A Hint Of Mint – Volume 2

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On this installment of A Hint of Mint, we:
– Hear the hit song from an Irish quartet about a gay man telling his homophobic father he’s contracted AIDS (more about that song here)
– Hear the original version of “(They Long to Be) Close to You,” from 1963
– Hear the hit song performed by a woman from a famous musical family, written by her as a ballad tribute to a friend who dies from AIDS-related illness but transformed as a dance/house anthem
– Celebrate National Bike Month
– Celebrate Dance Like a Chicken Day (May 14)
– Hear a minty song from Donovan
– Celebrate Limerick Day (May 12) with a very-NSFW song from Loudon Wainwright, followed by a NSFW song about him by his daughter and a song he wrote performed by his son
– Hear a couple of songs that appeared on the TV show Girls, one a Rolling Stones cover performed by lesbian twins, the other by a woman who won a Grammy earlier this year
– Honor Stevie Wonder with two covers and one song on which he plays harmonica
– Hear recordings one is unlikely to hear elsewhere

A Hint of Mint – Volume 2 from Glenn Schwartz on 8tracks Radio.

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It’s Philip Bailey’s Birthday And I Need To Dance!

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Gravelly-voice rapper Ja Rule told Fox Business that while Jeb Bush is a good candidate for President of the United States of America, he plans on voting for Hillary Clinton.

This surprised me, as I thought Mr. Rule was still in prison or back in prison or somewhere where he couldn’t appear on Fox Business.

I figured with Ja behind bars it would be a while before I found out who his candidate of choice for President of the United States of America is. Finding out his selection in May of 2015 is a wonderful surprise, and I’ll sleep better because of it.

This is just one more excuse to dance. Today is the 64th birthday of Philip Bailey of Earth, Wind and Fire. We kick off our weekly dance party with that band’s “Saturday Nite,” which Bailey co-wrote.


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It’s Lesley Gore’s Birthday And I’ll Party If I Want To

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Ten facts about Lesley Gore:
1. Today is her birthday. Like me, she was born in Brooklyn, New York. Back then she was Lesley Sue Goldstein. Like me, she was raised in Bergen County, New Jersey – she in Tenafly, me in Englewood Cliffs. Like me, she went to high school in Englewood, New Jersey – she at the Dwight School for Girls, me at Dwight Morrow High, which was not a school for girls.
2. Quincy Jones produced all of Gore’s charted singles between 1963 and 1965, including the top ten hits “It’s My Party,” “Judy’s Turn to Cry,” “She’s a Fool” and “You Don’t Own Me.”
3. Jones recorded Gore performing a song written by his dentist’s nephew. The song is “Sunshine, Lollipops and Rainbows;” the nephew is Marvin Hamlisch. The record reached #13 on the pop charts, becoming the first hit for songwriter Hamlisch, who also composed Gore’s “California Nights,” a top twenty single in 1967.
4. “California Nights” is one of the songs Gore performed in 1967 on the television series Batman, on which she portrayed Pussycat, one of Catwoman’s minions.
5. She was given first dibs at recording “A Groovy Kind of Love,” but an executive at her record company turned it down, as he didn’t want Gore to sing the word “groovy.” The song became a #2 smash for The Mindbenders in 1966 and a #1 for Phil Collins in 1988.
6. While having hit records, Lesley stayed in school. She earned a Bachelor’s degree in American Literature from Sarah Lawrence College.
7. In a conversation with k.d. lang published in Ms. magazine, Gore said she never received a gold record for “You Don’t Own Me,” though the song’s two male writers, John Madara and Dave White, did. That shit ain’t right.
8. She received an Academy Award nomination for Best Original Song for “Out Here on My Own,” which she wrote with her brother Michael. She considered the song a sequel to “You Don’t Own Me.” “Out Here on My Own” was written for the movie Fame, whose theme song won the Oscar. “Fame” was written by Michael Gore and Dean Pitchford.
9. Lesley co-wrote a song for the 1996 film Grace of My Heart. In the movie, the song, “My Secret Love,” is performed a closeted young lesbian singer character with a flip, portrayed by Bridget Fonda. Gore was not invited to the film’s premiere. That shit ain’t right.
10. Gore came out as a lesbian in 2005, the year she released Ever Since, her first album in thirty years and her final album release. She was with her partner, Lois Sasson, from 1982 until Gore’s death in February of this year.

Here are Lesley Gore’s nineteen charted singles, plus her rendition of her Oscar-nominated tune.


