Tag Archives: Marvin Gaye

Your Daily Playlist (1-19-20)

Inspired by the January 19 birthdays of Phil Everly, Dolly Parton, Janis Joplin, Robert Palmer, Caron Wheeler, America’s Dewey Bunnell, Deep Purple’s Rod Evans, and Shelley Fabares, and by National Popcorn Day.

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Twenty Songs You Should Hear (1-12-20)

Happy Sunday! I hope it’s a fun day. An I-don’t-have-to-run day.

Here are some songs to play while chillin’ in the crib:

Run the Jewels featuring Zack de la Rocha – “Close Your Eyes (And Count to Fuck)”
Today is the birthday of Zack de la Rocha, best known as the singer for Rage Against the Machine.

Beck – “Black Tambourine”

Mary J. Blige – “PMS”

Ruth Brown – “I Can’t Hear a Word You Say”
Today is the birthday of the late Ruth Brown. She had so many best-sellers on Atlantic Records in the 1950s that the label became known as “the house that Ruth built.” You may know her from the original movie version of Hairspray, in which she played Motormouth Maybelle.

Marvin Gaye – “Hitch Hike”
With backing vocals by Martha and the Vandellas.

Ray Charles – “Drown in My Own Tears”

Stevie Wonder – “Love Having You Around”

Aretha Franklin – “Spirit in the Dark”
Aretha’s son Kecalf doesn’t want you to see the new biopic of the soul legend, which hits theaters sometime in 2020. He says her family wasn’t consulted about what is in the movie, aside from Jennifer Hudson as Aretha, which was the Queen’s choice.

King Curtis – “Memphis Soul Stew”

Kendrick Lamar – “Hiiipower”
Lamar’s first single, from 2011.

Amerie – “1Thing”
Today is Amerie’s birthday. This song sat on the shelves at Sony Music for a year and a half, at which point Amerie herself leaked it to radio stations. It reached #8 on the pop chart.

Missy “Misdemeanor” Elliott featuring 702 and Magoo – “Beep Me 911”

Madonna – “Take a Bow”
This song went to #1 in the US. In the UK, it peaked at #16, ending her record-breaking streak of 35 consecutive top ten singles.

The White Stripes – “Black Math”

Foo Fighters – “This Is a Call”
Foo Fighter Dave Grohl wrote this song, sang it, and played every instrument on it.

Janet Jackson – “Throb”
Boom boom boom until noon noon noon.

OutKast featuring Raekwon – “Skew It on the Bar-B”
Today is the birthday of Raekwon, best known as a member of the Wu-Tang Clan.

Big Star – “In the Street”
Today is the birthday of Big Star’s Chris Bell. This song was used as the theme for That 70’s Show. The soundtracks to that television sitcom were the first projects I worked on upon getting a job at Jive Records.

Spice Girls – “Say You’ll Be There”
Today is the birthday of Mel C (Sporty Spice).

Sly & the Family Stone – “Dance to the Music”
Today is the birthday of the late Cynthia Robinson, trumpeter and vocalist for Sly & the Family Stone. She and Jerry got a message that’s sayin’ “all the squares, go home!”

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Message In Our Music: A Black Music Month Playlist

In 1979, President Jimmy Carter declared June Black Music Month. In 2016, President Barack Obama, who recognized the month as African-American Music Appreciation Month, said the music of African-American artists helped the country “to dance, to express our faith through song, to march against injustice, and to defend our country’s enduring promise of freedom and opportunity for all.” Today’s Tunes du Jour playlist embodies that sentiment.

(The Spotify embed function is not working.)

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20 Duets

Duets. Twenty of ’em.

Happy Valentine’s Day!


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The Ultimate Christmas Playlist

Today is the day after Thanksgiving here in the United States of America. You’re officially allowed to start listening to holiday music now. To get you started, I compiled a playlist of what I consider to be 100 of the best Christmas songs. Okay, 98 songs, a stand-up routine and a skit. It’s a mix of standards, versions of standards with which you may not be familiar, and obscure but delightful tunes.

