For Sins And False Alarms

Here’s another lot of unlucky soul, classic rock, and New Wave. Some have reached mythical standing as the years have come by. But most are just songs that were Bubbling Under the Hot 100 in the 80s during chart week fifteen.

[No entries this week for 1980, so let’s move on to 1981.]

Outlaws – I Can’t Stop Loving You (debuted 4/18/1981, peaked at #102)

The Tampa, FL band Outlaws managed a second Top 40 hit, Ghost Riders In The Sky, in 1981, just as Southern Rock was losing favor with the Pop audience. This was the follow-up, their version of a song that Leo Sayer took into the UK top 10 in 1978. Phil Collins would have the most successful US cover when his recording hit #1 on the AC charts in 2003.

Tom Jones – Darlin’ (debuted 4/18/1981, peaked at #103)

Welsh singer Tom Jones decided to move to Country music in the late 70s, which effectively killed his Pop career, save for 1977’s Say You’ll Stay Until Tomorrow. The title track to his 1981 album will reach #19 on the Country charts two years after singer David Rogers hit #18 with his version.

Rainbow – I Surrender (debuted 4/18/1981, peaked at #105)

This is the lead single from the group’s fifth album, Difficult To Cure, their first with new lead singer Joe Lyn Turner. Written by Russ Ballard and initially recorded by Head East the previous year, it will be the band’s biggest hit in the UK, reaching #3.

John Hall Band – You Sure Fooled Me (debuted 4/17/1982, peaked at #109)

After John Hall left Orleans in 1977, his primary focus was on becoming active in the anti-nuclear movement and co-founding MUSE, which organized the No Nukes concert of 1979. He released a solo album that year called Power, then formed the John Hall Band, which released two LPs in the 80s. This straight-up New Wave-flavored pop-rocker was the follow-up to Crazy, which hit #42 earlier in 1982.

The Dregs – Crank It Up (debuted 4/17/1982, peaked at #110)

The Dixie Dregs were a jazz-rock ensemble formed by guitarist Steve Morse in the early 70s down in Georgia. For their sixth album, they changed their name to The Dregs. By album seven, Industry Standard, they finally recorded two songs with lead vocals, one by Patrick Simmons and this single featuring Santana collaborator Alex Ligertwood. It will also become a Screamer of the Week on WLIR 92.7 during the first week of March. Steve will go on to join Kansas in the late 80s and Deep Purple in the 90s.

Dire Straits – Twisting By The Pool (debuted 4/16/1983, peaked at #105)

After four albums with the band, drummer Pick Withers left, leaving the remaining three dudes scrambling for a replacement. They found one in Terry Williams and immediately recorded three new tracks they put out as Extendedance Play in 1983. This was the single they released to promote, and it will climb to #14 in the UK and #1 in New Zealand.

Randy Newman – I Love L.A. (debuted 4/16/1983, peaked at #110)

Randy takes all of the juice out of what a one-hit-wonder truly means. Yes, his only Top 40 hit was Short People in 1978. But he was written and recorded enduring songs for the last six decades – Sail Away, Baltimore, You’ve Got A Friend In Me, If I Didn’t Have You, to name a few. His ability to write songs in which the line between mockery and admiration is blurred is what I find the most entertaining about his music. Whether he loves or loathes the City of Angels (probably both), people can find whatever they want in this song, which is why Angelinos have adopted it as their anthem.

The Spinners – Right Or Wrong (debuted 4/14/1984, peaked at #104)

If you listen to this track and think it’s the Whispers, I can’t blame you. By 1984 they sound more like them than the band that recorded I’ll Be Around and The Rubberband Man. Cross Fire will be their final album for Atlantic Records, a fruitful partnership that began twelve years previous. This single will also be their last R&B Top 40, climbing as high as #22.

Sandy Stewart – Saddest Victory (debuted 4/14/1984, peaked at #105)

Sandy Stewart was a singer/ songwriter/ keyboardist and friend of Stevie Nicks. She co-wrote If Anyone Falls and Nightbird on Nicks’ The Wild Heart album and sang backing vocals on the latter track. Sandy released her first album, Cat Dancer as Nightbird was falling off the charts. The album has many strong tracks on it, such as Get My Way, Cat Dancers, and this, the first single. Sandy will also co-write Seven Wonders with Stevie, which the Mac will take up to #19 in 1987.

The Alarm – Sixty Eight Guns (debuted 4/14/1984, peaked at #106)

The Welsh quartet comes on like sixty-eight thousand guns on this political rocker from their album, Declaration. This New Wave classic will become their biggest hit in the UK with a #17 peak, and their presence as a Bubbler will be their first flush with US success.

Eddie “D” – Backstabbin’ (debuted 4/13/1985, peaked at #103)

Once rap music started making waves in the early 80s, it wasn’t long before it spread to other cities. This was one of Philadelphia’s first entries by Eddie Drummond, otherwise known as Eddie D. I listened to a lot of hip-hop back then and don’t remember this one getting a lot of play. It will chart on the R&B Hot 100 getting as high as #75.

Melba Moore – Read My Lips (debuted 4/13/1985, peaked at #104)

Melba was on her thirteenth album by 1985 and still came up empty when it came to a Pop crossover hit. Her new album saw Melba tries fuse more rock into her Soul, and one of the tracks, I Can’t Believe It, will garner her a Best Female Rock Grammy nomination. The title track was the first single to come out, and it will reach #12 on the R&B charts.

Nik Kershaw – The Riddle (debuted 4/13/1985, peaked at #103)

Nik may be most known for his 1984 Top 40 near miss, Wouldn’t It Be Good. But he’s released a plethora of great Pop songs, such as Wide Boy, Don Quixote, and Radio Musicola, the latter of which featured many WLIR DJs in the intro. This was the title track and first single released from his second album. It will become a Top 10 single in many European countries, including #3 in the UK.

 

Taking A Ride On A Brand New Tide

Twenty-Ten Favorite

Here’s a British quintet from London who went through several band iterations before finding the right one to record their debut, No Hard Feelings on the Acid Jazz label in 2014. But this is not Jamiroquai. New Street Adventure’s classic soul sound pays homage to Curtis Mayfield and Mods as much as they do to Paul Weller and nights at the Wigan Casino. Their first album is a solid mix of uptempo swingers with a  few slow dance numbers performed by jazz musicians with a rock mentality. But it’s the final track, the horn-laden The Big A.C., that sticks out. It was inspired by leader Nick Corbin’s experience at the 100 Club all-nighter, where the music being played, primarily Northern Soul, sunk into his bones and hooked him for life. He and the band return their debt by recording this track, which became a Northern Soul dancefloor filler itself.

