Today is Morrissey’s birthday. I used that as my starting point for this playlist.
[8tracks width=”300″ height=”250″ playops=”” url=”http://8tracks.com/mixes/8001323″] Click here to like Tunes du Jour on Facebook!In the early 1990s a demo of a song written by four men circulated through Warner Bros. Records. Though people at the label appreciated the song’s chorus, nobody wanted to record it.
Thinking that with some work the song may be good for Cher, whose last top ten pop hit was 1989’s “Just Like Jesse James,” Warner sent the demo to London’s Metro Studio, where two additional songwriters took a stab at improving the composition. Producers Mark Taylor and Brian Rawling created a dance track for the revised song, which they presented to Cher. She liked it.
She recorded the song. She and her producers played with a new technology called Auto-Tune, which added a robotic sound effect to her voice. When Warner heard that, they asked that it be removed, but Cher was adamant it stay.
In October of 1998, more than a half-decade after the composition’s original incarnation, Warner released Cher’s recording of “Believe.” On March 13, 1999, the song, the first pop tune to feature Auto-Tune, became Cher’s fifth #1 single in the United States, making her, then age 52, the oldest woman to top the US charts. It was her first #1 single since “Dark Lady” in 1974, the longest span ever between #1 records. It was the biggest-selling single stateside of 1999.
The record hit #1 in the UK, where it became the best-selling single of all-time by a female artist. It also topped the charts in Germany, Canada, The Netherlands, Australia, France, Sweden, Italy, Spain, Belgium, Norway, Denmark, Switzerland, New Zealand and Ireland.
Today the woman born Cherilyn Sarkisian turns 70 years old. Our weekly dance party kicks off with “Believe.” Have a superb weekend!
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In 1974, my Grandpa Abe gave me a radio, thus changing my life. That radio became my best friend and music my main interest. I started buying all the 45 rpm records that made the top ten. Soon I was reading the trade magazines, as well as Rolling Stone, Circus, Creem, Song Hits, Hit Parader, Musician, and then some. Who knows what career path I would have chosen had I not latched onto popular music in my pre-teen years?
Tunes du Jour’s Throwback Thursday playlist this week focuses on the music of 1974. It includes the music I heard on the radio back then (eighteen top 40 hits) plus two I discovered later on.
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Play this mix for Johnny. If he responds to it with the enthusiasm that I do, then he is…you know. Have him contact me.
[8tracks width=”300″ height=”250″ playops=”” url=”http://8tracks.com/mixes/7973718″] Click here to like Tunes du Jour on Facebook!Translated literally, the French expression “ooh la la” means “Oh there there.”
Per About.com, “ooh la la” is an interjection that “can indicate surprise, disappointment, commiseration, distress, annoyance… any moderately strong reaction to something that was just said or done. Note that there is no connotation of sexiness or impropriety in French.”
Per UrbanDictionary.com, “ooh la la” is “a universally understood way of saying ‘check out that hot piece of ass.’” I detect a slight connotation of sexiness and impropriety.
Per OxfordDictionaries.com, “ooh la la” is “used to express surprise or excitement” or “to convey a sexual innuendo.”
The music duo Goldfrapp, made up of Alison Goldfrapp and Will Gregory, released a single called “Ooh La La” in 2005. Written by the duo, the song tells of Alison’s lust for someone without a romantic component.
Goldfrapp’s “Ooh La La” became their first top ten pop single in the UK and their third #1 on the US dance chart. It was nominated for a Grammy Award for Best Dance Recording, and Rolling Stone magazine placed it at #10 on their list of the year’s best singles.
Today, Alison Goldfrapp turns 50 years old. Tunes du Jour’s weekly dance party is heavy on her group’s music, kicking off with “Ooh La La.”
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Some time in my teen years I feel in love with the girl group sound. My favorite was The Crystals’ “He’s a Rebel.” The music and the vocals hooked me. The singer tells of how others don’t approve of the boy she loves as he’s a non-conformist, but he treats her well and that’s all that matters.
The story behind the record is as interesting as the record itself. The song was written by Gene Pitney, who had several hits of his own, including “Town Without Pity” and “(The Man Who Shot) Liberty Valence.” “He’s a Rebel” was slated to be the debut single for Vikki Carr, but when Spector heard Pitney’s demo he knew he wanted it for one of his acts, The Crystals.
