The Lines Of Lies

We have another large batch of singles Bubbling Under the Hot 100 during the 80s, so we’re breaking it up again. Let’s review the first half of chart week thirty-three.

Holly Penfield – Only His Name (debuted 8/16/1980, peaked at #105)

Holly was a singer-songwriter who got her start in San Francisco in the mid-60s singing with the garage rock band, Fifth St. Exit. By the time of her debut in 1980, Full Grown Child, she had moved on to New Wave pop. Her closest attempt at success was this Phil Spector-inspired ballad which could have reached a few more ears with more promotional push. But it was released on Dreamland Records, a subsidiary of RSO, which was flushing its 1978 profits down the toilet.

Earl Klugh – Doc (debuted 8/16/1980, peaked at #105)

Earl was a jazz fusion guitarist from Detroit who nabbed his first Grammy nomination (for Best Jazz Fusion performance) for his sixth album, Dream Come True. If you listen to this song and think, which TV show is this from, don’t tax your brain too hard. It’s not a TV theme, although it sure sounds like one. This bouncy instrumental is a tribute to percussion player/ bandleader Leonard Gibbs Jr. This was the closest Klugh ever came to landing on the Hot 100, although I think Twinkle from his next LP, Crazy For You could have done the trick.

Joyce Cobb – How Glad I Am (debuted 8/16/1980, peaked at #107)

Here’s a lady who just missed the Top 40 in early 1980, with her disco single, Dig The Gold, which peaked at #42. Her next closest visit was this buried treasure, a mellow-funk cover of the 1964 Nancy Wilson hit. Joyce went on to greater acclaim as a jazz singer, specifically in Memphis. In the mid-90s, there was a club on Beale Street called Joyce Cobb’s and by 1996 she was added to the Beale Street Walk of Fame.

Rob Hegel – Tommy, Judy & Me (debuted 8/16/1980, peaked at #109)

This is the kind of single that should win the Bubbling Under Gold medal. It’s such a weirdly constructed Pop rock song with a chorus that comes out of nowhere and an arrangement that gets in the way of the tune’s hook. It would have been perfect for a show like Glee to cover had he not been singing about how he and his friend love banging random chics in the backseat of their car with schoolmate Judy, their next exploit. Although we find out this five-foot diamond in the rough has the upper hand with the boys and might be into S&M. Also, there’s a dose of racism, sexism, misogyny, and a possible school shooting attempt by Tommy that’s quickly averted by his friend. It makes for an interesting song, but it scared the folks at American Bandstand away. Frankly, it’s an awkward twenty seconds that has nothing to do with the song but hits too close to home. Rob would smooth it out five years later and co-write Air Supply’s last Top 40 hit, Just As I Am.

Carl Wilson – Heaven (debuted 8/22/1981, peaked at #107)

With all of the Beach Boys’ success, the only one who had a Top 40 hit was Brian. And that was once, back in 1966, with Caroline, No [#32], a track from the group’s Pet Sounds album credited only to him. Carl definitely had the voice to do it, just not the right song. This single was released from Carl’s self-titled debut, a beautiful ballad that still became a Bubbler.

The Producers – What’s He Got? (debuted 8/22/1981, peaked at #108)

Some breaks just don’t go your way. Here’s some Power pop from an Atlanta quartet that really should have broken through, and they had a good promotional push. Their first single from their debut, What She Does, climbed to #61, but this frenetic follow-up disappeared. Personally, I dig this one better. Also, if you live in the Southeast or near Madison, WI, a Producers reunion show may pop up from time to time.

Voggue – Dancin’ The Night Away (debuted 8/22/1981, peaked at #109)

And now for some leftover throwback Disco from a Canadian duo that owes its sound to the late 70s European machine sound. Weird to think that by 1981 that it was clearly out of date. Even still, it will spend three weeks at #1 on the Disco Top 80 charts.

Phil Gentili – Mama Lied (debuted 8/22/1981, peaked at #110)

Another lost single by an artist who’s hard to find. All that’s known is that this was the first of two solo 45s this Boston-based singer-songwriter recorded. It’s a contemporary version of a 50’s style ballad, and I’m surprised it even shows up here. Tower of Power found it and recorded their version for their 1993 album, T.O.P.

Are all of the singles of 1982 in these last few weeks good enough to have them cruise up to the Hot 100? Or was there a lack of releases and space to fill? You read Billboard and judge for yourself.

Zapp – I Can Make You Dance (debuted 8/20/1983, peaked at #102)

Yes, it’s the requisite funk and soul that misses out on the blanched-out Pop playlists of the early 80s. No matter, the second single from Zapp III will reach #4 on the R&B charts and be sampled on numerous hip-hop jams by Erick Sermon, Guy, and Naughty By Nature.

Ministry – I Wanted To Tell Her (debuted 8/20/1983, peaked at #106)

Of all the great Ministry tunes out there, I can’t believe this is the one to get closest to crossing over to the Hot 100. Not Work For Love, Revenge, or Halloween. This one. It’s a great dance tune, but just not the one I think of from these folks when describing them. Featuring lead vocals by Shay Jones, it will peak at #13 on the Dance/Disco Top 80.

I got to see them live once during the first run of Lollapolooza. I can’t remember if it was great or not. All I remember was the twenty-minute paper cup shower on the audience.

Part two coming up in two and two.

