Tunes Du Jour Presents 1958

by with No Comment Uncategorized

By 1958, rock and roll was no longer a brash newcomer fighting for legitimacy—it had become the dominant sound of American popular music. The charts that year captured a genre in full stride, blending raw energy with increasingly sophisticated production. Jerry Lee Lewis pounded out “Great Balls of Fire” with manic intensity while the Everly Brothers offered the dreamy harmonies of “All I Have to Do Is Dream,” proving that rock and roll could be both wild and tender. Chuck Berry’s “Sweet Little Sixteen” painted vivid pictures of teenage life, and Little Richard’s “Good Golly, Miss Molly” delivered pure, unfiltered excitement. These weren’t just songs—they were the soundtrack to a generation coming into its own.

The year also marked the rise of memorable instrumental tracks that showcased rock and roll’s expanding vocabulary. Link Wray’s “Rumble” pioneered the power chord with its menacing guitar distortion, while Duane Eddy’s “Rebel Rouser” introduced the twangy, reverb-heavy “twang” that would influence countless guitarists. The Champs’ “Tequila” proved that a single word and an infectious sax riff could dominate the airwaves. These instrumental hits demonstrated that rock and roll didn’t always need lyrics to communicate emotion or get people moving.

While rock and roll dominated, 1958 was hardly monolithic in its musical offerings. Tommy Edwards’ orchestral “It’s All In The Game” and Peggy Lee’s sultry “Fever” showed that traditional pop still had plenty of commercial power. Domenico Modugno’s “Nel blu, dipinto di blu (Volare)” became an international sensation, bringing Italian pop to American audiences. The Platters’ “Twilight Time” continued doo-wop’s evolution toward lush, romantic balladry. This variety revealed an industry still figuring out how different styles could coexist and cross-pollinate.

The playlist also captures the emergence of future stars and the refinement of group vocals. Cliff Richard’s “Move It” announced Britain’s first major rock and roll talent, foreshadowing the British Invasion that would come later. Meanwhile, doo-wop groups like The Chantels with “Maybe” and Jerry Butler & the Impressions with “For Your Precious Love” brought sophistication and emotional depth to their harmonies. Novelty hits like David Seville’s “Witch Doctor” and lighthearted fare like The Chordettes’ “Lollipop” added playful moments to the mix, reminding listeners that music could simply be fun without carrying cultural weight.

What’s striking about 1958 is how much ground the music covered while maintaining a coherent identity. Whether it was Eddie Cochran’s rebellious “Summertime Blues” or Conway Twitty’s heartbroken “It’s Only Make Believe,” these songs spoke directly to young people navigating the complexities of modern life. Rock and roll had proven it wasn’t a passing fad—it was a versatile, evolving force that could express the full range of teenage emotion, from joy to heartbreak, from rebellion to romance. The music of 1958 didn’t just entertain; it validated the experiences of an entire generation.

Follow Tunes Du Jour on Facebook

Follow me on Bluesky

Follow me on Instagram

Tunes Du Jour Presents 1960

by with No Comment Uncategorized

The year 1960 often gets passed over in rock history—a transitional time between the first burst of rock and roll and the cultural and musical revolutions just a few years away. But to call it sleepy is to miss the point. In fact, many of the year’s hits still reverberate today, not just as nostalgic touchstones but as enduring standards. “The Twist” by Chubby Checker launched a dance phenomenon that would ripple through pop culture for years. And “Save the Last Dance for Me” by the Drifters remains a masterclass in balancing heartbreak and sweetness—still played at weddings and in soundtracks, still finding new generations of listeners.

Ballads carried a lot of weight in 1960, and few did it better than Elvis Presley’s aching “Are You Lonesome Tonight?” or Roy Orbison’s “Only the Lonely,” which showcased his operatic vulnerability. Country narratives crossed into the mainstream with Marty Robbins’ “El Paso,” a story song that unspooled like a Western in miniature. At the other end of the spectrum, Maurice Williams & the Zodiacs’ “Stay” packed teenage yearning into a lean, irresistible one minute thirty-five seconds. And “Wonderful World” by Sam Cooke, though modest in ambition compared to some of his later work, remains a model of warmth and accessibility—a song that’s managed to feel timeless for more than six decades.