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RPJ + Winston

It’s Ray Parker, Jr.’s Birthday And I Need To Dance!

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“Which song is better – ‘Ghostbusters’ or ‘Total Eclipse of the Heart?’”

That question was posed by a co-worker. Are you fudgetown kidding me? It’s like asking “Which movie is better – The Godfather or Paul Blart-Mall Cop 2?”

Okay. That comparison is unfair. “Total Eclipse of the Heart” is far more enjoyable than Paul Blart-Mall Cop 2. I haven’t seen Paul Blart-Mall Cop 2, but I’m confident that “Total Eclipse…” is funnier. “I don’t know what to do, I’m always in the dark / We’re living in a powder keg and giving off sparks.” Ha! And how ‘bout dem sleigh bells?!? How many other summer hits employed sleigh bells?

So yes, I love “Total Eclipse of the Heart,” because it’s so delightfully awful. “Ghostbusters,” on the other hand, is genius. If you were called to write the theme song for a Bill Murray/Ernie Hudson feature film entitled Ghostbusters, would you turn in “Ghostbusters” or “Total Eclipse of the Heart?” Exactly!

RPJ + Winston
“Ghostbusters” is so danged catchy. A lot of people thought so. Huey Lewis thought so. Lewis accused Parker, Jr. of ripping off the Huey Lewis and the News hit “I Want a New Drug” for the melody of “Ghostbusters.” I hear a similarity, but to me it’s like “Hey, Ray – there’s a shitty song called ‘I Want a New Drug.’ Can you make it better, please?” And he did.

“I Want a New Drug” isn’t even fun bad. “I want a new drug – one that won’t make me sick / One that won’t make me crash my car, or make me feel three feet thick.” Really? Did someone misplace their rhyming dictionary?

“Ghostbusters” has no clumsy lyrics. It’s all very efficient. “Who you gonna call? Ghostbusters! Who you gonna call? Ghostbusters! I think you better call. Ghostbusters! Ha ha. Who you gonna call? Ghostbusters! I can’t hear you. Who you gonna call? Ghostbusters! Louder! Ghostbusters! Who you gonna call? Ghostbusters! Who can you call? Ghostbusters! Who you gonna call? Ghostbusters! Ha ha ha. Uh, it likes the girls, too. Ghostbusters!” Then fade, way too soon if you ask me.

“Ghostbusters” was nominated for an Oscar for Best Original Song, but it lost to Stevie Wonder’s “I Just Called to Say I Love You,” a far shittier song than “Total Eclipse of the Heart” and “I Want a New Drug.” I’m not going to quote any lyrics from “I Just Called…,” as I’m pissed off that someone wrote and recorded that atrocity and then Motown stuck Stevie Wonder’s name on it. There’s no way the man who wrote “Maybe Your Baby” also wrote “I Just Called….” By the way, who plays guitar on Stevie Wonder’s “Maybe Your Baby?” Ray Parker, Jr.

Today is Ray Parker, Jr.’s 61st birthday. His hits, solo and with his band Raydio, include “A Woman Needs Love (Just Like You Do),” “Jack and Jill,” “You Can’t Change That” and “The Other Woman.” He also wrote or co-wrote hits for Rufus featuring Chaka Khan and New Edition and has appeared on records by Aretha Franklin, The Carpenters, Barry White, Bill Withers, Deniece Williams, yes I said The Carpenters, The Temptations, Spinners, Boz Scaggs, Gladys Knight and the Pips, Tina Turner, Herbie Hancock, Diana Ross, Cheryl Lynn, LaToya Jackson and Jack Wagner. Jack Wagner. Hey, Jack Wagner – who you gonna call? Ray Parker, Jr.

Our weekly dance party kicks off with Parker, Jr.’s most beloved song, “Ghostbusters.” Try dancing to Bonnie Tyler’s “Total Eclipse of the Heart.” You can’t! Another point for “Ghostbusters.” (Let’s not discuss Nicki French’s hi-NRG remake of “Eclipse” at this time.)


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Giorgio By Moroder

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“What the hell is this, Giorgio?”

That is what Donna Summer asked Giorgio Moroder, the producer who brought her to international fame with the track “Love to Love You Baby,” upon hearing a song Moroder intended for her 1977 album I Remember Yesterday. The album’s concept was to combine modern sounds with sounds reminiscent of past musical eras. The title track opens the album with a 1920s feel, which is followed by a fifties throwback and a sixties throwback. The song that perplexed Donna was intended to signify the future.

