Tunes Du Jour Presents The Prince Songbook

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Prince’s genius as a performer is well-documented, but his legacy as a songwriter may be even more far-reaching. The songs he wrote—sometimes directly for others, sometimes borrowed or reimagined—traveled in unexpected directions, often landing in voices very different from his own. Sinéad O’Connor’s haunting version of “Nothing Compares 2 U” turned emotional restraint into a global anthem, while Chaka Khan’s take on “I Feel for You” transformed a tightly wound synth-funk track into a dancefloor juggernaut with help from Melle Mel and Stevie Wonder. The Bangles’ jangly “Manic Monday” showed his facility with classic pop forms.

Sometimes Prince gave away songs without credit. Stevie Nicks has said “Stand Back” wouldn’t exist without his impromptu help; he played the synth part that defined the track, and then slipped away, declining a formal writing credit. His fingerprints are on the Sheila E. hit “The Glamorous Life” and The Time’s “Jungle Love,” both written and produced by Prince but performed by his protégés. Even artists as distinct as Alicia Keys and Tom Jones found new depths and textures in his work, whether covering “How Come You Don’t Call Me” or reinterpreting “Kiss.” In many cases, he gave female artists some of their most complex and empowered material: see Sheena Easton’s risqué “Sugar Walls” or Martika’s spiritual “Love… Thy Will Be Done.”

What’s most remarkable is how well these songs hold up when refracted through other voices. Cyndi Lauper brought vulnerability to “When You Were Mine,” TLC made “If I Was Your Girlfriend” even more intimate, and even idiosyncratic takes like Sufjan Stevens on “Alphabet Street” or P.M. Dawn’s dreamlike “1999” as incorporated in “Fantasia’s Confidential Ghetto” show how flexible his songwriting was. Prince’s compositions had structure, hooks, and heart, but they were never rigid. That elasticity allowed other artists not just to sing his songs, but to inhabit them.

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Tunes Du Jour Presents 1983

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The year 1983 was a vibrant musical landscape, a moment when pop culture was exploding with creativity and technological advancement. It was a year when Michael Jackson’s “Billie Jean” dominated the airwaves, its infectious rhythm and groundbreaking music video revolutionizing how we experienced music. The single was more than just a song; it was a cultural phenomenon that captured the zeitgeist of an era when music was becoming increasingly visual and dynamic.

This was also the year when Prince’s “1999” prophetically danced with apocalyptic themes, and The Police’s “Every Breath You Take” became an anthem of complex emotional surveillance. The diversity of musical styles was remarkable, with artists like Dexys Midnight Runners bringing an unconventional folk-pop energy with “Come on Eileen,” while New Order’s “Blue Monday” pushed the boundaries of electronic music, creating a sound that would influence dance music for decades to come. David Bowie’s “Let’s Dance” marked a vibrant shift in his musical journey, infusing his signature artistic sensibility with an irresistible pop-funk groove.

The single was king in 1983, with an unprecedented number of memorable tracks that seemed to burst from radios and dance floors everywhere. Eurythmics’ “Sweet Dreams (Are Made Of This)” introduced Annie Lennox’s haunting vocals to the world, while Marvin Gaye’s “Sexual Healing” offered a smooth, sensual counterpoint to the era’s more uptempo sounds. Lionel Richie’s “All Night Long” exemplified the period’s sunny, celebratory pop, and Culture Club’s “Do You Really Want to Hurt Me” challenged musical and social conventions with its charismatic lead singer, Boy George.

The year wasn’t just about pop, however. Rock and new wave were thriving, with bands like The Smiths (“This Charming Man”), The Clash (“Rock the Casbah”), and Duran Duran (“Hungry Like The Wolf”) pushing musical boundaries. Hip-hop and early rap were also emerging, with tracks like Melle Mel’s “White Lines” and Herbie Hancock’s groundbreaking “Rockit” signaling a musical revolution that would transform popular culture in the coming decades.

What made 1983 truly special was how it represented a moment of musical transition—a year when synthesizers and drum machines were becoming more prevalent, when music videos were transforming how artists communicated, and when genres were blending in unprecedented ways. From the new romantic sounds of Heaven 17’s “Temptation” to the quirky charm of Men Without Hats’ “The Safety Dance,” the music of 1983 was a testament to creativity, innovation, and the pure joy of sound. It was a year that didn’t just produce hit songs, but created a sonic landscape that would influence musicians for generations to come.

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Tunes Du Jour Presents 1978

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The year 1978 was a pivotal moment in music history, showcasing a striking contrast between the mainstream hits dominating the airwaves and the underground sounds bubbling beneath the surface. This year offered a rich assortment of genres, from disco and pop ruling the charts to punk and new wave carving out their own rebellious niches.

Disco was undoubtedly the dominant force in popular music. The Bee Gees’ “Stayin’ Alive” became an anthem of the era, while Chic’s “Le Freak,” A Taste of Honey’s “Boogie Oogie Oogie,” Donna Summer’s “Last Dance,” and Alicia Bridges’ “I Love the Nightlife (Disco ‘Round)” kept the dance floors packed. Even rock legends like the Rolling Stones couldn’t resist disco’s pull oor, as evidenced by their hit “Miss You.”

