AC hits of The Manhattan Transfer 1976-1985

During the years 1976-1985, The Manhattan Transfer scored 7 hits on Billboard's Adult Contemporary chart.  Here's a breakdown table, including year, peak chart position, and number of weeks on the AC charts. 

This is a mixed bag for sure: covers, Rod Temperton, Jay Graydon, doo wop, and a Edith Piaf knockoff.  Still, I'm a fan.  For additional thoughts on the Manhattan Transfer, click here.

Year	Peak	Weeks	Title
1977	16	9	Chanson D'Amour
1981	4	16	Boy from New York City
1981	41	6	Smile Again
1982	22	13	Route 66
1983	5	17	Spice of Life
1984	6	17	Mystery
1984	14	13	Baby Come Back to Me (The Morse Code of Love)

Random album ad #9

The Alan Parsons Project - Ammonia Avenue (1984)

Simple Minds - Somebody Up There Likes You (1982)

Somebody Up There Likes You
Simple Minds

Written by: Simple Minds Produced by: Peter Walsh Album: New Gold Dream (81-82-83-84) (A&M, 1982)

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I couldn't tell you why, but out of all the great songs on this album, I've always gravitated towards this simple, repetitive, moody, instrumental soundscape.  There's not much too it, not even noodling solos over the chords - the main feature seems to be the chord progression itself.

From the Simple Minds website:

The song was based around the Mahler Chords, an idea Charlie [Burchill] developed whilst jamming in a Fife farmhouse for the New Gold Dream (81,82,83,84) album.

"We had words for Somebody Up There Likes You but we took them off - we felt that the music spoke more than the words did. Up until then, Simple Minds always had this ambient side" - Jim [Kerr], Sunday Herald interview, 2008.

I have no idea what "Mahler Chords" they are referencing.  If you have any insight, please comment below.  In the meantime, I'll continue to enjoy.

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Classic album cover art #4

Steve Winwood - Arc of a Diver (1980)

Cover by Tony Wright

Bond Film Theme Songs 1976-1985

during

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The Spy Who Loved Me (1977) 

Song: Nobody Does it Better Performed by: Carly Simon Written by: Marvin Hamlisch & Carol Bayer Sager Produced by: Richard Perry Academy Award: Nominated

U. S. Billboard Charts:
Hot 100	2
Adult Contemporary	1

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Moonraker (1979) 

Song: Moonraker Performed by: Shirley Bassey Written by: John Barry & Hal David Produced by: John Barry Academy Award: Not nominated

U. S. Billboard Charts:
Did not chart

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For Your Eyes Only (1981) 

Song: For Your Eyes Only Performed by: Sheena Easton Written by: Bill Conti & Michael Leeson Produced by: Christopher Neil Academy Award: Nominated

U. S. Billboard Charts:
Hot 100	4
Adult Contemporary	6

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Octopussy (1983) 

Song: All Time High Performed by: Rita Coolidge Written by: John Barry & Tim Rice Produced by: John Barry Academy Award: Not nominated

U. S. Billboard Charts:
Hot 100	36
Adult Contemporary	1

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Never Say Never Again (1983) 

Song: Never Say Never Again Performed by: Lani Hall Written by: Michael Legrand and Alan & Marilyn Bergman Produced by: Herb Alpert & Sergio Mendes Academy Award: Not nominated

U. S. Billboard Charts:
Hot 100	103
Adult Contemporary	22

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A View to a Kill (1985) 

Song: A View to a Kill Performed by: Duran Duran Written by: Duran Duran & John Barry Produced by: Bernard Edwards, Jason Corsaro, & Duran Duran Academy Award: Not nominated

U. S. Billboard Charts:
Hot 100	1

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AC hits of Johnny Mathis 1976-1985

During the years 1976-1985, Johnny Mathis scored 13 hits on Billboard's Adult Contemporary chart.  Here's a breakdown table, including year, peak chart position, and number of weeks on the AC charts. The real treat for me was discovering Mathis' disco rendition of the Cole Porter tune "Begin the Beguine." 