The synthesizer-based futuristic track was the b-side of the album’s first single, a ballad entitled “Can’t We Just Sit Down (And Talk It Over).” Releasing a ballad as the first single for the Disco Queen’s new album was a strange move. The song failed to make the pop charts, though it did the top twenty of the r&b chart, Summer’s first single to do so since “Love to Love You Baby.”

In some foreign markets, the synth track was the single’s A-side. It made noise, ultimately topping the charts in the U.K., the Netherlands, France, Australia, Italy, Belgium, and Austria. It reached #3 in Germany, where David Bowie was recording with produce Brian Eno. Bowie remembered Eno running into the studio with a copy of the song. Eno played it for Bowie, who recalled him saying “’This is it, look no further. This single is going to change the sound of club music for the next fifteen years.’ Which was more or less right.”

In the U.S. this B-side became the A-side, and reached #6 on the pop chart. Rolling Stone magazine included the track, entitled “I Feel Love,” on its list of the 500 Greatest Songs of All-Time.

Today, Giorgio Moroder, who has four Grammy Awards and three Academy Awards to his credit, turns 75 years old. He has a new album, Déjà Vu, featuring guest vocalists such as Britney Spears (on a cover of Suzanne Vega’s “Tom’s Diner”), Kylie Minogue, Sia, Kelis, and Charli XCX, due to be released this June. Here are twenty career highlights.


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I Don’t Believe You, Bob Dylan. You’re A Liar!

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“I didn’t really care what Lieber and Stoller thought of my songs. They didn’t like ‘em, but Doc Pomus did. That was all right that [Lieber and Stoller] didn’t like ‘em, because I never liked their songs either. ‘Yakety yak, don’t talk back.’ ‘Charlie Brown is a clown,’ ‘Baby I’m a hog for you.’ Novelty songs. They weren’t saying anything serious.”
– Bob Dylan, February 2015

“I don’t believe you. You’re a liar!”
– Bob Dylan to an audience member who called him “Judas,” May 1966
– Glenn Schwartz to Bob Dylan regarding his disdain for Lieber and Stoller, April 2015

Perhaps Dylan doesn’t like the comical songs Lieber and Stoller wrote for The Coasters (though I’m skeptical of that as well), but how can he honestly dismiss all their work as novelty songs? Their compositions are part of the Great American Songbook – Rock & Roll Edition. “Jailhouse Rock,” “Stand by Me,” “On Broadway,” “Hound Dog,” “Kansas City,” “Spanish Harlem,” “Is That All There Is?” These aren’t humorous songs. Okay, “Is That All There Is?” is pretty funny, though that wasn’t intentional.

I think Bob made that comment as he was miffed about Lieber and Stoller dismissing his work. That they didn’t get Dylan is folly on their part, but the duo’s work has stood the test of time.

Today is the birthday of the late great Jerry Lieber. Today’s playlist consists of twenty classics from the Lieber and Stoller songbook.

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Babs + Winston

It’s Barbra Streisand’s Birthday And I Need To Dance!

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Around ten years ago I took up boxing. Not as a career, but as a form of exercise. I’d never watched a match on TV – too violent for my tastes. The idea to give it a try came from my trainer at Crunch Gym. Not my first trainer – he seldom showed up for our appointments. Not my second trainer, an asshole who ignored Crunch’s slogan “No judgments” and mocked my appearance throughout our sessions, while bragging about how he once made a female client of his cry. It was the idea of my third trainer at Crunch, the actor who often called me as I was five minutes from the gym to tell me he won’t make our session as he was still at an audition. Yes, that trainer. He showed up for our appointments around 60% of the time, which was better than my first Crunch trainer. He introduced me to boxing. I learned the upper cut, the cross, the jab, the duck, some other thing that involved me not getting punched in the face, and kicks. It was great exercise, especially on those days when I came to Crunch after a frustrating day at work. I’d punch that bag like I was seeing the face of one of the assholes with whom I worked. It got out the tension and got me into great physical shape.

I dumped that trainer once I decided a 60% show-up-for-your-job rate was inadequate for my aggression-releasing needs. I continued sparring with the fourth trainer Crunch assigned me, that is when he wasn’t flirting with the female clientele or taking weights from the floor and stuffing them in his duffle bag so as to build up his home gym.