But 1978 wasn’t all about disco. Pop music thrived with ABBA’s timeless “Take a Chance on Me” and Electric Light Orchestra’s upbeat “Mr. Blue Sky.” Queen’s anthemic “We Are the Champions” became a staple at sporting events worldwide. In R&B, the Commodores’ soulful ballad “Three Times a Lady,” Funkadelic’s anthemic “One Nation Under a Groove,” and Chaka Khan’s empowering “I’m Every Woman” showcased the genre’s range. The soundtrack to Grease, featuring John Travolta and Olivia Newton-John’s “You’re the One That I Want,” dominated both radio and cinema.

While mainstream pop and disco ruled the charts, a counter-cultural revolution was taking place in underground venues. The Clash’s “(White Man) In Hammersmith Palais” blended social commentary with irresistible hooks, while the Buzzcocks’ “Ever Fallen in Love (With Someone You Shouldn’t’ve)” captured the essence of punk’s raw emotional energy. The Undertones’ “Teenage Kicks” embodied the unbridled spirit of youth, and Siouxsie & the Banshees’ “Hong Kong Garden” showcased the emerging goth-punk sound. Public Image Ltd.’s self-titled track “Public Image” signaled the evolution of post-punk.

1978 also saw the emergence of artists who defied easy categorization. Kate Bush’s haunting “Wuthering Heights” introduced a unique voice to the pop landscape, blending literary references with art-rock sensibilities. Kraftwerk’s “The Model” pushed the boundaries of electronic music, influencing countless genres in the decades to come. Patti Smith’s “Because the Night” (co-written with Bruce Springsteen) bridged the gap between punk poetry and mainstream rock. The year also saw reggae making inroads with Althea & Donna’s “Uptown Top Ranking,” while Randy Newman’s misunderstood “Short People” showcased his brilliance in crafting satirical, thought-provoking pop.

Looking back, it’s clear that 1978 was more than just a year of disco balls and safety pins. It was a time of musical diversity and innovation, where chart-toppers and underground icons coexisted, each pushing the boundaries of their respective genres. From the dancefloor anthems to punk’s raw energy, from synth-pop’s early days to reggae’s growing influence, 1978 offered a rich and varied soundtrack that continues to resonate today. This dynamic interplay between mainstream and alternative sounds would continue to shape the musical landscape for years to come, making 1978 a truly unforgettable year in music history.

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Your (Almost) Daily Playlist: 4-20-24

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If you’re looking for a smooth soundtrack to unwind with, Luther Vandross has you covered. His smooth vocals and captivating stage presence made him a beloved and influential figure in R&B and soul music.

Early in his career, Vandross honed his skills not just as a singer, but as a songwriter and producer. He penned the uplifting “Everybody Rejoice/A Brand New Day” for the Broadway musical The Wiz, showcasing his talent for crafting memorable melodies. This period also saw him become a sought-after background vocalist, lending his voice to the recordings of icons like David Bowie, Stevie Wonder, Donna Summer, Todd Rundgren, Diana Ross, Ben E. King, Sister Sledge, Roberta Flack, Chaka Khan, Judy Collins, the J. Geils Band, Irene Cara, and Bette Midler. Not only did Vandross sing on Bowie’s “Fascination,” but they wrote the song together. This experience further solidified Vandross’ own artistic vision, which he would soon unleash on the world.

Before embarking on his solo journey, Vandross dipped his toes into the world of lead vocals. He fronted the disco group Change, belting out their hit “The Glow of Love.” He also sang lead for Bionic Boogie on their track “Hot Butterfly,” and even fronted a short-lived band simply called Luther.

Quincy Jones’ “Takin’ It To the Streets,” featuring Vandross as a lead vocalist alongside Gwen Guthrie, demonstrated his ability to shine even before his solo breakout. Later in his career, Vandross would seamlessly slip back into the role of collaborator, creating magic on duets with artists like Janet Jackson (“The Best Things in Life Are Free”) and Dionne Warwick (“How Many Times Can We Say Goodbye”).

The 1980s marked Vandross’ rise to stardom as a solo artist. Tracks like “Never Too Much” and “Here and Now” became instant classics, showcasing his ability to blend vulnerability with pure soulful power.

Throughout his career, Vandross racked up accolades. He’s a Grammy Award winner with eight statues to his name, and countless other awards solidify his place as a musical giant. But beyond the trophies, his true impact lies in the way his music continues to connect with listeners. Whether it’s a slow dance ballad or a roof-raising anthem, Vandross’ music offers a timeless blend of emotion and artistry. So next time you hear that velvety voice, take a moment to appreciate the work of a true musical great, who not only delivered unforgettable solo performances but also left his mark through songwriting, production, and collaborations across genres. Today’s playlist isn’t just a collection of Luther Vandross’ greatest hits – it’s a mix of some of those tracks alongside other gems that reveal the breadth of Vandross’ musical contributions. Prepare to be surprised at where he turns up. For example, those unforgettable “ba ba”s that open Stevie Wonder’s “Part-Time Lover?” That’s Luther!

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