Twins

The summer I was 17, I remember going to a party and dancing randomly with this girl I had just met.  "Hold Me Now" came on, and I started singing it while dancing.  I remember she was really impressed, for some reason, that I could sing the harmony line in the chorus (which is stupidly simple), and moved in a little closer.  It was that moment that I determined that "Hold Me Now" was the best song of all time(Note to self: if you don’t have anything good to say about a song, just shut up.) 

"Hold Me Now" was a departure from the electronic sound of the Thompson Twins’ previous work – not that many people noticed.  Previous singles had made a slight dent in the charts – "Lies," in 1983, made it to #30 – but this single remains their most successful and enduring hit.  Mike would like me to point out the whiny, nasal, thick-accented (or, as he just called it, "stupid") vocal of Tom Bailey.  Maybe so, but you can’t deny he had awesome hair.

What?  You want to see a "live performance" where Bailey plucks every note on his Rickenbacker with determination and fervor?  Here you go!

[youtube]IEc4fzcvUMk[/youtube]

3.  Footloose – Kenny Loggins

What’s the definition of pathetic?  When you’re in your late teens, hear "Funk #49" by The James Gang for the first time and think, "hey, they stole this guitar riff from ‘Footloose!’"

Kenny Loggins – and his neverending soundtrack hits – have become an easy punchline, but I think "Footloose" is actually a very good song.  It’s light, it’s fun, and it’s no slouch in the music department, either: just listen to the extremely busy guitar and bass in the chorus.  Sure, it’s a blatant "Funk #49" rip, but I’m sure Joe Walsh was too coked up in ’84 to even care.  "Footloose" remains Loggins’ only #1 single, and he’s nowhere to be seen in the video.  And hey, isn’t this the height of cuteness: The Bacon Brothers covered the song on the Will & Grace soundtrack, which you can hear as part of Coverville #151 if you’d like.

What?  You don’t care about the official music video, but sure would love to see the scene from the movie?  Hot diggity-dog!

[youtube]r7VW3BbPfGY[/youtube]

2.  Hello – Lionel Richie

I started taking piano lessons when I was seven.  By the time I was eight, I knew my way around the keys and could work my way through basic music.  However, since my teacher only taught classical music, I didn’t think too much about using the piano for contemporary songs I had heard on the radio.  So I guess it was 1985 when my mother bought me my first piece of pop sheet music: an easy piano version of "Hello."  I think even she’s a little scared that it’s 2007 and I’m still performing it.  Mike and I play it as part of our "Acoustic ’80s" set, and I think it’s probably my favorite of the bunch, because we were able to transform it into an uptempo guitar version.  A few people have asked to hear some mp3s from our gigs; here’s a 60-second segment of our version of "Hello," from December ’06.

[audio:http://www.wwmmd.net/tunes/inline/hello.mp3]

But I suppose I should talk about Lionel Richie.  The second single from Richie’s highly successful (over 20 million sold!) album Can’t Slow Down, "Hello" was a sensitive ballad of gargantuan proportions.  Hard to believe that it almost didn’t make the album – Richie didn’t think much of the tune, having written it before his first solo album and abandoned it a few years prior, but his wife Brenda, um, smacked some sense into him.

These days, the song is really known for its video, which I wouldn’t dare snark.  Not for the reasons you think, however.  It’s just that Stereogum did such a brilliant job with it a number of years back (before they jumped the shark) that I’m unconvinced I could improve upon their take, which you should read now.

What?  You want to see the video in its entirety?  You don’t?  Well, write your own goddamn Chart Attack!, then!

[youtube]PDZcqBgCS74[/youtube]

1.  Against All Odds (Take A Look At Me Now) – Phil Collins

Here’s another one that we covered over at The Week In Rock.  (I tell another story about learning it on the piano, but I’m not going to bore you any more than I already have.)  I have to admit, I was surprised at how many other music bloggers like this song.  Like Kenny Loggins, Phil Collins is something of a punchline now, but you can’t deny that this is a fantastic ballad.  Collins has a hell of a voice, and makes this song sound much simpler vocally than it really is.  He screams his way through a good portion of this song in such a way that never sounds harsh, and is perfectly appropriate for the ballad.  I love it.

An Arif Mardin production, "Against All Odds" began life as a reject from the Face Value album, entitled "How Can You Just Sit There."  I wrote a similar song after my college roommate wouldn’t clean up his fucking dirty dishes.  Anyway, Taylor Hackford, director of the movie Against All Odds (and future Ray director) asked Collins for a song for the film, and he went back and found this one – one of many "dedicated" to his ex-wife.  According to the extensive Wiki for this song (which, sadly, devotes almost as much room on the Mariah Carey cover version), it’s one of six songs that Collins wrote specifically for soundtracks.  Eat it, Loggins!