When it came renewal time I left Crunch and their lot of unprofessional trainers and signed up at 24-Hour Fitness. Though it is literally a few steps from my home, I didn’t go to the location in West Hollywood, whose equipment, like its clientele, was old and decrepit. I went to the Hollywood location, where I was assigned a trainer who was so good, we worked out together for a few years. He introduced me to that hot actor who I later saw as a defendant on Judge Judy. He won his case. A few years later the West Hollywood location of 24-Hour Fitness closed for three and a half months. It reopened with fresh new equipment and fresh new customers, though oddly, it still was not open 24 hours, at least not in a single day.

Unfortunately, there was no boxing at 24-Hour Fitness. While at a local smoothie ship I saw a business card for a boxing coach who did private training at his home. He converted his unattached garage (is that the right word – unattached? I mean detached, right? Either way, you get my drift – his garage was not attached to his house.) into a boxing ring. He used to be a professional boxer and was a model as well. Our sessions were great, and not just because he’d say goodbye to me each week with a kiss on the lips, his heterosexuality be damned. Once he kissed me on the neck. Why did I stop seeing him? No recuerdo. Maybe it had something to do with a mental ward.

I’ve had one or two trainers and taken some boxing classes since then, but they weren’t as much fun. Something was missing, besides the kisses. Still, if one were to put me in a boxing ring today with Barbra Streisand, I think I could take her down. It’s not that I have a desire to punch Barbra Streisand, nor do we have a bout on the books. I’m saying this as a poor segue into mentioning her 1979 film The Main Event, in which she portrayed a boxer manager/perfume magnate.

The film re-teamed Barbra Streisand with Ryan O’Neal, seven years after their film What’s Up, Doc? What’s Up, Doc? is a great movie. If you haven’t seen it, I strongly suggest you do, even if you’re not a fan of Barbra Streisand. Especially if you’re not a fan of Barbra Streisand. You’ll see a whole other side of her in this movie. Ryan O’Neal is great. Madeline Kahn made her feature film debut in this movie. How can you go wrong with Madeline Kahn? Austin Pendleton is in it. Kenneth Mars is in it. A lot of people are in it. I think I’ll host a viewing of it at my condo. Let me know if you’re around and interested. You should be interested.

I never saw The Main Event. Critics panned it, but the public enjoyed it. I have the soundtrack album, which includes the hit single “The Main Event/Fight.” Three times – the 45 mix, the 12-inch mix, and as a ballad. The latter is solely the song “The Main Event.” “The Main Event/Fight” is a medley. “The Main Event” was written by Paul Jabara, whose writing credits also include Donna Summer’s “Last Dance” and The Weather Girls’ “It’s Raining Men” (on a side note, does anybody know if Chaka Khan is okay?) and Bruce Roberts, whose writing credits also include Laura Branigan’s “The Lucky One” and that Jeffrey Osborne song that goes “Can you woo woo woo?”. “Fight” was written by Jabara and Bob Esty. Esty’s writing credits also include Cher’s “Take Me Home.”

Babs + Winston

“The Main Event/Fight” is, with the Donna Summer duet “No More Tears (Enough is Enough),” my favorite Barbra Streisand single. I like my boxing coaches kissy and my Barbra Streisand songs peppy.

Today Barbra Streisand turns 73 years old. “The Main Event/Fight” kicks off Tunes du Jour’s weekly dance party.

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Inspired By John Waters

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Today’s playlist is inspired by John Waters – director, screenwriter, author, actor, journalist, hero. As today is his 69th birthday, I compiled this collection of songs that have been in his movies, songs he’s written about, and songs by folks who have been in his movies.

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It’s Pete Shelley’s Birthday And I Need To Dance!

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In 1981, Pete Shelley reached #14 on the US Dance chart with “Homosapien,” a keyboard-centric single that sounded much different than his work as the lead singer of punk band The Buzzcocks.

“Homosapien” did not get much airplay in Shelley’s native England, as the BBC took exception to the lyric “Homo superior in my interior.” Shelley said the song was not intended as a “gay song;” rather, it’s about homosapiens falling in love with other homosapiens. That may be so, but the opening line is “I’m the shy boy, you’re the coy boy / And you know we’re homosapien, too,” so there is more than a little homo in this sapien.

Shelley lives as the homosapien of his song, eschewing labels because “there doesn’t seem to be a word for ‘having relationships with people,’” regardless of gender, which is where Shelley sees himself.

It’s Friday and I need to dance! It’s also Pete Shelley’s birthday (he’s 60), so we’ll kick off our dance party with “Homosapien.”

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