Year	Peak	Weeks	Title
1976	36	5	One Day in Your Life
1976	44	3	Yellow Roses on her Gown
1976	25	9	Do Me Wrong, But Do Me
1977	29	5	Loving You-Losing You
1977	24	9	Arianne
1978	1	19	Too Much, Too Little, Too Late (w/Deniece Williams)
1978	16	11	You're All I Need to Get By (w/Deniece Williams)
1979	15	12	The Last Time I Felt Like This (w/Jane Olivor)
1979	37	5	Begin the Beguine
1982	5	17	Friends in Love (w/Dionne Warwick)
1984	14	13	Love Won't Let Me Wait (w/Deniece Williams)
1984	6	16	Simple
1985	38	2	Right from The Heart

Radio Daze (Revisited) Volume 2 by Hambonian Entertainment

Another outstanding volume in what we hope will be a continued series of Radio Daze-inspired posts from Dirk.  This playlist is equal parts Westcoast/AOR and soul ballads.  Dirk provides the mix, I provide the inane commentary.

Tracks:

• Rock with You - Michael Jackson, Pop #1, AC #21, R&B #1. Typical Quincy Jones/MJ sweetness. In 8th grade, I had a crush on a brunette that loved this song so of course I had to love it as well.  Don't know what happened to the girl, but I still like the song.
• Better Love Next Time - Dr. Hook, Pop #12, AC #3, Country #91.  A country-tinged song atop a slow disco groove, complete with disco strings.  And I'll be damned if it doesn't work, particularly the turn around on the chorus when the horn section kicks in.
• Cruisin' - Smokey Robinson, Pop #4, AC #34, R&B #4. So smooth, so soulful, so good. As disco began to fade away, we were treated to quite a few soul ballads in the early '70s tradition.  This might be the best of them.  Maybe Smokey's strongest vocal ever?
• Déjà Vu - Dionne Warwick, Pop #15, AC #1, R&B #25.  So let me get this straight: Isaac Hayes wrote it, Barry Manilow produced it, and it won a Grammy for Best Female R&B Vocal Performance? Works for me.  Yet another smooth, soulful ballad.
• This is It - Kenny Loggins, Pop #11, AC #17, R&B #19.  A beautiful, uplifting yacht rock classic.  Loggins gets more than a little help from Michael McDonald.
• Let Me Go, Love - Nicolette Larson, Pop #35, AC #9, R&B #96.  More Michael McDonald polished goodness.  I don't remember this one from the radio of my youth, which is a shame.  Produced by Ted Templeman; maybe this album is worth a listen?
• Wonderland - Commodores, Pop #25, AC #43, R&B #21.  Another early seventies-ish soul ballad, expertly handled by Lionel Richie.  At a slower tempo and with a little less funk at the end, this might have been a junior high slow dance standard.
• 99 - Toto, Pop #26, AC #19.  I remember liking this smooth soft rock blend of R&B and pop as a kid and would sing along although I had no idea what the song was about (still don't, not that it matters a bit).  Great keyboard work throughout by the song's writer, David Paich.  It brings back memories of a school field trip to Colorado during spring break of my 8th grade year.  Good times.  Dirk has treated us with the long version in his mix. 
• Give It All You Got - Chuck Mangione, Pop #18, AC #1, R&B #32. Talking about riding some coattails: this piece isn't nearly as good as Mangione's earlier single, Feels So Good.  Bad melody, poor phrasing, unimaginative solos, but at least it's got a funk-lite groove underneath that holds it all together.  Of course, none of this mattered to me at the time - I ran right out and bought the album immediately upon release and wore out the grooves.
• Too Hot - Kool & the Gang, Pop #5, AC #11, Dance #5, R&B #3. Always liked this one; it fits perfectly within my vocal range which meant that unsuspecting ladies were often subjected to this song as a part of my failed, feeble attempts at flirting.  Maybe I shouldn't have given the ladies the classic finger point/wink/tongue click while I was singing to them.  You remember that move:
  
• Special Lady - Ray, Goodman & Brown, Pop #5, AC #17, R&B # 1.  A soulful favorite.  Bought the 45.  Can sing all the different parts.  Love the a cappella part at the end.  Maybe this is what I should have been singing to the ladies (sans finger point).  It deserves a close listen as there's a lot of good stuff going on in the arrangement.
• I Can't Tell You Why - The Eagles, Pop #8, AC #3.  The Eagles best ballad, maybe because it sounds more like Hall & Oates.