Here’s DJ/ dancer Levanna McLean, aka Northern Soul Girl, in the band’s video for the single, The Big A.C.

The Way You Wonder If It’s Real

As we continue our review of songs that were Bubbling Under the Hot 100 during chart week 14 in the 80s, we find a strong group of tunes that aimed to dominate their respective Spring. Personally, just about all of these tracks are sitting in one of my musical playlists on my phone.

English Beat – I Confess (debuted 4/9/1983, peaked at #104)

At the height of MTV and the second British Invasion, I’m not sure why this UK octet could not break through with any of the singles from their third album, Special Beat Service. They toned the ska down just enough to add a little pop into the mix but ended up getting stuck down here. It will reach #4 on the Dance/Disco Top 80 charts.

Fun fact: The band was called The Beat in the UK and changed it to The English Beat in the US because there was already a band here with that name. By the time of this release, the US group was calling themselves Paul Collins’ Beat.

Fats forward to the 2010s – Dave Wakeling and Ranking Roger, once homies in General Public, fought for the use of the name for years. This is why we had albums by The Beat Featuring Ranking Roger followed by The English Beat Featuring Dave Wakeling.

Garland Jeffreys – What Does It Take (To Win Your Love) (debuted 4/19/1983, peaked at #107)

Here’s an artist that was a critic’s darling for many years but just never got the proper big break. His biggest success was his cover of 96 Tears, which reached #66 in 1981. He went back to the remake well with his take on Jr. Walker & the All-Stars Top 5 smash from 1969. On this track, David Sanborn stands in for Jr. Walker. Garland is still at it after fifty years in the biz.

The Cure – Let’s Go To Bed (debuted 4/9/1983, peaked at #109)

One of my favorite Cure songs. By this point, Robert Smith was finally figuring out how to write bright, catchy pop songs that were still enshrouded with darkness and mystery. It was a bold move at the time, but it ended getting them one step closer to mass acceptance.

The Art Of Noise – Beat Box (debuted 4/7/1984, peaked at #101)

This group was formed when three members of Trevor Horn’s production team had to figure out how a Fairlight synthesizer and sampler worked. In their efforts to program, they created techno sounds that they recorded as song snippets. This was the first single they released during Christmas 1983, and it became #1 on the Dance charts. The big beats also helped it land in the R&B Top 10.

Alisha – All Night Passion (debuted 4/7/1984, peaked at #103)

This was the first single released by Brooklyn singer Alisha Itkin. Producer Mark Berry was trying to get some of that Madonna money. Little did they know that her next album’s sound was already evolving out of the underground clubs, so tracks like this already started to sound old even when they were newly released. Regardless it will still reach #4 on the Dance club charts and become a Top 40 in the Netherlands.

Con Funk Shun – Don’t Let Your Love Grow Cold (debuted 4/7/1984, peaked at #103)

I knew this song from the South Carolina beach band, The Entertainers. Many years later, I found out that it was a Con Funk Shun original. Released from the band’s ninth album, Fever, produced by Deodato, it will reach #33 on the R&B charts.

Fun Fact: After the group’s first break up in 1987, song co-writer Felton Pilate would be instrumental in turning MC Hammer into a worldwide phenomenon.

Pat Wilson – Bop Girl (debuted 4/7/1984, peaked at #104)

I’ve been counting the weeks until I got to this song. This bubbly New Wave pop-rocker may be one of my favorite 80s Bubblers. Pat was a music journalist in Australia and her husband Ross was the frontman for the band Mondo Rock. He had this song lying around for years, even demoing it with his band, but could never write the right sound. He had his wife sing it and, voila, a #2 smash Down Under in 1983. I’m surprised that no one has rediscovered this song as it has such an 80s feel without being stereotypical. Not many Pop songs back then had fiddle solos in them.

Fun fact: The video for this song was directed by Gillan Armstrong, who had directed  1979’s My Brilliant Career. It also features a young, well-known actress.

Bryan Loren – Lollipop Luv (debuted 4/7/1984, peaked at #105)

You may never have heard of this dude, but he sure has an impressive resume. He was a member of Fat Larrys Band and collaborated with Michael Jackson, Sly Stone, Whitney Houston, and Barry White. He co-produced Sting’s Top 10 hit, We’ll Be Together. But his most recognized credit was writing and producing, Do the Bartman, which reached #1 in five countries

George Benson – I Just Wanna Hang Around You (debuted 4/6/1985, peaked at #102)

George never stopped making quality Jazz-Soul albums, but he was past his heyday on the Pop charts by the time he released 1984’s 20/20. The title track reached #48, and this midtempo ballad released as the second single and written by “Maniac” Michael Sembello and his three brothers would only climb to #24 on the R&B charts.

Jeff Lorber featuring Audrey Wheeler – Step By Step (debuted 4/6/1985, peaked at #105)

Jeff was a Jazz  Keyboardist from Philly who had released five albums as the leader of the Jeff Lorber Fusion band. By the time of his third solo album, he was trying to figure out a way to cross over to the Soul charts. He recorded this track, co-written with Anita Pointer and produced by the System –  David Frank and Mic Murphy. They hired the former lead singer of Disco group Unlimited Touch, and the song ended up hitting #31 on the R&B charts and #4 on the Dance charts. On his next album, Jeff will team up with unknown singer Karyn White for his only Top 40 hit, Facts Of Love.

The Kid With The Clues

As we reach chart week fourteen in our review of 80s tunes that were Bubbling Under the Hot 100, we find a bunch that did not make it, so much so that I split the group in two. Let’s review the Bubblers from 1980 to 1982.

Jane Olivor – Don’t Let Go Of Me (debuted 4/5/1980, peaked at #108)

Jane was a singer who got her start performing in the NY cabaret scene and places such as the Continental Baths, where Bette Midler was discovered. Thus far, her biggest hit was a cover of the Shirelles’ He’s So Fine, which reached #77 in 1978. This single, released from her fourth album, The Best Side Of Goodbye, should have been a much bigger hit. Its soft pop vibes would have sounded great next to Melissa Manchester or anything else on this countdown. It’s a mystery as to why someone on a major label with minor successes couldn’t get this Randy Edleman-penned tune onto the radio.

Atlantic Starr – When Love Calls (debuted 4/11/1981, peaked at #101)

This was the first big hit for the White Plains, NY sextet, climbing to #5 on the R&B charts. Released from their third album, Radiant and produced by Commodores pal James Anthony Carmichael, this funky jam was a far cry from the wedding tunes that they are more well-known for.

