Richard Carpenter was born on this date in 1946. A handful of the hits he made with his sister Karen are included on today’s playlist.
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Tunes Du Jour Presents 1980
As the calendar turned to 1980, the music world stood at a fascinating crossroads. The year marked not just the dawn of a new decade, but also a pivotal moment in popular music, where established genres evolved and new sounds emerged to captivate listeners.
The influence of disco could still be felt, though its dominance was waning. Michael Jackson’s “Rock With You” showcased his exceptional vocal talents and danceable rhythms, while Diana Ross’s “Upside Down” demonstrated the sophisticated production techniques that defined the era. These tracks, along with hits like Lipps, Inc.’s “Funkytown” and The Brothers Johnson’s “Stomp!”, proved that disco’s infectious energy still had the power to fill dance floors.
Stevie Wonder’s “Master Blaster (Jammin’)” further exemplified how established artists were adapting to the changing musical landscape, infusing reggae influences into his signature soulful sound.
However, 1980 also heralded the rise of new wave and synth-pop, genres that would come to define much of the decade’s sound. Gary Numan’s “Cars” introduced many listeners to the futuristic possibilities of synthesizer-driven music, creating an atmospheric soundscape that was both innovative and influential. Blondie’s “Call Me” further exemplified the genre’s versatility, blending punk aesthetics with disco beats to create a chart-topping hit that appealed to a broad audience. Pretenders established themselves with “Brass in Pocket,” a song that showcased Chrissie Hynde’s distinctive vocals and the band’s unique blend of punk energy and pop sensibility.
Rock and punk maintained a strong presence throughout the year. Pink Floyd’s “Another Brick in the Wall, Pt. 2” dominated charts worldwide, its memorable chorus and biting social commentary resonating with listeners. The Clash’s “London Calling” and AC/DC’s “You Shook Me All Night Long” brought raw energy and rebellious spirit to the airwaves. These tracks, along with Motörhead’s aggressive “Ace of Spades,” spoke to listeners seeking music that channeled their frustrations and aspirations. In contrast, Joy Division’s haunting “Love Will Tear Us Apart” showcased a more introspective side of post-punk, its emotional depth influencing countless artists in the years to come. The Cure’s “A Forest” further expanded the boundaries of post-punk, its atmospheric sound and introspective lyrics pointing towards the gothic rock movement that would flourish in the coming years.
The year was also marked by significant releases that left an indelible mark on popular culture. John Lennon’s “(Just Like) Starting Over” served as a poignant reminder of his enduring legacy, released shortly before his untimely death. Queen’s “Another One Bites the Dust” demonstrated the band’s ability to blend rock with funk, creating an anthem that remains popular decades later. David Bowie’s “Ashes to Ashes” continued his tradition of pushing musical boundaries, seamlessly merging art rock with electronic elements.
Oh, a guy named Prince had his breakthrough hit “I Wanna Be Your Lover.” We’d hear more from him throughout the 1980s.
As the year closed, it was clear that 1980 had set the stage for the decade to come. The eclectic mix of sounds reflected a world in transition. It was a year where artists embraced both the past and the future, creating music that was as much a reflection of its time as it was a precursor to the trends that would define the 1980s.
Tunes Du Jour Presents 1981
As the new decade dawned, 1981 emerged as a year of significant musical transformation. The eclectic mix of songs that defined this period reflected a music industry in flux, with established genres evolving and new sounds emerging to captivate listeners across the globe.
Rock music continued to hold its ground, adapting to the changing times. The Rolling Stones proved their enduring relevance with the gritty “Start Me Up,” while Journey’s “Don’t Stop Believin'” became an arena rock anthem that would stand the test of time. Bruce Springsteen’s “The River” showcased his storytelling prowess, and Phil Collins’ “In The Air Tonight” introduced a new dimension of atmospheric rock with its iconic drum break. George Harrison’s “All Those Years Ago,” a touching tribute to John Lennon, marked Harrison’s first U.S. top ten single in eight years, demonstrating the lasting appeal of the former Beatles.
New Wave and post-punk sounds flourished in 1981, pushing boundaries and incorporating electronic elements. Talking Heads’ “Once in a Lifetime” demonstrated the genre’s art-rock leanings, while The Go-Go’s brought a pop sensibility to new wave with “Our Lips Are Sealed.” Duran Duran’s “Girls on Film” hinted at the new romantic movement that was gaining traction. The Psychedelic Furs’ “Pretty in Pink,” with its blend of post-punk edge and pop accessibility, showcased Richard Butler’s distinctive vocals and would later inspire and lend its name to a defining film of the ’80s.
The year also saw the emergence of hip-hop as a force in popular music. Blondie’s “Rapture” became the first song featuring rap vocals to reach number one on the U.S. Billboard Hot 100, fusing new wave with hip-hop influences. Meanwhile, Grandmaster Flash’s innovative “The Adventures of Grandmaster Flash on the Wheels of Steel” was one of the first records to extensively use sampling, laying the groundwork for hip-hop’s future.
Dance music was evolving beyond disco into new, exciting forms. Grace Jones’ “Pull Up to the Bumper” blended funk, new wave, and reggae influences, pointing towards a more eclectic and experimental future for club music. Taana Gardner’s “Heartbeat” helped define the emerging genre of garage house with its stripped-down beat and soulful vocals. Kool & the Gang’s “Celebration” remains a party staple, bridging the gap between disco and contemporary R&B.
In the realm of R&B and funk, Luther Vandross’ “Never Too Much” marked the acclaimed background vocalist’s first hit under his own name, showcasing his smooth, sophisticated style. Rick James pushed funk to new heights with “Super Freak,” incorporating rock elements and a memorable synth line that would be sampled for years to come. The Pointer Sisters’ “Slow Hand” kept R&B smooth and soulful.