Collins earned a nomination for Best Song at the Academy Awards, and rearranged his tour so he could attend the telecast.  However, he was not invited to perform it himself (rumor has it that the Academy didn’t know who he was).  Collins was stuck sitting in the audience, watching Ann Reinking perform his number:

That night, I was sitting in my seat and poor old Ann Reinking, who was singing the song, came in. She knew I was there and knew about all the fuss that had gone on about it. And … well, she may be a dancer, but she can’t sing. She was awful. I felt sorry for her. Kenny Loggins was sitting behind me and he said, "I can’t believe what they did to your song." He wasn’t performing his, either, so all I could say was, "You’ve got yours to come, mate."

Eat it, Loggins!

Regarding the disappointing evening, Wiki says:  "His perceived negative reaction shown on the telecast is considered to be one of the most awkward moments in the history of the ceremony, and has been a favorite reference for Dennis Miller to relate someone reacting in a horrified fashion." 

What?  You’d like to see the video with his negative reactions?  Well, too bad, I can’t find it.  You’ll have to settle for the original video.  Here at Chart Attack!, we always try to end with disappointment!

[youtube]ZAV_gt6rDps[/youtube]

Okay, I’m spent.  I can’t possibly write anymore.  Hope you enjoyed the content, the downloads, and the videos – and see you next week for another CHART ATTACK!

  • Jude

    re: footloose
    can someone possibly explain to me how those small town folks turned into dancing machines–pulling off some amazing shit at the end of that movie? They had laws to help curb the music, so how’d they do it?
    re: "hello"
    nice work on the bust there blind chick. yep…you’re blind.

  • This was the first week I ever saw the America’s Top 10 show that Casey Kasem hosted. Seriously. You never forget your first….
     
    I think this decade need’s its own "Hello"–no, not as if a new smooth, yet kind of haunting style ballad moving gracefully between minor and major chords. No, I mean I think this generation needs its own "stalking a blind chick" video to give them the jibblies. I think if the momeries I have of this video could be borne anew for the Millenial generation, maybe the world would turn out alright. Who’s with me?
     
    —-crickets—–
     
    Okay, maybe not. Now get off my lawn!

  • JT

    J, I’d like to hear you sing Bryan Adams’ "Somebody."  I think you would do a really good job with it. :-)

  • jadeyrabbit

    Suck up! :D

  • JT

    Boy George: "Boy. Girl. Whatever" cracked me up. I distinctly recall a convo w/ my mother back in ’84 – we were trying to reason through what his/her/its gender might really be. The talk went something like this: "Well, he says his name is BOY George, so maybe that is a signal." "I don’t know…I just can’t understand the smocks and lipstick then if it is a boy. I think she is trying to fool us with the name ‘BOY’ George. I bet it’s a big trick. Then again, it is Boy GEORGE, not BOY Jane, so, oh I give up! We’ll probably never know…."
    Well, ma, we know now, don’t we. Turns out, it didn’t matter at all what the true answer was.  ;-)
    The "You might think" video I first saw in Boston.  Didn’t like it b/c of the fly. That one and Tom Petty’s "Don’t come around here no more" had a big impact on me at an impressionable age. Both confirmed for me that I did not belong/fit in at all in the ’80s.   
     

  • Funny that you mention those two videos, JT…in the TWIR post I referenced, I wondered aloud whether the girl in "You Might Think" was the same one that was in "Don’t Come Around Here No More."  I don’t think they were, but since they were both pretty girls surrounded by freaks, I just assumed they were the same.

    And you did TOO fit in back in the ’80s!  I saw your outfits!  (Well, I guess that was more like the late ’80s, but…still.)

  • You missed the defining moment of "Hold Me Now": Joe Leeway’s falsetto over the last chorus. If you’re not listening closely, it sounds like he’s singing "Oh, my cold Italian heart."

  • Emily

    Good golly that Thompson Twins video is a tease with the way they faded from one video clip to the next.  I got all excited thinking- "Thompson Twins got Merce Cunningham to perform for their video?! How incredibly avant-garde!" and then the transition was complete to full band coverage.  Which isn’t bad- I just got all excited about a blend of Modern Dance and ‘Hold Me Now’.

  • I know, Emily – I felt the same way.  I saw that and thought, "wow, maybe ‘Hold Me Now’ lends itself to interpretive dance…" then all we got was a lame lip-synched performance.

    Andrew, great point, and one I forgot to mention in my post.  Mike’s been after me to do this song in our Acoustic ’80s set, and the only reason I really want to do it is because he knocks that falsetto part out of the park.