Enjoy!

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It’s Danger Mouse’s Birthday And I Need To Dance!

About Bill Cosby, rapper A$AP Rocky recently said, “He did so much positive things leading up to one thing, which he was convicted of being innocent for, by the way.” First off, it’s so many positive things, not so much. Secondly, it’s for which he was convicted of being innocent. Thirdly, one gets convicted of being innocent? No wonder our nation’s jails are overcrowded. Go on, $AP. “All you remember is the 56 woman and all that kind of shit.” Yes, all that kind of serial rapist shit. Nobody remembers he introduced the world to Fat Albert and Raven Symone. Just rape rape rape and more rape. Oh, sorry. I interrupted this genius again. Back to you A$$. “I’m not his lawyer, but I do know he’s innocent.” And even if he is guilty, “All we know is that he was accused, he allegedly raped however many woman he raped, which, you got, it’s so much issues in the world, you know I’m saying?” I know what you’re saying! There are so many issues in the world, so why spend any time on one of the issues in the world, that being the issue of crime?

I expected better from the guy who rapped “I be fuckin’ broads like I be fuckin’ bored / Turn a dyke bitch out have her fuckin’ boys, beast” and “I swear that bitch Rita Ora got a big mouth/ Next time I see her might curse the bitch out/ Kicked the bitch out once cause she bitched out/ Spit my kids out, jizzed up all in her mouth and made the bitch bounce.” It turns out he’s not as intelligent, articulate and thoughtful as those lyrics make him out to be.

The only time I ever bought the “clean” version over the “explicit” version of a song is when I got A$AP Rocky’s “F**kin’ Problems,” from which the dyke bitch lyric is taken. The beat is great, but the lyrics are so over-the-top misogynist, and that’s saying a lot for a genre in which far too many lyrics are extremely misogynist.

Rocky is a talented guy, albeit one with a vile attitude toward women. Usually I can separate the person from the art. I love the movie Chinatown, even though its director, Roman Polanski, pled guilty to statutory rape. I love the Ronettes’ “Be My Baby” and the Righteous Brothers’ “You’ve Lost That Lovin’ Feeling,” even though the producer of those records, Phil Spector, is presently serving time for second degree murder. I love Robin Thicke’s “Blurred Lines,” even though he’s Robin Thicke. I don’t know what I’ll do if Chris Brown ever releases a halfway decent song. Good things the odds of that ever happening are mighty slim.

I’m not defending these artists. Being a monster and being talented are not mutually exclusive. Sometimes I can listen to or watch the art and not think about the crimes allegedly committed. Is that wrong? If it is, that’s my f**kin’ problem.

CeeLo Green gave us the great “Fuck You” in 2010. In 2012, Green was accused by a woman of drugging and sexually assaulting her. CeeLo’s attorney said the sex was consensual, with the singer tweeting “If someone is passed out they’re not even WITH you consciously, so WITH Implies consent. People who have really been raped REMEMBER!!!” Fuck you.

I still listen to Green’s “Fuck You,” but I don’t set out to listen to his newer music. In part it’s because of his attitude. Even if he didn’t drug and or rape this woman, I read his tweets about rape and think “Does that make him crazy? Probably.” To be honest, I also don’t listen to his newer music because it sucks. Everything the man has done since “Fuck You” is pretty bad. Did you hear his song “Robin Williams” from last year? It’s shit. I’m not saying I’m glad he died, but the actor is lucky he never had to hear it.

So I’ll listen to “Fuck You” and I’ll listen to “Crazy,” the worldwide smash he had as one-half of Gnarls Barkley. The other half of the duo, Brian Burton, professionally known as Danger Mouse,” celebrates his 39th birthday today. Tunes du Jour kicks off its weekly dance party with Gnarls Barkley’s “Crazy.” Will I be celebrating when CeeLo’s birthday comes around? Maybe by singing “Fuck You.”


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It’s Friday And I Need To Dance!