Fantasy – You’re Too Late (debuted 4/11/1981, peaked at #104)

Here’s a monster disco smash from a vocal quartet from New York. The Chic-ish track dominated the clubs during the Winter of 1980/ 1981 and spent five weeks at #1 on the Disco Hot 100. It also made the R&B Top 30, but Pop radio had long closed their door to Disco.

Point Blank – Let Me Stay With You Tonight (debuted 4/11/1981, peaked at #107)

Here’s a Texas rock quintet on their fifth album, American Exce$$, by 1981 with not much national exposure to show for themselves. The catchy tune got them a little more notice, enough to show up here. But their second single, Nicole, was the one that broke them when it reached #39.

Stephen Bishop – Send A Little Love My Way (Like Always) (debuted 4/11/1981, peaked at #109)

After scoring three Top 40 singles from his first two albums, Bish came up snake eyes with his third release, Red Cab To Manhattan, another well-crafted West Coast pop album. It’s befuddling that he couldn’t get this ballad on Pop radio when they were playing stuff like Wayne Newton’s Years instead. Stephen was already becoming somewhat of a movie guy with soundtrack songs to Animal House and Roadie. He’ll add Tootsie to that list a year from now, and It Might Be You will hit #25 in 1983. An aside: the B-side to this single is City Girl, one of my favorite tracks of the Bishmeister.

Rox – Dddddddance (debuted 4/11/1981, peaked at #109)

Not sure if this was a band or just an alter-ego for Boston singer Mike Rox. But the title is definitely someone’s attempt to obscure the fact that this song is boring as hell. It was produced by Village People impresario Jacques Morali and released on Boardwalk Records while it was going under. So it didn’t have a lot going for it at the time.

Grover Washington Jr. – Jamming (debuted 4/10/1982, peaked at #102)

Put this track on, and at about 20 seconds in, say out loud,” We’re experiencing operating difficulties. Please stand by.” If you were there, you’d get it. This is a very chill and pleasant cover of the Bob Marley classic and the second single from GW’s Come Morning LP.  But a minute into this, you might start wondering why you’re not listening to Exodus instead.

Lulu – Who’s Foolin’ Who (debuted 4/10/1982, peaked at #106)

Here’s the third single release from Scottish singer Lulu’s 1981 comeback album, which gave us the #18 hit, I Could Never Miss You (More Than I Do). It’s a bluesy number that rocks way harder than her previous pop endeavors. In fact, it was nominated for a Best Female Rock Grammy. It was originally recorded by Bobby Blue Bland for his 1974 album, Dreamer, and written by the guys that produced hits like this.

Poco – Sea Of Heartbreak (debuted 4/10/1982, peaked at #109)

It definitely seemed like MCA Records had contempt for these guys when they took over their ABC contract, even making them audition all over for them to keep them on. They completely destroyed a decade’s worth of momentum and success at radio, and the band just wanted out by this time. So the fellas recorded a half-hearted covers album, which benefited no one, least of which, the fans. This track was co-written by Hal David and recorded by Country singer Don Gibson, who took track up to #2 on the Country charts and #21 on the Hot 100 back in 1961.

 

You Know It’s Hard Some Time

We’re up to the unlucky chart week of thirteen. Actually, it was only unfortunate for these artists back in the 80s. Now that we’re spotlighting them decades later, you might actually go out and buy their music.

The Gap Band – I Don’t Believe You Want To Get Up And Dance (Oops Upside Your Head) (debuted 3/29/1980, peaked at #102)

By the end of the 70s and their fourth album, the Wilson brothers were wearing their Parliament influences on their sleeves with this jam. Maybe that’s because their cousin was Bootsy Collins or because they were the best and most exciting funk group to imitate. This nursery rhymes-laden groove was not only their third Top 10 hit on the R&B charts. It became their first big hit in the UK, reaching #4. It has been sampled and covered countless times since.

Herb Alpert – Street Life (debuted 3/29/1980, peaked at #104)

Herb was enjoying a renaissance in 1979 with his song and album, Rise. On that LP, he released another track, Rotation, which reached the Top 30. The third was a cover of the 1979 Crusaders smash with Herb’s trumpet trying to replicate what Randy Crawford sang so well. Where the jazz trio made this song the perfect soundtrack to a night on the L.A. town, this version tried too hard and grooved too much, like your parents disco dancing in the living room to impress your friends.

Dazz Band – Invitation To Love (debuted 4/4/1981, peaked at #109)

This ballad was the second single and title track to the Cleveland, OH band’s 1980 debut. It’s not bad, but it lacks a distinctive personality to distinguish it from the other horn funk groups. It only peaked at #51 on the Soul charts, but within two more albums, they’d be letting it whip.

Jennifer Warnes – Come To Me (debuted 4/3/1982, peaked at #107)

This was the second single from an aborted 1981 album that ended up getting released as part of a Best Of compilation. Decisions like this would have seriously derailed Jennifer’s career had she not recorded a love theme with Joe Cocker to a Richard Gere film. That future #1 song will debut on the Hot 100 four months from now.

Dan Seals – Can’t Get You Out Of My Mind (debuted 4/3/1982, peaked at #110)

England Dan and John Ford Coley went their separate ways in 1980, and neither ever had any Pop success again. Dan recorded two quality but rarely-heard Yacht Rock LPs. This was the lead for the second one, Harbinger. After it failed, he ran to Nashville and became a successful Country artist racking up nine #1s during the 80s, including Bop.

KC & The Sunshine Band (with Teri DeSario) – Don’t Run (Come Back To Me) (debuted 4/2/1983, peaked at #103)

KC had a great start to the 80s with Please Don’t Go reaching #1. But it all went downhill from there. It reminds me of the scene in Boogie Nights. TK Records went bankrupt. He was in a horrible car accident and had to learn how to walk again. And the Disco backlash chewed his band up and spit them out in the gutter. All In A Night’s Work was their third straight 80s release that bombed. But hidden on side two was a track called Give It Up that needed a little time to percolate before it was ready.

Peter Godwin – Images Of Heaven (debuted 4/2/1983, peaked at #105)

Peter was the lead singer of the English trio Metro, who recorded two albums in the late 70s, including the song Criminal World, which David Bowie covered on his 1982 Let’s Dance album. That allowed Peter to have his Images of Heaven EP released in the US. Unfortunately, this New Wave dance track wasn’t successful on the charts, although it received some moderate Club play.