  • Interesting attack this week. There are a couple of favorites in the bunch – always was a Cars fan, even if "Heartbeat City" is the most dated of the discography. And thank God for P.O.ed Phil Collins, the only Phil worth noting. When he gets all mellow on us, it’s as bad as him just handing the mic off to Bish, and you know Bish. He just loves it when you stick it in his face. What? Huh? THE MICROPHONE, YOU FILTHY PEOPLE! GADZOOKS!! And finally, is it me or does the bust in the Richie "Hello" video look kinda like John Oates on steroids?  DwD

  • Pete

    Fun Chart Attack this week, Jason. (My fave line: "Here at Chart Attack!, we always try to end with disappointment!") "Automatic" is one of my favorite Pointer Sisters songs-it’s recently been covered by dance singer Ultra Nate for her new single. I still love "Hold Me Now" and "They Don’t Know", and the "Footloose" soundtrack and movie was one of my favorites through my adolescent years. I still have a soft spot for it. And I had forgotten how many times I had seen the "Against All Odds" video when it was out-it makes the movie look pretty sexy (especially to an 11 year old), but I’ll bet all that footage was used for the video. I remember thinking the repeated shot of the almost collision was intense at the time.

  • woofpop

    This was actually a really good chart week..
    Woah, Milo…I can’t go with you on the "good" song status of "Footloose", mostly because it has some of the worst lyrics, ever, IMO.
    But.. I concur on "Love Somebody" – good mid 80’s power pop, and "They Don’t Know" is a great pop song (even if it is Kirsty’s backing track with Tracey’s vocal). "Hold Me Now" made the world stop for about a week when it first came out, and it is a teriffic song, even now (as is most of "Into The Gap").
    And it just doesn’t get much better than a spam-sculpted bust with jeri-curls…

  • Hey Jason, thanks again for a great CA with videorific fun. I had to make myself listen to "You Might Think" again just for it (I admit I hated it but loved the rest of the album when it came out). And now for the quest to see the "Phil Collins face". twostepcub(PS by the way, not to be totally anal, but "Hello" was third as much as I can remember, after "All Night Long" and "Running With The Night" (which I loved more then than I do now)

  • That was a great week. If Jefitoblog hasn’t already convinced you to do so, I must recommend that you pick up Rick Springfield’s Working Class Dog and listen to it in it’s entirety. Power Pop genius!Have you heard The Postal Service’s cover of Against All Odds? Made me like the song.

  • Dude…you reference me not once…not twice…but three times this week (the Rick Springfield guide). Talk about a needed pickmeup!

  • Old Davy

    What?  You want to know what made me LOL?  THIS, about the guys that sing song #10:  "The differences between the two accents are hysterical, and I’m not positive that either one of them actually knows what they’re saying."  The thing about Julio touching Willie’s tum-tum was funny too.  Great week and great write up!

  • I vividly remember slow-dancing to "Hello" at high school dances.  I like your version so much better than Lionel’s.
    And OMG, why hasn’t anyone told me about Coverville before now?

  • jb

    A friend of mine says that 1984 was the best year for Top 40 in the 80s. Based on this list, he might be right.

  • I wrote a bit about Kirsty MacColl — specifically her song "Caroline" — over here.

  • BD

    One of my best friends in high school was a girl named Georgia. In the school lip-sync contest assembly, she dressed as — you guessed it — Boy Georgia. She had long brown hair, a pretty smile and impeccable fashion sense, so it was the cutest thing you ever saw.

    All you need to tell people to get them to say "Oh, THAT Kirsty MacColl" is that she sang on the Pogues’ Fairytale of New York. Then they can check out how she died, with the warning that it’ll make you lose faith in the human race.

  • I think I first heard about MacColl when the Lemonheads covered “He’s on the Beach” as a B-side. MacColl’s original is fantastic, and she did a nice cover of Lou Reed’s “Perfect Day” with Evan Dando around ’95, I think. “Fairytale of New York” is great as well, of course. Woofpop, I’m glad you mentioned Ullman’s version of “They Don’t Know” using MacColl’s backing tracks, because I wasn’t sure if I’d imagined reading that before or not.

    Great write-up, Jason. Don’t be afraid to tell us of teenage romance aided by Thompson Twins hits. Let it flow, brother. I really liked the “Nelson & Iglesias, Attorneys at Law” legalese, the nod to Mr. Pointer (when my brother and I first heard “Automatic,” we thought it was by some male singer, not the Pointer Sisters), and the joke about your college roommate (it’s funny ’cause it’s true).

    Tom Petty’s “Don’t Come Around Here” video scared me a bit in third grade when I first saw videos on MTV, especially when the girl’s body starts being eaten as cake. And I’d never thought about her resembling the girl in “You Might Think,” but you’re right!

    I didn’t like the Cars’ songs that much at the time, and I still don’t, but I did hear “Magic” again last summer for the first time in many years, and now I suddenly love it. “Drive’s” great too, and give it up for Benjamin Orr’s “Stay the Night” and “Too Hot to Stop.” Woo!