He needed to record it quickly in order to challenge Carr’s version at the stores. The Crystals, however, were on the road in New York and unable to make the recording sessions in Los Angeles. No problem. Spector hired a local group called The Blossoms, led by Darlene Wright, to record the song. Wright was paid $3000 for the session. Spector released the record under the name The Crystals, as his label owned the name. The actual Crystals first learned of their new hit song when they heard it on the radio. It became their first #1 single, meaning The Crystals had to learn this song so they could perform it at their shows. The group’s lead singer, Barbara Alston, could not match Wright’s vocal performance, so fellow Crystal LaLa Brooks moved into the lead vocalist slot. Coincidentally, the week The Crystals’ “He’s a Rebel” was #1, Gene Pitney was #2 as a singer with “Only Love Can Break a Heart,” a song he didn’t write.
As “He’s a Rebel” was so successful, Spector needed to get a follow-up single out quickly. Again, he turned to The Blossoms to record “He’s Sure the Boy I Love.” Wright, however, was angry that her name was not on “He’s a Rebel” and told Spector she would only do this song if she were singed to a recording agreement and was properly credited for her vocals on the track. Spector agreed, changing her name in the agreement to Darlene Love. He released “He’s Sure the Boy I Love.” It was credited to The Crystals.
Spector used the money he made from “He’s a Rebel” to buy out his business partners in the Philles Records label. In addition to the financial settlement, Spector had to give his two ex-partners a share of the royalties of the next Philles single release, so Spector got the real Crystals into the studio and recorded “(Let’s Dance) The Screw,” a silly number clearly not intended to be a hit. A copy was sent to one of the ex-partners. No royalties were generated.
Tunes du Jour celebrates Throwback Thursday with twenty great hits from 1962, kicking off with “He’s a Rebel” by “The Crystals.”
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Happy Mother’s Day! This week’s A Hint of Mint playlist consists of songs about moms from a host of genres and decades. It’s a little bit country, it’s a little bit rock-and-roll, it’s a little bit pop, it’s a little bit hip hop, it’s a little bit show tune, it’s a little bit rhythm and blues, it’s a little bit girl group, it’s a little bit singer-songwriter, it’s a whole lotta lovin’.
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On the off-chance I don’t win an Oscar for Best Original Screenplay, which, seeing as I have yet to write a single scene, is a remote possibility, I’d like to present the text of my acceptance speech here and now.
“Thank you! Thank you so much! Thank you! (wink at Meryl) Wow! I wasn’t expecting to win. This is such a surprise. Let me read you the speech I wrote for this occasion.
I’d like to thank the Academy, specifically the members who voted for me. I’d like to thank everyone who bought a ticket to see my movie. I’d like to thank the cast and crew. It takes a village! Am I right? Of course I’m right! I’m a right-er! (smile, acknowledge the laughter in the audience)
Mostly, I’d like to thank all those who taught me about writing and provided encouragement. I’d like to thank all of my English teachers, my writing teachers, my stand-up comedy teachers and my improvisation teachers. I’d like to thank my fellow classmates, workshops and meetup members and the friends and family members who provided feedback and support. In particular, I’d like to…oh, they’re playing the music, indicating it’s time for me to leave. Until next year, remember I love you all, except those who voted for my competitors.”
Today is National Teachers Day. Our weekly dance party kicks off with Daryl Hall and John Oates’ “Adult Education.”
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Some years ago I played Beck’s “Loser” for my 94-year-old grandfather. He didn’t care for the lyrics. “I’m a loser, baby, so why don’t you kill me?”
“That’s why so many young people commit suicide,” he argued.
Hearing “Loser” and the rest of Beck’s major label debut album, Mellow Gold, didn’t make me want to kill myself. Quite the opposite. He brought and continues to bring so much joy into my life.
Beck’s “Loser” kicks off this week’s Throwback Thursday playlist, spotlighting the year 1994.
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Some time around the turn of the millennium, James Brown and his classic music were featured in a series of car adverts that played in movie theaters in the US as pre-show entertainment. The vast majority of Brown’s recordings are controlled by Universal Music, who entered into a license deal with this particular car brand (which one escapes me).
At the time I was the head of Licensing for Zomba Recordings. We had a few James Brown recordings in our catalogue, including “Living in America,” a song that in 1986 was Brown’s first top ten on the pop chart in eighteen years and, sadly, his last.
Despite his personal endorsement of the car brand referenced in the first paragraph above, I was able to secure a license deal for “Living in America” to be used in a commercial for a competing automobile. Mr. Brown was fine with that – money is money and business is business and exposure is exposure.
I’m surprised the first car company didn’t have an exclusivity clause in their agreement with the Godfather of Soul. Maybe they asked (which would be standard practice) and Mr. Brown refused. Maybe they assumed ALL of Brown’s hits were controlled by Universal, so it wouldn’t be necessary. Whatever. Not my problem.
James Brown was born in Barnwell, South Carolina on May 3, 1933. Tunes du Jour celebrates his birthday with twenty greats from his catalogue.
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