The sense of genre boundaries being tested is another hallmark of the year. Ray Charles brought gospel, blues, and pop together on his definitive reading of “Georgia on My Mind,” while Barrett Strong’s “Money (That’s What I Want)” helped lay the foundation for Motown’s impending ascent. Fats Domino’s “Walking to New Orleans” fused New Orleans rhythm with a subtle orchestral flourish, and Bobby Darin’s “Beyond the Sea” added a cosmopolitan swagger to the charts. These weren’t experiments for their own sake—they were evolutions of form, often rooted in deep tradition.

Rock’s wilder edges were still alive, though not always in the spotlight. Ike and Tina Turner’s “A Fool in Love” marked Tina’s explosive debut on the national stage—raw, commanding, and impossible to ignore. Instrumentals also carved out real estate, from the cinematic calm of Percy Faith’s “Theme From ‘A Summer Place’” to the proto-surf energy of The Ventures’ “Walk Don’t Run.” And in the novelty corner, “Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini” and “Alley Oop” proved that humor and absurdity had a place in the pop ecosystem.

So while 1960 may not have produced a defining movement, it certainly produced defining songs. These weren’t just placeholders between rock and roll’s rise and the British Invasion—they were records that resonated, sometimes quietly at first, but with a staying power that’s hard to deny. Whether filtered through covers, samples, soundtracks, or simple endurance, many of these tracks are still with us. It wasn’t a year of reinvention—but it was a year of remarkable staying power.

Follow Tunes Du Jour on Facebook

Follow me on Bluesky

Follow me on Instagram

Tunes Du Jour Presents Thom Bell Productions

by with No Comment Uncategorized

Thom Bell, one of the primary architects of the Philadelphia soul sound of the 1970s, transformed popular music through his sophisticated approach to arrangement, production, and songwriting. As a producer, Bell crafted numerous classics with The Stylistics (“You Make Me Feel Brand New,” “Betcha by Golly, Wow”), Spinners (“I’ll Be Around,” “Could It Be I’m Falling In Love”), and The Delfonics (“La-La (Means I Love You),” “Didn’t I (Blow Your Mind This Time)”). His signature style combined lush orchestration with tight rhythm sections, creating a smooth yet emotionally resonant backdrop for the distinctive vocal harmonies of these groups.

Beyond his production work, Bell’s talents as an arranger and songwriter were equally significant to his legacy. His intricate string and horn arrangements elevated songs like “People Make the World Go Round” by The Stylistics and “The Rubberband Man” by The Spinners into something far more sophisticated than typical pop fare. As a songwriter, often collaborating with Linda Creed, he penned enduring hits including “You Are Everything” and “Break Up to Make Up.” While this playlist highlights his work as a producer, Bell’s arranging skills also enhanced recordings by artists he didn’t produce, including Archie Bell & The Drells, Dusty Springfield, Jerry Butler, and many others, extending his musical influence far beyond his core production credits.

What distinguished Bell’s work was his classical training combined with deep soul sensibilities—creating arrangements that balanced complexity with accessibility. Unlike many producers of his era who relied on formula, Bell approached each artist uniquely, tailoring his sound to complement specific vocal qualities. This musical versatility allowed him to help shape not just the Philadelphia soul sound but to influence broader pop music trends throughout the 1970s and beyond. His productions maintain their artistic integrity and emotional impact decades later, testament to a visionary who understood that the most profound musical innovations often happen in the mainstream, where artistry and accessibility converge.

Follow Tunes Du Jour on Facebook

Follow me on Bluesky

Follow me on Instagram

Tunes Du Jour Presents Kenneth Gamble & Leon Huff Productions

by with No Comment Uncategorized

In the 1970s, Kenneth Gamble and Leon Huff shaped the sound of a generation with their signature brand of sophisticated, richly orchestrated soul music. As the architects of what became known as Philly soul, the duo crafted anthems that balanced deep emotional resonance with tight, danceable grooves. Their work as producers at Philadelphia International Records (PIR) established a sonic identity that was as polished as it was powerful, laying the foundation for later developments in R&B and disco.