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Once again, Dirk has provided us with a playlist I heartily endorse.

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The Radio Daze series of posts:

Original Rhino series reviewed at The CD Project
Volume 1
Volume 2
Volume 3
Volume 4
Volume 5

Radio Daze Revisited by Hambonian Entertainment
Volume 1

Herc's Hideaway series
Volume ½	Volume 11
Volume 6	Volume 12
Volume 7	Volume
Volume 8	Volume 14
Volume 9	Volume 15
Volume 10

The Crusaders - Images (1978)

Released: 1978 (Blue Thumb) Produced by: "Stix" Hooper, Wilton Felder, & Joe Sample Peak on the US Billboard 200: 34

Side One	Side Two
Fairy Tales Marcella's Dream Bayou Bottoms Merry-Go-Round	Cosmic Reign Covert Action Snowflake

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Yesterday, I picked up a box of 8-track tapes at a local store.  It was a fairly large box that held about 30 tapes, marked $5.  I offered $3 and they jumped at my offer so quickly I think I could have gotten the lot for $1.  In any case, the first tape to catch my eye (probably because of the blue cartridge) was this 1978 album by The Crusaders.

Because my listening habits were completely shaped by Top 40 radio in 1978, I am completely unfamiliar with this instrumental album, so this post is comprised entirely of my first impressions. I'm following the original album sequencing, not the 8-track re-sequence.

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• Fairy Tales: This upbeat, funky disco tune gets things off to a good start.  While I don't care much for the lead guitar timbre and the melody never really goes anywhere, Joe Sample's electric piano solo is quite good and I like the overall groove.
• Marcella's Dream: A bluesy ballad with more solid work by Sample.  More of a jam than a organized chart, this one noodles a bit much for my tastes.
• Bayou Bottoms: A great funk track.  I like the way the sax line is doubled by heavily processed guitar.  Writer/saxophonist Wilton Felder stands out on this chart.  It's over all too soon.
• Merry-Go-Round:  This Sample-penned track sounds like a Grover Washington, Jr. tune to me.  And, as someone who likes smooth jazz, that's a good thing.  As you would expect on a tune he wrote, Sample steals the show on piano.

• Cosmic Reign: The longest piece on the album.  Staying true to the title, we first get the spacey intro, followed by a funk groove with lots of bass slappin' but not much of a melody (or many chord changes, for that matter), then, strangely, there's about 4 measures consisting of straight ahead bop.  For the most part, it sticks with the generic funk groove, which doesn't do much for me.
• Covert Action: Heavy fusion.  The overall sound reminds me of Weather Report.
• Snowflake: Probably mis-titled (there's nothing snowflakish about this one), this is another solid Sample tune with a light Latin feel.  Nice solos throughout.

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Bayou Bottoms Merry-Go-Round Snowflake Fairy Tales Cosmic Reign Covert Action Marcella's Dream

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More 8 track fun:

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Random album ad #8

  Dave Edmunds - D.E. 7th (1982)

1980 - The Golden Age of Soundtracks?

I'll never disparage 1980 movie soundtracks for one reason: Xanadu. The biggest soundtrack of the year was Urban Cowboy, but I didn't see that movie in 1980 (not sure I've seen it ever). Instead, I fell in love with the ELO/ONJ roller disco goodness of Xanadu. In terms of hit singles (see list below), this was a great year for soundtracks, but in terms of #1 singles, only two hit the top spot in 1980.