“If disco had stuck around, we don’t how much less terrorism we might have in the world now.”
– Gloria Gaynor

Recently, Bono, the singer with U2, made headlines when he suggested that to fight ISIS we send comedians to entertain them, which is his stupidest idea since foisting U2’s most recent album on unsuspecting people by automatically including it in their iTunes libraries. Talk about a sneak attack!

To her credit, Gloria Gaynor didn’t go as far as suggesting we deploy KC & the Sunshine Band to the Middle East. She merely wondered aloud if more disco equals less terrorism.

She may be onto something. Case in point – I listen to a lot of disco, and I’ve never killed anyone.

Do you need more evidence? I’ve gone to many a classic disco night, and I’ve yet to witness a single beheading.

People have claimed that playing heavy metal albums backwards reveals satanic messages. You know what happens when you play a Village People album backwards? It sounds exactly the same!

To do my part in fighting terrorism, I present to you some of my favorite disco tunes of all time, with “all time” meaning the years 1975 thru 1979. To show how serious I am in this fight against evil, today’s playlist includes twenty-five songs instead of the usual twenty. You’re welcome.


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Throwback Thursday – 1983

Winston + MJ
MTV debuted on August 1, 1981. Back then it was a music video network. It positioned itself as a rock station. Most of the videos shown were of songs made by Caucasian performers, though rock-leaning black acts such as Joan Armatrading and the Bus Boys got some play.

Then came “Billie Jean.” The second single from Michael Jackson’s Thriller, “Billie Jean” was accompanied by a stylish video featuring a mesmerizing performance from Jackson. However, it wasn’t a rock song. It didn’t fit the format of rock radio stations, and it didn’t fit the format of MTV either.

But there is a big difference between radio and music television. There were plenty of radio stations and many different formats. You may not hear “Billie Jean” on the rock stations, but you could hear it on r&b stations and pop stations and dance-leaning stations. However, there was only one music television – MTV.

In his autobiography, Howling at the Moon, Walter Yetnikoff, head of CBS Records, for whom Jackson recorded (and where I worked in my first music business job), wrote “I screamed bloody murder when MTV refused to air [Jackson’s] videos. They argued that their format, white rock, excluded Michael’s music. I argued they were racist assholes – and I’d trumpet it to the world if they didn’t relent. I’ve never been more forceful or obnoxious. I’ve also never been as effective, threatening to pull all our videos. With added pressure from [Thriller producer] Quincy Jones, they caved in, and in doing so the MTV color line came crashing down.”

Jackson’s video for “Billie Jean” aired on MTV, followed just weeks later by his video for “Beat It,” a song whose guitar solo from Eddie Van Halen helped make it a hit on rock radio. These two videos made Jackson, already a superstar, a worldwide phenomenon with a humongous fan base that transcended race, age and location in a way never seen before. These two videos made MTV, a year and a half old and fairly popular in white suburban areas, a cultural institution. These two videos made the music video, then not something done for many singles, particularly those performed by artists of color, an art form and a necessary marketing tool.

Some people tuned in to MTV to see the Michael Jackson videos, and while watching the channel, discovered other acts. Some people tuned in to MTV to watch “white rock” videos, and while watching the channel, discovered Michael Jackson.

MTV went to showcase more “non-rock” videos. In 1988, they launched their hugely popular program Yo! MTV Raps, something that would have been completely unexpected just five years earlier, pre-“Billie Jean.”

While MTV deserves credit for making “Billie Jean” and Thriller successful, the person most responsible is Jackson himself. He wrote the song. He sang the song. He danced the song. Quincy Jones did not want “Billie Jean” to appear on Thriller. He didn’t like the title. He didn’t like the bassline. He felt the song’s introduction was too long. Jackson argued “But that’s the jelly!…That’s what makes me want to dance.” Jones wasn’t ready for this jelly, but Jackson stood his ground.