Philly soul stood apart from other regional styles of the time, thanks in large part to Gamble and Huff’s emphasis on lush string arrangements, driving rhythm sections, and socially conscious lyrics. With a stable of top-tier session musicians—collectively known as MFSB—they created an expansive sound that was both cinematic and immediate. Songs like “Back Stabbers” by The O’Jays and “The Love I Lost” by Harold Melvin & The Blue Notes turned heartbreak and betrayal into dramatic musical statements, while dancefloor favorites like “Do It Any Way You Wanna” by People’s Choice showcased their ability to craft irresistibly propulsive rhythms.

As producers, Gamble and Huff had a particular talent for pairing the right voices with the right material. Lou Rawls’ baritone found a new dimension on “You’ll Never Find Another Love Like Mine,” and Billy Paul’s jazz-influenced phrasing made “Me and Mrs. Jones” a timeless tale of illicit romance. They also helped usher in the rise of Teddy Pendergrass, whose raw, commanding delivery gave Harold Melvin & The Blue Notes a distinct edge on tracks like “Wake Up Everybody” and “Don’t Leave Me This Way” before his successful solo career under their guidance.

Beyond crafting individual hits, Gamble and Huff understood the power of music as a cultural force. Songs like “Love Train” promoted unity and optimism, while “For the Love of Money” took a hard look at greed and materialism. Their productions weren’t just about making records—they were about shaping the mood of the era. Even their instrumental work, such as MFSB’s “T.S.O.P. (The Sound of Philadelphia),” became anthemic, doubling as the theme for Soul Train and solidifying Philly soul’s influence on popular culture.

The legacy of Gamble and Huff’s production work is undeniable. Their seamless blend of elegance and groove paved the way for the disco explosion, influenced generations of R&B artists, and remains a touchstone for contemporary soul revivalists. Whether through the soaring harmonies of The Three Degrees, the anthemic hooks of The Jacksons, or the velvet-toned storytelling of Jerry Butler, their music continues to resonate—proof that the sound of Philadelphia was more than just a moment in time. It was, and still is, a movement.

Follow Tunes Du Jour on Facebook

Follow me on Bluesky

Follow me on Instagram

Your (Almost) Daily Playlist: 12-17-23

by with No Comment Uncategorized

Norman Whitfield and Barrett Strong collaborated to write several hits for The Temptations, among them “Papa Was A Rollin’ Stone,” “I Can’t Get Next To You,” “Psychedelic Shack,” “Ball Of Confusion,” and “Just My Imagination (Running Away With Me).” The latter was inspired by Strong’s crush on a woman who didn’t know he existed. It became The Temptations’ third number one single on the Hot 100. 

Lead vocalist on “Just My Imagination,” the late Eddie Kendricks of the Temptations was born on this date in 1939.

Follow Tunes du Jour on Facebook

Follow Tunes du Jour on Twitter

Follow me on Instagram

Your (Almost) Daily Playlist: 6-16-23

by with No Comment Uncategorized

Back in 2016, when Donald Trump was a candidate for president of the United States of America without impeachments and indictments on his resume, the classic song “Love Train” was played at the Republican National Convention. The O’Jays were not supportive of this use of their hit. Group member Walter Williams said “Our music, and most especially ‘Love Train,’ is about bringing people together, not building walls. I don’t appreciate being associated with Mr. Trump and his usage of our music without permission.” Added group member Eddie Levert, “I don’t agree, whatsoever, with Trump’s politics to the point where I think he just may be the anti-Christ.”

The O’Jays’ Eddie Levert turns 81 today. A few of his group’s hits are included on today’s playlist.

Follow Tunes du Jour on Facebook

Follow Tunes du Jour on Twitter

Follow me on Instagram

Your (Almost) Daily Playlist: 12-7-22

by with No Comment Uncategorized

Today’s playlist celebrates the December 7 birthdays of Tom Waits, Damien Rice, Louis Prima, All Saints’ Nicole Appleton, and Harry Chapin; and the December 8 birthdays of Nicki Minaj, The Doors’ Jim Morrison, The Allman Brothers Band’s Gregg Allman, Sinéad O’Connor, Jerry Butler, Jimmy Smith, Geto Boys’ Bushwick Bill, George Baker, Dan Hartman, Martin Circus’s Gerard Blanc, Sammy Davis Jr., Fox’s Noosha Fox, Alice DeeJay’s Judith Pronk, and Chrisette Michele.

Follow Tunes du Jour on Facebook

Follow Tunes du Jour on Twitter

Follow me on Instagram