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		"Call Me" Blondie #1 for six weeks, Apr 9 - May 24 from the movie American Gigolo
"Magic" Olivia Newton-John #1 for four weeks, Aug 2 - 23 from the movie Xanadu

Click on the year to check out similar soundtrack lists for the following years:

Year	No. of soundtrack #1's	Total no. of weeks at #1
1980	2 of 16	10
1981	3 of 17	14
1982	3 of 16	10
1983	2 of 17	8
1984	7 of 20	21
1985	9 of 27	14

"Magic" is a great song, ONJ is a great singer, and is my favorite song from the Xanadu soundtrack.

Other soundtrack hits from 1980 that didn't make the top spot include:

• "The Rose" by Bette Midler from The Rose (peaked at #3)
• "Fame" by Irene Cara from Fame (#4)
• "Lookin' for Love" by Johnny Lee from Urban Cowboy (#5)
• "Drivin' My Life Away" by Eddie Rabbitt from Roadie (#5)
• "Late in the Evening" by Paul Simon from One-Trick Pony (#6)
• "I'm Alright" by Kenny Loggins from Caddyshack (#7)
• "Xanadu" by Olivia Newton-John & Electric Light Orchestra from Xanadu (#8)
• "All Over the World" by Electric Light Orchestra from Xanadu (#13)
• "Look What You've Done to Me" by Boz Scaggs from Urban Cowboy (#14)
• "Love the World Away" by Kenny Rogers from Urban Cowboy (#14)
• "I'm Alive" by Electric Light Orchestra from Xanadu (#16)
• "Gimme Some Lovin'" by The Blues Brothers from The Blues Brothers (#18)
• "Out Here on My Own" by Irene Cara from Fame (#19)
• "Suddenly" by Olivia Newton-John & Cliff Richard from Xanadu (#20)
• "On the Road Again" by Willie Nelson from Honeysuckle Rose (#20)
• "Stand by Me" by Mickey Gilley from Urban Cowboy (#22)
• "Could I Have this Dance" by Anne Murray from Urban Cowboy (#33)
• "Flash's Theme" by Queen from Flash Gordon (#42)

The winner of the Oscar for Best Original Song at the 54th Academy Awards was "Fame" from the movie of the same name.

Billboard Top Adult Songs 1961-2006

 

This book is a recent acquisition and it's a wonder the Soft Rock Kid didn't get a copy sooner.  Put together by Joel Whitburn over at Record Research, it incorporates all the chart information from Billboard's Adult Top 40  (which started in March 1996) with the info from the Adult Contemporary charts (which started in July 1961 as the "Easy Listening" chart).  My only problem is the use of the term "adult" because its use isn't consistent with the rest of the entertainment industry:  the term "adult songs" doesn't quite have the same meaning as "adult magazines" or "adult movies," does it?

Published in 2007, it includes all the adult contemporary chart information needed for this blog, so get ready because sooner or later you're going to get more info than you need about the Captain & Tennille's "Muskrat Love" and Spyro Gyra's "Morning Dance."

Classic album cover art #3

The Cars - Candy-O (1979)

Painting by Alberto Vargas

Chicago - If You Leave Me Now (1976)

 If You Leave Me Now
b/w Together Again

Released: July, 1976 (Columbia) Written by: Peter Cetera Produced by: James William Guercio Album: Chicago X

U. S. Billboard Charts:
Hot 100	1
Adult Contemporary	1

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Getting dumped never sounded so good.  Man, this thing is the "poster song" for soft rock: strings, French horns, light rhythm section with acoustic guitar, and Peter Cetera's overdubbed falsetto floating on top of it all, singing his sappy, pleading lyrics.  That's the stuff, immediately relaxing.

A love like ours is love that's hard to find
How could we let it slip away
We've come too far to leave it all behind
How could we end it all this way
When tomorrow comes and we'll both regret
The things we said today

We've all been there, buddy.  But forget the fact that this is a break-up song, it's a great make out song. So smooth and romantic, I would imagine this song helped many a 1976 teenage boy on his quest to get what he wanted from a girl (hint: romance was not what he was after).