Johnny Mathis (with Deniece Williams) – Love Won’t Let Me Wait (debuted 4/1/1984, peaked at #106)

We all heard Johnny & Niecy singing to us every Thursday night as we watched Family Ties. So what better time to record another duet together? This one was released from A Special Part Of Me, and it was a cover of the 1975 Major Harris Top 10 smash, minus the moaning. It will creep into the R&B Top 40 at #32.

Alexander O’Neal – Innocent (debuted 3/30/1985, peaked at #101)

Alex was the lead singer of Flyte Tyme before pissing off Prince and getting replaced by Morris Day. Probably for the best, as his style was very intense and Day was more like a cartoon character come to life. O’Neal released his debut five years later and was backed by the Time members he once played with. In fact, Jimmy Jam & Terry Lewis wrote and produced the entire album. This was the first single release, and it reached #11 on the R&B charts. He wouldn’t cross over until his 1986 duet with Cherelle called Saturday Love.

Van Morrison – Tore Down A La Rimbaud (debuted 3/30/1985, peaked at #101)

Van might be one of the most enormous pain in the asses (or select a different adjective, if you like) in music, but this dude never stops working. He has forty solo albums in his catalog and is planning his new one for release this year. Released from his fifteenth, A Sense Of Wonder, this shuffler just missed climbing onto the Hot 100 at a time when his music sounded way out of date (Or, as some call it, timeless).

John Palumbo – Blowing Up Detroit (debuted 3/30/1985, peaked at #109)

Here is the lead singer of the cult prog-pop group, Crack the Sky, a band that was on the cusp of a breakthrough throughout the 70s but never had that one song to do it. This single from the singer’s solo debut should have easily received more airplay and could have been a hit. Maybe the title scared folks away. But it had that frenetic 80s New Wave dance groove that sounded reminiscent of Oingo Boingo.

No One Can Tell Your Hell Goes Unspoken

As we approach chart week twelve, we are 1/4 done with our review of singles Bubbling Under the Hot 100 during the 80s.

Hall & Oates – Who Said The World Was Fair (debuted 3/22/1980, peaked at #110)

This was the Philly duo’s first Bubbler and a slap in the face for the guys that hung out at #1 with Rich Girl only three years before. This follow-up to the Top 20 hit, Wait For Me, from their David Foster-produced X-Static album, was the last single to miss the Hot 100 for the next eleven years. Their next 22 singles would reach the Top 40, starting with the prescient How Does It Feel To Be Back, charted in four months from now. Don’t Hold Back Your Love broke the streak when it peaked at #41 in early 1991.

Todd Rundgren – Time Heals (debuted 3/28/1981, peaked at #107)

After his 1978 Top 30 hit, Can We Still Be Friends, Todd only had one more Hot 100 solo career chart entry [Bang The Drum All Day]. How does a song this catchy get stuck down here? Can’t blame MTV cause this was the eighth video that was played on the channel. His 1981 Healing LP also has one of his best and most beautiful ballads, Compassion, and it should have been a big hit for him. It’s definitely something we all need right now.

Bobby Vinton – Let Me Love You Goodbye (debuted 3/28/1981, peaked at #108)

Who OK’d the A&R budget for this one? Bobby, you had your time and your hits and even a mid-70s comeback. Please, love yourself goodbye.

Third World – Try Jah Love (debuted 3/27/1982, peaked at #101)

Here’s a Jamaican reggae band formed in 1973 who also threw jazz, funk, and disco into the mix. Their only Hot 100 entry, Now That We’ve Found Love, was a Gamble & Huff composition, initially recorded by the O’Jays in 1973. Their dancefloor cover reached #47 on the Pop charts, #9 R&B, and #10 in the UK in early 1979. This single, co-written by Stevie Wonder, who took the band on tour with him, Is from their seventh album, You’ve Got The Power, and peaked at #23 on the Soul charts.

Bobby Caldwell – Jamaica (debuted 3/27/1982, peaked at #105)

Keeping with the Jamaica theme, we have singer-songwriter Booby Caldwell with the lead single from this third album, Carry On. This Pop one-hit-wonder will nab four Top 40 hits on the Soul chart, but this one will peak #54. He is also a legend in Japan.

Dwight Twilley – Somebody To Love (debuted 3/27/1982, peaked at #106)

It’s been seven years since power-pop rocker Dwight Twilley came near a Hot 100 chart. This one started out as an Arista Records singles release before getting picked up by EMI, wherein he released his new album Scuba Divers. Neither 45 nor LP would come up for air.

Kashif – I Just Gotta Have You (Lover Turn Me On) (debuted 3/26/1983, peaked at #103)

The 80s showed a limited amount of love to R&B artists. No matter how much juice the man, born Michael Jones, put into his boogie, it wasn’t going to make much of a Pop impact. It will be the former BT Express member’s first R&B Top 10 when it reaches #5.

Q-Feel – Dancing In Heaven (Orbital Be-Bop) (debuted 3/26/1983, peaked at #110)

How does one of the most 80s-sounding songs not succeed in the 80s? The synth-pop duo of Martin Page & Brian Fairweather switched to writing songs for other artists, such as Kim Carnes, Barbara Streisand, and Earth, Wind & Fire. This single finally entered the Hot 100 in 1989 and reached #75, at a time when songs like this were already out of fashion. Martin Page will nab a #14 hit in 1994 with In The House Of Stone And Light.

Endgames – Love Cares (debuted 3/24/1984, peaked at #105)

Here’s a Samuel Beckett-loving New Wave quartet from Glasgow, Scotland, who is still a forgotten band of the era. Sitting somewhere between the synth-funk of Human League and the sophistication of ABC, this single was released from their debut album, Building Beauty, and their one week at #105 will be the closest the band will come to US success.

David Sanborn – Love & Happiness (debuted 3/23/1985, peaked at #103)

Saxophonist Sanborn played on the music scene for the previous two decades, starting with the Paul Butterfield Blues Band and moving over to Stevie Wonder’s posse before beginning a solo career in 1975. From his Grammy-winning seventh album, Straight From The Heart, this cut was an Al Green cover recorded live featuring AWB’s Hamish Stuart on lead vocals.

Fun fact: All of those little sax outbursts in the Lethal Weapon movies are played by David.

Fun fact 2: In 1988, David will co-host Night Music with Jools Holland, a late-night music TV show that was almost too to be true.

The Whispers – Some Kinda Lover (debuted 3/23/1985, peaked at #106)

The further we move through the 80s, the more that Soul music gets kicked to the curb. Here’s another synth-funk jam from the LA quintet, the second release from their thirteenth album, So Good. It will reach #17 on the R&B charts.