In May of 1983, NBC aired a tribute to Motown Records. Motown: Yesterday, Today, Forever featuring many legends who recorded for the storied label performing their classics. We saw Diana Ross, the Temptations, Marvin Gaye, Smokey Robinson and the Miracles, Stevie Wonder, the Four Tops, Martha Reeves, Lionel Richie and the Commodores, Mary Wells, Junior Walker and then some. It was a terrific show, but the talk of the town following its airing was the performance of a song not from the Motown catalogue – Michael Jackson’s “Billie Jean.” The iconic performance, during which Jackson brought the famous moonwalk to the world at large, pushed him that much more ahead of any other performer working in music back then.

Following “Beat It,” CBS Records released four more singles from Thriller. All seven of the singles released (the album had only nine songs!) went top ten, breaking the record of most top ten hits from a single-artist album that was set a few years earlier by…Michael Jackson, whose Off the Wall gave us four. Before Thriller, four singles for one album was considered a lot. Thriller raised the bar for blockbuster albums, and subsequent releases such as Bruce Springsteen’s Born in the U.S.A., Prince’s Purple Rain, Def Leppard’s Hysteria and Janet Jackson’s Control each produced more than four hits.

“Billie Jean” changed everything.

On this week’s Throwback Thursday playlist, Tunes du Jour spotlights 1983, kicking off with Michael Jackson’s classic “Billie Jean.”


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Throwback Thursday – 1982

As a songwriter, Gloria Jones charted with Gladys Knight & the Pips’ “If I Were Your Woman,” the Four Tops’ “Just Seven Numbers (Can Straighten Out My Life),” and Marvin Gaye and Diana Ross’ “My Mistake (Was to Love You).” As a producer, Gloria Jones hit the top ten on the disco chart with Gonzalez’s “Haven’t Stopped Dancing Yet.” But as a lead singer, Jones failed to make the pop, r&b or dance charts.

In 1973, while on a trip to the United States, British DJ Richard Searling purchased a copy of a Gloria Jones single from 1965. The A-side was a song called “My Bad Boy’s Comin’ Home,” but it was the B-side that really got Searling’s attention.

Northern soul music (uptempo American soul music in a sixties Motown vein yet without commercial success) had a large cult following in the northern England at that time, and Searling played the Gloria Jones b-side during his sets.

Northern soul fan David Ball loved the song. When he and his musical partner, Mark Almond, who together comprised the duo Soft Cell, were looking for a song to cover, they went with the Jones song, thinking it would be interesting for a synth band to cover a soul tune. Their record label asked them to add guitar, bass and drums to the track, but the duo refused. Despite this, the label put out the singer. Almond told Rolling Stone magazine “We thought if we were really lucky, we’d scrape into the top 75 in Britain. We didn’t think anything would happen over here [in the US].”

Soft Cell’s recording of “Tainted Love” became a smash worldwide. In the US, it spent 43 weeks on Billboard’s Hot 100, a record at that time. Said Gloria Jones of the Soft Cell recording “Their version was far better than mine.”

Winston + Soft Cell
This week, Tunes du Jour celebrates Throwback Thursday with twenty great tunes from 1982, kicking off with Soft Cell’s version of “Tainted Love,” but first, check out Gloria Jones’ original:



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Throwback Thursday – 1971

At the end of the 1960s, Marvin Gaye was a huge star, having had more than two dozen top 40 hits before 1970. However, the singer was having a crisis of conscience, wanting to sing about the ills of the world he saw around him as opposed to perform nothing but love songs.

Inspired by the horrific stories told to him by his brother of what he witnessed serving three years in Viet Nam, Gaye, who hadn’t a hand in writing most of his hits up to this point, added lyrics to an unreleased song written by Obie Benson of the Four Tops and Al Cleveland.

He presented the song to Motown head Berry Gordy, who supposedly called it “the worst thing I ever heard in my life.” Gaye’s response? “Basically, I said ‘Put it out or I’ll never record for you again.’ That was my ace in the hole, and I had to play it.”

“What’s Going On” became the fastest-selling single in the history of Motown Records. Rolling Stone magazine has since placed it at #4 on their ranking of the greatest songs of all-time.

This week’s Throwback Thursday playlist consists of twenty hits from 1971, kicking off with Marvin Gaye’s “What’s Going On.”


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