The band wasn't wild about including this on the Chicago X album, but they were overruled by producer Guercio.  You can't blame them, there isn't much band on it - it could easily be a Peter Cetera solo release. The band's sax player, Walter Parazaider, has said he heard the song on the radio and initially thought "it sounded like McCartney," not realizing it was his own band's work. I'm guessing their attitude changed somewhat when it shot to #1 in both the US and the UK and put some cash in their pockets (the album was 2x platinum in the US).  The song also won a couple of Grammy awards.  It changed the musical direction of the band toward down-tempo ballads, much to the delight of this soft rock kid.

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1981 - The Golden Age of Soundtracks?

Not the best year for soundtracks, but not the worse, mainly because of the nine week run at #1 of "Endless Love" in the fall of 1981.  Of the 17 songs to reach the top spot on the Billboard Hot 100 chart in 1981, three songs came directly from a movie soundtrack. I feel a little sorry for Neil Diamond - 3 top Ten singles from The Jazz Singer and none of them made the top spot.  Note: MFD is not responsible for the frightening, horrible pastiche that is the "Endless Love" sleeve art.

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		"9 to 5" Dolly Parton #1 for two weeks, Feb 21 and March 14  from the movie 9 to 5
"Endless Love" Diana Ross and Lionel Richie #1 for nine weeks, Aug 15 - Oct 10 from the movie Endless Love
		"Arthur's Theme (Best That You Can Do)" Christopher Cross #1 for three weeks, Oct 17 - 31 from the movie Arthur

Click on the year to check out similar soundtrack lists for the following years:

Year	No. of soundtrack #1's	Total no. of weeks at #1
1981	3 of 17	14
1982	3 of 16	10
1983	2 of 17	8
1984	7 of 20	21
1985	9 of 27	14

• I can tolerate "9 to 5"
• I can't stand "Endless Love" (never liked it from the get-go although I can sing both parts of the duet if you need it)
• I can't resist yacht rocker Christopher Cross singing a Burt Bacharach melody.  Soft Rock Kid approved.  "Arthur's Theme" is the only one of these three songs currently in my music collection.

Other soundtrack hits from 1981 that didn't make the top spot include:

• "Love on the Rocks" by Neil Diamond from The Jazz Singer (peaked at #2)
• "For Your Eyes Only" by Sheena Easton from For Your Eyes Only (#4) 
• "Hello Again" by Neil Diamond from The Jazz Singer (#6)
• "America" by Neil Diamond from The Jazz Singer (#8)
• "Suddenly" by Olivia Newton-John and Cliff Richard from Xanadu (#20) 
• "Believe It or Not" by Joey Scarbury from The Greatest American Hero (#2) 

The winner of the Oscar for Best Original Song at the 54th Academy Awards was "Arthur's Theme (Best That You Can Do)."

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Martin Briley - I Feel Like a Milkshake (1981)

 I Feel Like a Milkshake
Martin Briley

Written by: Martin Briley Produced by: Allan Blazek & Martin Briley Album: Fear of the Unknown (Mercury, 1981)

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While in high school, my buddy Jim loaned me the Fear of The Unknown album.  I took it home, gave it one listen and quickly (and mistakenly) dismissed it except for the third track, "I Feel Like a Milkshake."  I don't know if it was the silly suggestive lyrics, the vocal harmonies, or the melody that caught my attention, but I quickly dubbed the one song to a mix tape and subjected friends to it.  They didn't appreciate it as much as I did so forget them.

I hadn't thought of the song in many, many years but it had taken up residence in some part of my brain because as soon as I heard Daniel Day Lewis famously announce "I DRINK YOUR MILKSHAKE" at the end of the movie There Will Be Blood in 2007, this song immediately came to mind.  I still think it's a catchy thing, so now I'm subjecting you to it.

Curiously, former Monkee Peter Tork covered this song on his 1994 solo album, Stranger Things Have Happened.

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