Shalamar – My Girl Loves Me (debuted 3/23/1985, peaked at #103) (debuted 3/23/1985, peaked at #106)

This was the third and final Bubbler for an act that evolved from the Soul Train dancers back in the late 70s. It’s also where lead singer Howard Hewitt finally jumps ship. The second proper release from their eighth album, Heartbreak, will hit #22 R&B.

Run-D.M.C. – King Of Rock (debuted 3/23/1985, peaked at #108)

This is where I officially became a RUN-DMC fan. I liked Hard Times and Rock Box from their 1984 debut, but this one blew my mind the first time I heard it. No synths, no samples. Just blazing guitar solos courtesy of Eddie Martinez over a TR-88’s drum beats turned up to 11. Producer Larry Smith should get the credit for providing the blueprint for rock and rap even though Rick Rubin would build the house. This single will reach #14 on the R&B charts, which was quite an accomplishment.

Dazz Band – Heartbeat (debuted 3/23/1985, peaked at #110)

The Pop one-hit-wonder funk band from Cleveland is still trying to cross over one more time with something a bit slower. This will be their final and closest attempt from their seventh album, Hot Spot. They’ll rack up four more R&B Top singles, including this one which will reach #12.

Be Kind, Then You’ll Feel Fine

We are reviewing those songs that ended up trapping Bubbling Under the Hot 100 during the 80s. Let’s take a look at chart week 11.

Ava Cherry – Love Is Good News (debuted 3/15/80, peaked at #107)

Ava got her start in the music business as a protege of David Bowie’s and sang on the Young Americans album, heavily influencing his move towards soul music. Supposedly, the song Golden Years was about their relationship. After an early stint in the Steve Winwood-led supergroup Go, she embarked on a solo career. Her first album, produced by Curtis Mayfield, released this single first, a 50-styled ballad, which squeaked into the R&B Top 40 at #39.

Shelley Looney – This Is My Country, Thank You Canada (debuted 3/15/80, peaked at #109)

Here’s a song I was not aware of, and it’s perfect for its time. It’s a spoken-word piece underscored by some cheesy cartoon music by an eight-year-old girl from Michigan thanking Canada for their part in helping to free US hostages from the US embassy in Iran. But wait, it gets better….

Fun Fact: Shelley grew up to be a hockey player, was picked for the 1998 Winter Olympics team, and scored the winning goal in the Gold medal game against….Canada. As it was the first Women ‘s US Hockey Olympic gold, she and her teammates are in the US Olympic Hall of Fame.

Marvin Gaye – Praise (debuted 3/21/81, peaked at #101)

Because Berry Gordy had a tricky, prickly, even spiteful relationship with Marvin, a sweet jam like this was left for dead by Motown. None of his singles charted on the Hot 100 after 1977’s #1 smash, Got To Give It Up until he changed labels in 1982 and released the monster, Sexual Healing. I also love how he adds a lyric in the song directed at Stevie Wonder apologizing for stealing a riff of his.

Also, Marvin Gay, Sr. was an abusive alcoholic piece of shit who hid behind his mask of “minister” and “a man of God” to continually torture his only son throughout his entire life until he eventually shot him point-blank and murdered him. He was given a six-year suspended sentence.

“Weird Al” Yankovic – Another One Rides The Bus (debuted 3/21/81, peaked at #104)

The Dr. Demento Show has spawned many Bubblers, but this may the first career that it launched when Al and his accordion appeared on his September 14, 1980 show and performed this Queen parody. [The original has just entered the Top 10 that week.] The live recording was released as a 45 on T.K. Records, owned by Henry Stone and home to George McCrae and KC & the Sunshine Band. It will be the last record that the label released before it was “acquired” by Morris Levy.

Manfred Mann’s Earth Band – For You (debuted 3/21/81, peaked at #106)

The UK band dips back into the well with another Springsteen cover, this time from his Greetings from Asbury Park, NJ album. But they weren’t the first, as Greg Kihn recorded his take for an album back in 1977. MM would get one more Top 40 in 1984 with their version of Ian Thomas’ The Runner.

The Kings – Don’t Let Me Know (debuted 3/21/81, peaked at #109)

Here’s the Canadian Power Pop quartet, which had a Top 40 near-miss in 1980 with Switchin To Glide/The Beat Goes On. Their debut album, The Kings Are Here, produced by Bob Ezrin, also spun off this midtempo rocker.

Melanie – One More Try (debuted 3/21/81, peaked at #110)

The pride of Astoria, Queens, folk singer/ songwriter Melanie Safka collected six Top 40 hits in the early 70s, including the #1 smash, Brand New Key. She had trouble keeping that momentum throughout the decade, but she has been recording and releasing new work for the last four decades. This soft rock ballad was a one-off single released on Portrait Records.

Alabama – Mountain Music (debuted 3/20/82, peaked at #101)

Here was the first single and title track to this heavily-decorated Country quartet, released during their run of Top 20 singles. Was it too “Southern” for Pop radio? It’s a catchy tune, and even though I lived in New York, I remember this getting airplay back then.

Fun fact: Brad Paisley used a piece of this song, asking members of Alabama to record it with him, for his 2011 single, Old Alabama, which reached #38.

Lindsey Buckingham – It Was I (debuted 3/20/82, peaked at #110

This quirky-sounding track was Lindsey’s follow-up to the mellower #10 hit, Trouble. It’s a cover of Skip and Flip’s 1959 hit, which reached #11. And because it didn’t sound like the Mac, Pop radio dissed it. No matter, we’re only three months away from Hold Me debuting on the Hot 100. Also, if those female vocals sound familiar, they’re not Stevie’s. They were sung by Carol Ann Harris, his then-current partner.

Phil Garland – You Are The One (debuted 3/19/83, peaked at #109)

There’s not a lot of info out there about this singer/songwriter from Boston, who supposedly also plays a mean electric violin. This pop-rocker was released from his debut album, Dreams Of A Boy, and showed up as a Bubbler for one week. It was produced by Steve Burgh, who played acoustic guitar on Billy Joel’s Just The Way You Are, and She’s Always a Woman.

The Dells – You Just Can’t Walk Away (debuted 3/17/84, peaked at #107)

Here’s the long-time 5-man doo-wop group who had hits with Stay In My Corner and Oh What A Night and were the main inspiration behind Robert Townsend’s The Five Heartbeats film. This was their last brush with crossover success, the lead single from their album, One Step Closer, produced and written by Natalie Cole’s cohorts, Chuck Jackson and Marvin Yancy. This ballad will reach #23 on the Soul charts.