1981 also witnessed the continued rise of synth-pop and electronic music. Heaven 17’s politically charged “(We Don’t Need This) Fascist Groove Thang” and New Order’s “Ceremony” showcased the genre’s range from danceable pop to moody post-punk.
As some artists embraced new sounds, others used music to comment on social issues. The Specials’ “Ghost Town” reflected the urban decay and racial tensions in Britain, while Black Flag’s hardcore punk anthem “Rise Above” railed against societal norms. Prince’s “Controversy” challenged listeners both musically and lyrically, blending funk, rock, and new wave while tackling taboo subjects and questioning social norms, hinting at the boundary-pushing artist he would become.
From the chart-topping pop of Kim Carnes’ “Bette Davis Eyes” and Olivia Newton-John’s “Physical” to ABBA’s emotionally charged ballad “The Winner Takes It All,” 1981 was a year of contrasts and transitions. It was a time when established stars adapted to new trends, emerging artists made their mark, and genres blended in exciting ways. This rich musical landscape set the stage for the diverse and innovative sounds that would define the rest of the decade, making 1981 a pivotal year in the evolution of popular music.
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Tunes Du Jour Presents 1978
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: 1-31-24
The first artist fan club I ever joined was that of KC and the Sunshine Band. I received a membership card and a Christmas card from the band when that holiday I don’t celebrate came around. I don’t think there was more to it. I joined Olivia Newton-John’s fan club a year or two later, and received a membership card and a folio filled with photos of Livvy pressed on cardboard of various sizes. Years later I joined the R.E.M. and Pearl Jam fan clubs, which came with 45 rpm records and stickers and a calendar and a VHS tape and some other fun stuff.
Are any of y’alls in an artist’s fan club? Is it worth the price of entry?
KC was born Harry Wayne Casey on this date in 1951. A handful of his group’s songs are included on today’s playlist. Also included is his first number one single – as a songwriter with fellow Sunshine Band member Rick Finch on George McCrae’s “Rock Your Baby.”
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Your (Almost) Daily Playlist: 12-11-23
The first time Brenda Lee topped the Billboard Hot 100 was with “I’m Sorry” in 1960. The most recent time Brenda Lee topped the Billboard Hot 100 was a few days ago, when her 1958 single “Rockin’ Around the Christmas Tree” finally ascended to the top of the chart. That makes Lee the oldest person to ever have a US number one single and marks the longest-ever climb to number one and the longest gap between number one singles for an artist.
Brenda Lee was born on this in 1944. A couple of her hits are included on today’s playlist.
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Your (Almost) Daily Playlist: 12-2-23
According to my Spotify Wrapped, pop was my top genre of 2023, thanks to the many hits I jammed to this year. But did you know I almost missed one of the greatest pop songs ever? Back in 1999, I barely heard Britney Spears’ “…Baby One More Time” when it was a chart-topper. It was only when the song was descending on the charts and I joined Jive Records, her label, as their head of Licensing that I discovered this masterpiece. I’ve been a loyal fan ever since, even after I left the company.
We had a party at Jive when Britney turned 18. It’s hard to believe that today she turns 42. A few of her hits are on today’s playlist.
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Your (Almost) Daily Playlist: 11-15-23
I saw the movie Muriel’s Wedding with my friend Kathy in the theater when it was released. You know what’s better than watching Muriel’s Wedding? Not watching Muriel’s Wedding. As I recall, ugly duckling Muriel marries a smoking hot South African swimmer who looks like he stepped out of a Calvin Klein ad and then dumps him for no good reason. Oh, I probably should have written SPOILER ALERT before I told you that. Oh well. Here’s another SPOILER ALERT: Muriel’s an idiot. When she tells the delicious hunk of meat that they’re over, Kathy screamed out “WHAT?” I felt the same, as did most of the people in the theater, as we were in a gay neighborhood. Why would she leave that gorgeous piece of manflesh? To “discover herself?” To “follow her dream?” Give me a break. The only thing she found was a one-way ticket to Loserville. The best thing about Muriel’s Wedding…well, the best thing about Muriel’s Wedding not counting that yummy man candy who Muriel threw away like yesterday’s trash is that it brought AꓭBA back to the spotlight. Since their breakup in 198something they remained prominent throughout much of the world, but in the US, they were a campy artifact of a bygone era. Stateside the group had one number one single, “Dancing Queen,” whereas in England they hit number one 1,876 times. England. People in England are – I say this with love and as a die-hard AꓭBA fan – nuts. Anyhoo, after Muriel’s Wedding we got AꓭBA featured in the delightful motion picture The Adventures of Priscilla, Queen of the Desert, which I also saw in the movie theater, where I was seated behind former New York City mayor Ed Koch, who I used to call Ed Crotch. Then we got the jukebox musical Mamma Mia, which was super successful on stage and screen. I never saw it on stage but I saw the movie – not in the theater but on television – and it made me miss my friends in New York – Kathy, Laura, Daisy, Debbie – because we used to have bad movie days every few weeks where we’d watch Showgirls or Battlefield Earth or that movie in which Anna Nicole Smith played a hostage negotiator and we’d laugh and talk through the movies and it was always a blast. They would love Mamma Mia. It’s like the musical equivalent of Showgirls. I know many disagree. Many disagree with me (and Kathy) about Muriel’s Wedding, too. To each their own. You’re allowed to have your wrong opinions.
AꓭBA’s Frida was born Anni-Frid Lyngstadon this date in 1945. Lots of AꓭBA on today’s playlist.
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