As we jump into chart week forty-five, we have many veteran artists in this group of The Other Sixty. They must be pushing new albums or trying to extend their success into the holiday season. Let’s review 1980 up thru 1983.
November 8th, 1980
As the Oakland trio’s lead hit, He’s So Shy, from their Special Things LP hangs at #3, their second single debuts on the Hot 100. Anita co-writes this one and sings lead. I hate to diss these ladies, but this track is a rip-off of Shake Your Body by the Jacksons. That might be why it was woken up at #52.
The Illinois tricksters bring in Sir George Martin to produce their fifth album, All Shook Up, and veer off into a more experimental direction. This was the lead and only charting single from the album, which probably challenged their fans a bit. Time and distance can allow us to see how well crafted this song is, deserving of a higher chart spot than #48.
Six albums in, Rupert’s on his fifth record label, that greatly contributed to his failure to capture any momentum from his breakout album Partners In Crime. His new LP, Adventure, had many great tracks on it, such as Blackjack and Crowd Pleaser. This one was too mellow as the lead-off, which is why it went early to bed at #68.
Clapton is back with another single from Just One Night, his third live album in ten years, recorded at the Budokan in Tokyo, laid out over two discs. Originally recorded for his Eric Clapton LP back in 1970 and co-written by Leon Russell, this 45 will only have a #76 zenith.
Robin Gibb lends his voice to another RSO soundtrack for the film, Times Square, which featured a New Wave heavy lineup of XTC, The Ramones, The Cure, and others. So why were a Bee Gee and former Eric Clapton back up singer used to promote this album? Ask Robert “Money is blinding my decision-making process” Stigwood. There’s some good sone on here, but this one is a bit of a mess. It flashes an S.O.S at #50.
The Grammy-winning Against The Wind is Bob’s only #1 album to date, and it spun off three Top 40 hits. This was the fourth single and just missed the Casey call, peaking at #42. It’s Bob’s clumsy attempt at euphemism, but at least it’s a rockin’ number.
November 14th, 1981
Brit-Funk was the late 70s/early 80s musical movement that blossomed in the UK. Bands such as Light Of The World, Hi-Tension, and Level 42 mixed in jazz fusion with their soulful pop rarely had success with it here in the States. This was the biggest crossover single from that period, a Top 20 R&B and Dance club smash, which went dark at #84. George Michael stole the keyboard lick for I Want Your Sex, and LL Cool J sampled it for his remix of Jingling Baby.
November 13th, 1982
Mike’s follow-up to the smooth as silk I Keep Forgettin’ should have followed him right into the Top 40 as well. Somehow this Kenny Loggins co-write didn’t make it in and gave up at #44. It has since gone on to be a Yacht Rock classic.
This is the third single from the L.A. band’s album, All Four One. It’s a poppy number with a Motown vibe that would seemingly be used throughout the 80s. The 45 will only stomp up to #60.
Here’s the second single from Steve’s third solo album, Talking Back to The Night. Still In the Game made it up to #47. This tribute to singer Valerie Carter will only move up nine spots. It will receive a remix in 1987, reenter the charts and capitalize on the momentum from Back In The High Life, climbing into the Top 10. Eric Prydz will sample the ‘call on me” section for a #1 UK smash dance track in 2004.
Here’s the first charting single from this New York quintet. Released as the first 45 from their Scandal EP, it will get massive rock airplay but will only reach #65. The keyboard solo was played by Paul Shaffer.
This was the second charting single from Plant’s first solo album, Pictures At Eleven. It sounds like his imitation of a Police song, and I’m surprised it didn’t do any better than #74. The track features Raphael “Baker Street” Ravenscroft on sax, and Phil the Shill is playing drums.
November 12th, 1983
EWF had a hard time surviving in the digital 80s, but damn if they didn’t try. I’m not sure why Pop radio turned away from a song with a funky electro-groove. But this Martin Page composition went bi-polar at #57 even as it hit the R&B Top 10.
I cannot help but laugh when I hear this. There’s no way they took themselves seriously when they recorded this. The make-up was finally off, and the world got to see four regular white guys. The thrill was gone, and the single peaked at #66.
This was the follow-up to Sitting At the Wheel, the #27 hit from 1983’s The Present. I prefer it and think it should have been the bigger hit. The synth vibes fit in well with what was going on at the time but still retained its Moodiness. Alas, it will only reach #62.
How do you follow-up a juggernaut such as The Safety Dance? With another great synth-pop track such as this. This Montreal, Quebec trio will look at their hands and take a chance but will only climb to #84. They will nab another Top 40 song in early 1988 called Pop Goes The World.
Jennifer was turning into the female Kenny Loggins when it came to soundtrack songs. She hit #1 with Up Where We Belong from An Officer And A Gentleman, and her song It Goes Like It Goes from Norma Rae won an Oscar. I guess soundtrack producers really liked her and asked her to sing this duet with the singer from Manfred Mann’s Earth Band for the newTom Cruise movie. It all bombed out with this track topping out at #85. She will get redemption in four years with a little flick called Dirty Dancing.