Melba Moore – Livin’ For Your Love (debuted 3/17/84, peaked at #108)

Here’s the Harlem, NY singer who racked 23 Top 40 hits on the Soul charts, with the second single from her thirteenth album, Never Say Never. Written by La La, who penned You Give Good Love for Whitney Houston, this sultry Top 10 Soul track barely got a chance to shine at Pop radio.

The Fat Boys – Can You Feel It (debuted 3/16/85, peaked at #101)

Finally, we get some hip-hop, but it’s buried alive under the Hot 100. Had we shown the Disco 3 some more love, maybe they wouldn’t have resolved to record Wipeout or The Twist. I love these guys, and Buffy Love, aka the Human Beat Box, was the best at “making music with his mouth.”

General Public – Never You Done That (debuted 3/16/85, peaked at #105)

After the English Beat split up, Dave Wakeling and Ranking Roger were the first to succeed with their debut album, All The Rage, and their#27 single, Tenderness. This was their follow-up, a New Wave classic that was just as catchy. Their follow-up album Hand To Mouth had lots of great singles on it, but none of them garnered any chart notice.

Carol Lynn Townes – Believe In The Beat (debuted 3/16/85, peaked at #109)

Here’s a single from the tragically awful sequel to Breakin’ called Electric Boogaloo. [Someone thought that was a good title. I’m guessing he was White.] This very 80s track had some minor success on the R&B charts and hit the Top 30 on the Dance charts.

Two Shots of Fantasy and One of Make-Believe

We’re up to chart week ten in our review of the Bubbling Under singles from the 80s. Here’s the list of folks who were kept below the surface of the Hot 100.

Rufus and Chaka – Any Love (debuted 3/8/80, peaked at #102)

Do You Love What You Feel was a monster jam, and its peak of #30 on the Pop charts was proof that R&B and funk were unnecessarily caught up in the Disco backlash. This was the second single from the Quincy Jones-produced Masterjam, another straight-up groove that didn’t get any notice at Pop radio while it reached #24 on the Soul charts. Massive Attack recorded their version in 1990.

L.A. Boppers – Is This The Best (Bop-Doo-Wah) (debuted 3/8/80, peaked at #103)

The Boppers were the backing band for the R&B group Side Effect, and they scored their own album deal in 1978. Produced by Augie Johnson, they changed their name to the L.A. Boppers for their second album released in 1980. This was the lead single, a slice of swinging jazz-funk that reached the Top 30 on the R&B charts that had more in common with the emerging Brit-Funk movement than the US disco scene.

Dan Hartman – Relight My Fire (debuted 3/8/80, peaked at #104)

Dan made the transition from Prog-rock to disco in 1978 with the #29 hit Instant Replay, a great example of 70s dance-pop. His second foray for the dancefloor went even deeper, and this single featuring female vocals by Loleatta Holloway reached #1 on the Disco Top 100.

Rainbow – All Night Long (debuted 3/8/80, peaked at #110)

Richie Blackmore’s Rainbow made a few changes for album #4, Down To Earth. Ronnie James Dio was gone, replaced by singer Graham Bonnett, and Deep Purple cohort Roger Glover was in to play bass and produce. The album was their most commercial to date and yielded the #57 single in late 1979, the Russ Ballard-penned Since You Been Gone. This was the follow-up, another catchy rocker that will reach #5 in the UK.

Ali Thomson – Foolish Child (debuted 3/14/81, peaked at #105)

In between Breakfast In America & Famous Last Words, the brother of Supertramp bassist Dougie Thomson released two solo albums. The first one spawned a Top 20 hit, Take a Little Rhythm. The second one, Deception Is An Art, put out this track as the lead single. I much prefer Ali’s second album as it is nestled firmly in the smooth arms of West Coast pop. It has yet to be released digitally. Ali released his third album last year, Songs from the Playroom, and I found it quite enjoyable.

Any Trouble – Second Choice (debuted 3/14/81, peaked at #108)

Here’s a British New Wave quartet who made quite a splash with critics with their 1980 debut, Where Are All the Girls? Unfortunately, none of it translated into any big successes, even in their native land. All that’s left is this enduring single, a mix of pub rock, reggae, and power pop. Marti Jones recorded a slow acoustic version in 1990 for her Any Kind Of Lie album.

Graf – Come To My Arms (debuted 3/14/81, peaked at #110)

If you thought Robbie Dupree’s Steal Away sounded like the Doobie Brothers, wait till you hear this single from Ohio quartet Graf. It was produced by Steve Katz, and here’s what the band looked like. Two of the members were previously in a jazz-rock group called I Don’t Care.

Bonnie Raitt – Keep This Heart In Mind (debuted 3/13/82, peaked at #104)

It’s incredible to think that it took someone as talented as Bonnie nearly two decades and ten albums before she broke through with Nick Of Time. The music industry slept on her career for far too long, those imbeciles. Here she is with the lead single from her eighth album, Green Light, a solid effort that didn’t go anywhere. Jackson Browne provides backing vocals on this track.

Maxus – Nobody’s Business (debuted 3/13/82, peaked at #109)

The only album by this quartet released in 1981 is held in high regard by West Coast artists. Featuring Jay Gruska on vocals and session player Michael Landau on guitar, this LP is a smooth pop-rock ride. It’s proto-Toto which should have been given the same support as those guys but never did.

The Fixx – Red Skies (debuted 3/12/83, peaked at #101)

It’s strange to think this ode to nuclear war was a Bubbler since it now stands as a New Wave classic. But the second single from this UK quintet’s debut, Shuttered Room, only received Rock radio airplay back then and some moderate video showings on MTV. Their next album would do much better.

Smokey Robinson – I’ve Made Love To You A Thousand Times (debuted 3/12/83, peaked at #101)

What an odd title for a Quiet storm ballad. That’s like every day for almost three years. Who are you, Wilt Chamberlain? The song was still good enough to make the R&B Top 10, but Pop radio was in the midst of ignoring Smokey for many years.

Chilliwack – Secret Information (debuted 3/12/83, peaked at #110)

The Vancouver trio broke through in 1981 with two Top 40 hits South of the border. Their follow-up album, Opus X, was not as successful but just as slick. I would have instead heard this single than any Loverboy tune at the time. Two of the members left the group, and Bill Henderson recorded one more album under the Chilliwack moniker.