    Dw., good call on the blind girl’s bust of Lionel looking like John Oates on steroids. She is blind, after all.

    I’d love to see that footage of Collins at the ’85 Oscars. Reaction shots at the Oscars are sometimes the best part. Bill Murray rolling his eyes when Sean Penn won Best Actor in ’04 was hilarious, but not for the right reasons — Murray really came across as a sore loser in my eyes. And how come Penn didn’t show up to the Oscars when he was nominated in ’96 for “Dead Man Walking,” 2000 for “Sweet and Lowdown,” or ’02 for “I Am Sam,” but he DID show up for “Mystic River”? Stick to your I-hate-acting-awards guns, Sean, even if you know it’s finally in the bag!

  • Jhensy

    Some observations:
    1. 1984 WAS the last great Top 40 year.
    2. The Pointer Sisters "Automatic" deserves a little revival, I forgot how catchy that is.
    3. I always, always hated that chick with the hat in Thompson Twins.
    4. You want to hate them, but "Hello" and "Against All Odds" stand outside any time, place or era. They are both classics that would have been #1 in any year.

  • Stephen

    I feel like an ass…I always thought the girl in "You Might Think" was Paulina Porizkova, Ocasek’s wife, but it isn’t…she’s in the "Drive" video. The girl in this video is Susan Gallagher…I am so ashamed. By the way, Ric Ocasek’s last CD was pretty damn good. Sure the guy hasn’t really progressed since 1985, but he hasn’t gotten worse either. Who needs growth when you’ve got sweet, sweet melodies and killer hooks…and Paula Porizkova for your wife?

  • Wasn’t Porizkova only 18 in the “Drive” video? Ocasek, nerds everywhere salute you! I like that Todd Rundgren is “on notice” with Stephen Colbert thanks to Ocasek:

    http://www.vueweekly.com/articles/default.aspx?i=4594

  • Stephen

    Probably, Robert. Not to mention he’s Ric Ocasek, one of the most homley men in rock…and they’re STILL married. But if those two kids can make it…hell, anyone can. Bit of trivia: The Rentals’ "Friends of P" was spawned from a conversation Matt Sharp had with Paula about how none of the bands Ric produces want to be friends with her, because they’re too scared.

  • woofpop

    It’s nice to see some chat about Kirsty –  If you haven’t already – get "Galore" which is a great introduction to her (and it has her ace version of "A New England" on it, among other delights.) Then, absolutely pick up "Kite" which is plentiful and not pricey among the secondhand  online vendors. It’s great from start to finish, and it will become a favorite over time, for sure.
     

  • I irrationally *LOVE* "They Don’t Know" the harmonies are amazing. It is more Spector than Spector. It might be my favorite song on here, and I love pretty much all of the songs on here.

  • Dave P

    This was, indeed, a pretty damn good week in pop music. I’m glad to see “Love Somebody” get the love it deserves. Rick Springfield, power pop genius!

    Nice to hear “Hello” turned into a rocker. We need to hear more live performance clips, Jason!

  • Lyle

    Great write-up. I bought the Thompson Twins album on the strength of a recommendation in the Wall Street Journal.  Well, we had no Hype Machine or music blogs back then.

  • Rebecca

    I’m going to share this, even though I shouldn’t. For years now, I’ve sung this version of the Thompson Twins song:

    Hold my cow, ohhhhh milk it now.
    Bring cookies, let dunking start.

    Yup.

  • Rebecca, I think I love you.And in response, the extortionist version:You owe me now, whoa-ohWhere’s my cashPay meOr I’ll kick your…

  • WOW!!!!!!
    Here I am 41 years old today and you have found a genre of music that I loved and listened to during that decade.  I remember all or those songs by heart word for word.  Thanks for taking me back to a less stressed, more fun era.

  • Scott,

    Happy, Happy 41st Birthday!  So glad you found the site.  And happy birthday to your son and wife as well.

    Jason

  • I never knew "Love Somebody" made the charts. That is one of my favorite Springfield songs of all time (yes, I have a few favs). I love the drum part when they break it down to the chorus. YOU BETTER LOVE SOMEBODY (BEAT! BEAT! BEAT!) There were so many Rick songs that blew "Jessie’s Girl" out of the water. This was one of em.

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  • Sara

    re: Academy Awards performance of Take a Look at Me Now
    According to most sources Debbie Allen did Footloose and Anne Reinking did Against All Odds. But the other performers were singers:
    Ray Parker, Jr.- Ghostbusters (with comedian Dom Deluise supporting him)
    Deniece Williams- Let’s Hear It For the Boy
    Diana Ross- I Just Called To Say I Loved You (this was the winner. Guess Stevie was in bad voice)
    As for Collins’ reaction I would guess if no one puts it on YouTube they certainly have it at the Museum of TV and Radio in NYC