Ozzy Osbourne – So Tired (debuted 3/10/84, peaked at #104)

I’m sure you are, Ozzy.  Getting rabies will do that to a person, even if you are the prince of darkness. The opening of this Bark at the Moon track sounds like something from Wayne Newton until Ozzy chimes in. And he does sound tired.

Anne Murray – That’s Not The Way (It’s S’posed To Be) (debuted 3/10/84, peaked at #106)

Record label: Anne, you’re missing two letters in your song title.

Anne: Oh yeah, which ones?

Record label: U. P.

Anne: (giggles) Only when I drink too much water.

Jenny Burton – Bad Habits (debuted 3/9/85, peaked at #101)

Disco singer Jenny Burton racked up a few members of the Other Sixty in 1984. She also sang on the club hit, One More Shot by C-Bank. Jenny scored her biggest overall success with this funky track from her second album, Jenny Burton, hitting #1 on the Dance charts and reaching the R&B Top 20. It also contains the same shabba-doo-wah lick as the above L.A. Boppers tune.

Roxanne Shanté – Roxanne’s Revenge (debuted 3/9/85, peaked at #109)

UTFO put out a classic Hip-hop track in 1984 called Roxanne, Roxanne. Then the real Roxanne put out this answer track and pummeled those three fellas into dust, stomping into the R&B Top 30. Netflix put out a movie in 2018 based on her life, which was quite good.

The Memories Sail Round Like A Ghost

I know this may discourage you from reading any further, but this is a group of underwhelming tunes, save for one classic. They belonged in the Bubbling Under crew during chart week #9. Let me know if you disagree.

Ray Stevens – Shriner’s Convention (debuted on 3/1/1980, peaked at #101)

With Ray, you either get saccharine (Everything Is Beautiful, Misty) or cornpone (all the other crap). I’m not sure who finds stuff like this funny, but I bet they have a Big Mouth Billy Bass on the wall of their living room too.

Barbara Mandrell – Years (debuted on 3/1/1980, peaked at #102)

After a decade of recording, Barbara notched a Top 40 hit in 1979 with a cover of Luther Ingram’s If Loving You Is Wrong. She’d aim for the Pop charts one more time with her next album, Just For The Record, and this ballad became her third Country #1. Wayne Newton’s version later in the year would reach #35.

Sue Saad and the Next – Won’t Give It Up (debuted on 3/1/1980, peaked at #107)

Here’s a New Wave quintet from Santa Barbara that had the energy but never the right song to catapult them to success. They only recorded one album but contributed to multiple soundtracks such as Roadie and Radioactive Dreams. One of their songs was covered on Sheena Easton’s debut album.

Mac Davis – Hooked On Music (debuted on 3/7/1981, peaked at #102)

This Country rocker was Mac’s follow-up to the #51 single, Texas In My Rear View Mirror, and details how he got into songwriting and performing.  We could have all guessed it was because of Elvis, and it was for the chicks.

Toto – Goodbye Elenore (debuted on 3/7/1981, peaked at #107)

After a successful 1978 debut and mildly popular follow-up, this sextet’s third album completely stiffed. All of the music is well-performed and arranged, but their progression into a harder rock sound at a time when Pop programmers were looking for something mellow kept them from getting on the radio. Of course, they refocused and put out Toto IV, so….

Blues Brothers – Going Back To Miami (debuted on 3/7/1981, peaked at #108)

The schtick has finally worn off by their second live album, Made In America, though Dan and John had more success with these characters than I’m sure they ever imagined. I never understood the point of the SML skits, but I loved the movie. That said, I never need to hear two White sketch comedians sing the blues ever again.

Bobby Womack – If You Think You’re Lonely Now (debuted on 3/6/1982, peaked at #101)

BW had his last Top 40 hit in 1974, Looking For A Love and true gritty Soul was never gonna get on Pop radio during the 80s no matter what he did. This #3 R&B hit was from his 1981 album, The Poet, and was originally released as the B-side to the first single, Secrets.

Henry Paul Band – Brown Eyed Girl (debuted on 3/6/1982, peaked at #105)

Henry was the original guitarist for the Country-rock outfit, the Outlaws. He left in 1979 and recorded three albums with his new group. Released from his Anytime album, this Van Morrison cover was the last time he sniffed the Hot 100 again.

Jean-Luc Ponty – As (debuted on 3/6/1982, peaked at #108)

French fusion violinist Jean-Luc Ponty had been recording albums for two decades, playing with the likes of Frank Zappa, George Duke, and Elton John. His 26th LP, Mystical Adventures, contained this electronic Stevie Wonder cover, co-produced with Arif Mardin, which was just odd enough to get as far as Hot 100 Bubbler.

George Clinton – Atomic Dog (debuted on 3/5/1983, peaked at #101)

The Bomb! Parliament and Funkadelic completely fell apart at the start of the 80s. But George continued to funk on and created one of his most sampled tracks of all time. Hell, this single from his first solo album, Computer Games, basically launched Snoop Dogg’s career. It will reach #1 on the R&B charts but inexplicably get stuck here as a Bubbler.

Jon St. James – Oogity Boogity (debuted on 3/3/1984, peaked at #105)

Jon has spent most of his career recording music for TV shows such as Hill Street Blues and Dawson’s Creek. But he had a few moments of Pop success, such as this New Wave flavored dance track from his debut, Trans-Atlantic. He also produced Bardeux’s Top 40 hit, When We Kiss, and Stacey Q’s 1986 smash, Two Of Hearts.

Ted Nugent – Tied Up In Love (debuted on 3/3/1984, peaked at #107)

Between 1976 and 1980, The Nuge had seven entries on the Hot 100 with one Top 40 hit, Cat Scratch Fever. This was the lead single from his tenth release, Penetrator, and will bungle itself up in knots. He’ll be back in the Top 40 in 1991 as a member of Damn Yankees.

Jack Wagner – Premonition (debuted on 3/2/1985, peaked at #101)

General Hospital’s Frisco Jones wanted to be a real-life musician, so he recorded an album in 1984 with producer Glen Ballard and collected a #2 hit, All I Need. This was the follow-up single, which immediately went on life support but was flipped to the B-side before finally flatlining.

Spineless Movement And A Wild Attack

As we look at the top half of the Top 40 from February 28th, 1981, it’s a solid list of veteran artists’ songs. But it took many decades, format changes, and technology enhancements for many of them to get recognized and played again.

SXMFU – On the Big 40 Countdown, they intro the show as the year that Chariots of Fire wins the Oscar for best picture. That won’t happen until the 54th Annual Academy Awards on March 29, 1982. Ordinary People won the Oscar in 1981. Again, folks, this info is not a secret.

20. Barbra Streisand & Barry Gibb – What Kind Of Fool

PFK – Here we are on year two of the 80s, and the Bee Gees are still with us with their songwriting and with Barry’s smooth vibrato. This duet with Babs will be the third Top 10 from her Guilty LP. It will also spend a month atop the AC charts.

19. Cliff Richard – A Little In Love

Sir Cliffo nabs his fourth US Top 20 hit in a little over a year with the follow-up to his #10 smash, Dreamin(g). Not bad for a guy who took twenty years to get his first one.

18. Tierra – Together

OHW, PD – Tierra’s en fuego with their first Top 20, a cover of the 1967 Intruders song written by Gamble & Huff. Unfortunately, the Salas brothers will not be back for a return appearance. It wasn’t due to a lack of good material. They were on Neil Bogart’s Boardwalk label, and when he passed away in 1982, the label went under.

17. Steely Dan – Hey Nineteen

PD – No matter how much you may love the lead single off of Gaucho, you will never be able to shake the feeling of sadness and desperation that permeates through your soul as it plays. This could be you one day. This may be you today.  Sink a little lower, now.

Fun fact: This never spent a week at #19, so forget what I said about Billboard’s sense of humor.

16. John Lennon – (Just Like) Starting Over

PD – It’s barely been three months since John was murdered, and the radio kept his memory alive by playing songs from his new album incessantly. As this song spent its fifth week at #1, Woman was already at #27. I still find it hard not to hear this song and not travel back to that time as a kid trying to make sense of what happened and feeling all of this song’s optimism and hope just vanish away.

15. Blondie – Rapture

I think it’s safe to say that the immense success of Blondie is easily lost in history’s shuffle. There weren’t many bands in the 70s and 80s that had at least four #1 singles. [add your list in the comments] On top of that, all four had a different sound. The second single from Autoamerican is part New Wave, part disco, part rock, and part hip-hop. Fab Five Freddy gets a shout-out, and most of America won’t know who he is until Yo MTV Raps debuts later in the decade. In the UK, they will rack 6 #1s, but this will only make it up to #5.

14. Neil Diamond – Hello Again

PFK – Wanna know how bad The Jazz Singer is? Neil Diamond covers for his friend at a gig, but because his buddy is an African-American, he decides he’ll show up in blackface. It just gets worse from here. At least, Neil was smart enough to write and record karaoke-worthy ballads such as this one.

13. Rod Stewart – Passion

PD – Between 1976 and 1994, Rod only missed placing a single in the US Top 40 in 1985 and 1987. This seems like an early attempt to do anything he could to keep that streak alive.

12. Stevie Wonder – I Ain’t Gonna Stand For It

The second single from Stevie’s Hotter Than July is a Country-tinged affair and another great hit that’s been lost in his impressive catalog. It’s one spot away from its peak. This always makes me think of that Cotton Land sketch that he did with Eddie on SNL.

Fun fact: That SNL episode was from 1983. Stevie performed Go Home & Overjoyed, two songs that wouldn’t be released for almost three more years.

11. Don McLean – Crying

PFK – It had been eight years since Dreidel hit the Top 40 when Don roared back with this Roy Orbison cover. It was recorded for the LP, Chain Lightning which was released back in late 1978. He’ll be driving his Chevy all the way up to #5, and it will be his only other Top 10 hit aside from American Pie. It was also hit #1 in the UK.

10. ABBA – The Winner Takes It All

This is the definitive ABBA song. Yes, Dancing Queen is sonically beautiful, and Waterloo and Mamma Mia are catchier. But this encapsulates everything about the group’s dynamic that they hid behind a shiny Pop veneer. This will be their fourth and final US Top 10 smash, and thank God for that cause alimony is a bitch.

9. Dan Fogelberg – Same Old Lang Syne

PFK (and, please do it while I’m there) – This song was inspired by Dan meeting his high school sweetheart at a convenience store when he was back home in Peoria visiting his parents on Christmas Eve 1975, six years after they graduated. They end up splitting a six-pack of Olympia in the parking lot. Dan would have been 24 and just had his first Top 40, Part of the Plan, from his third album, Captured Angel. And yet, here he was bitchin’ about traveling to perform at paying gigs.  This single was released ahead of his seventh album, The Innocent Age, and will become his second Top 10 hit. Michael Brecker plays the sax solo at the end.

8. Delbert McClinton – Giving It Up For Your Love

OHW – The man who played harmonica on Bruce Channel’s #1 smash Hey Baby and had a decade of solo albums under his belt finally breaks through with his only Top 40 hit, which is sitting at its zenith this week. This sounds so much like a Bonnie Raitt song that I’m surprised that she’s never covered it.

7. Blondie – The Tide Is High

PD – Not many songs have number one in their lyrics and then end up hitting #1. Did anybody else do it?

6. Styx – The Best Of Times

All the older kids in my neighborhood were into the Paradise Theatre, to the point which they would tease me that I wasn’t. Why would anyone defend this album and/or song unless you were on a prom committee?

5. REO Speedwagon – Keep On Loving You

I like to pretend that these guys are one-hit-wonders, that they wrote this, that it hit #1 (which it did), and then they disappeared. That’s the kind of world I want to live in.

4. Kool & The Gang – Celebration

PD – I love this group, and I love that Yah- Hoo! The rest of this song can vanish and take every last yellow ribbon with it.

3. John Lennon – Woman

Paul McCartney was right, and he sleeps just fine. His love does it good, and there’s nothing wrong with filling the world with silly love songs. I just wish John was around longer for us to hear him perfect a mix of his rough and tender sides. This track that he possibly could.

2. Dolly Parton – 9 To 5

Dolly Parton Gets First Shot of COVID-19 Vaccine

1. Eddie Rabbitt – I Love A Rainy Night (1 wk at #1)

PD -I didn’t think anyone could not like this song. Until I saw this:

For some reason, that made me laugh so hard. [Thanks, JB. No disrespect intended.] Now every time I hear this, I’ll think of someone listening to that finger snap and hand clap interplay, wanting to haul off and throw a brick through a window. Actually, I’m going to watch The Big Lebowski scene where Walter destroys the car with the sound off and this song playing instead.

KEY

  • OHW – One-Hit-Wonder
  • THW – Two-Hit-Wonder
  • PD – Previously Discussed
  • PFK – Perfect for Karaoke
  • RAR – Rite-Aid Rock
  • SXMFU – Sirius XM Mistake