 

A Feeling I’ve Been Holding Back

We’re up to chart week thirty-two in our review of those singles that were Bubbling Under the Hot 100 during the 80s. Let’s take a look.

The Chipmunks – You May Be Right (debuted 8/9/1980, peaked at #101)

This is the stupidest novelty that will not die. What seemed cute or mildly funny (after twenty Mai Tais) in 1958 has been highly annoying ever since. The nadir of the Chipmunk unpleasantry was 1980’s Chipmunk Punk album, one of the rodents’ countless reboots, which contained grating covers of current pop songs (aka no punk at all). Take the last five seconds of Godley & Creme’s Cry, apply that vocal to any song, and feel your ears bleed profusely. I guarantee when Billy Joel heard this, that rock surely left his hand.

This almost charted on the Hot 100, folks. Worse, the album went Gold by October. If you find yourself minutes from the apocalypse, find their version of The Knack’s Good Girls Don’t and play it. Everything that comes after that will feel like paradise.

Ronnie Milsap – Cowboys and Clowns (debuted 8/9/1980, peaked at #103)

Here’s one of a zillion Country #1s [actually, his 15th, at the time] that Ronnie will garner in his career. This ballad will be featured on the soundtrack to the Clint Eastwood film Bronco Billy, which was the seventh one he directed.

Photoglo – When Love Is Gone (debuted 8/9/1980, peaked at #106)

Singer-songwriter Jim Photoglo released his debut under his last name and nabbed a  mellow Top 40 hit, We Were Meant To Be Lovers. His follow-up was even wispier and disappeared like the air after a newly-poured  Sprite’s bubbles pop. Like most Pop stars do when they fall out of favor, Jim will move over to Nashville and write #1 hits for Alabama.

Fred Knoblock – Memphis (debuted 8/15/1981, peaked at #102)

Fred scored a Top 20 hit in 1980 with Why Not Me. Then he followed it up with an unlikely duet with Susan Anton, assisting her on her debut album. Killin’ Time would reach the Top 30. After that, his career started to fizzle up, beginning with his lifeless cover of the 1959 Chuck Berry classic. Fred’s was more aligned by the Johnny Rivers version with reached #2 in 1964. Unfortunately, Marie hung up the phone on him.

Foghat – Live Now-Pay Later (debuted 8/15/1981, peaked at #102)

The name “foghat” was a made-up word by guitarist Dave Peverett back in the early 70s. Now it means out-of-touch overblown classic rock. By the time of their eleventh album, Girls To Chat and Boys To Bounce, the group expanded to a quintet, adding keyboardist Nick Jameson, but their sound had to evolve beyond mumbly blues guitar caveman stomps.

George Harrison – Teardrops (debuted 8/15/1981, peaked at #102)

What is an ex-Beatle doing here? First, let’s remember that George was done with the music industry by the mid-70s. Whatever the greedy hands and the hounding press didn’t take from him, the My Sweet Lord copyright infringement suit surely did. Also of note,  in 1980, Warner Brothers rejected his original submittal of Somewhere in England. Two months later, his friend was murdered, prompting Harrison to rework a tune he gave Ringo as a tribute to John he could record himself. All Those Years Ago would reach #2. This was the follow-up, also written as a commercial attempt. It’s amazing that the record suits forced a song like this out of George and then failed to push it as a single.

Jody Moreing – All Girls Want It (debuted 8/15/1981, peaked at #103)

Now here’s a lost 45. There’s not a lot out there about Jody, but I do know this. She was in a late 60s band called Sincerely, San Jose, which changed its name to the Fritz Rabyne Memorial Band. When she left, she was replaced by Lindsey Buckingham and Stevie Nicks. So let’s say she’s the Bob Welch of Fritz. This single is Jody’s only known solo recording before she moved over to Christian music in the late 80s. Though she did make a few bucks writing a song on Tiffany’s debut album.

Billy Preston & Syreeta – Searchin’ (debuted 8/15/1981, peaked at #106)

The Fifth Beatle loved his duet with Syreeta Wright, With You, I’m Born Again, recorded for the film, Fast Break. A year after that film’s release, the 45’s success prompted the duo to record a full duets album a la Flack & Hathaway. But because this was on the Motown label, the promotion was bungled, so no one had a chance to hear it. This funky track was written and produced by Raydio’s Ollie Brown.

Tom Jones – What In The World’s Come Over You (debuted 8/15/1981, peaked at #109)

Here’s Tom doubling down on the Country thing in  1981. I grew up hearing him played in my house a lot as a kid, but thankfully my folks spared me this era where he sounds like a parody of himself. This will be the second Bubbler from The Country Side of Tom Jones, a cover of Jack Scott’s #5 smash in 1960. Tom’s will reach #25 on the Country chart.

All the songs that debuted as Bubblers during this chart week in 1982 made it onto the Hot 100, including Josie Cotton’s He Could Be The One.

Mary Jane Girls – All Night Long (debuted 8/13/1983, peaked at #101)

Don’t tell me Soul music wasn’t being shut out by Pop programmers in the 80s? The Mary Jane Girls had four singles from their debut remain as Bubblers, including this stone-cold classic. This was the jam back in the day, and that cliche doesn’t remotely cover how cool it was. When it came to producing Female groups, Rick was better at it than Prince was, and this was proof. This made it to #11 on the R&B charts and #13 in the UK, so what gives Top 40? In the 90s, it will show up in the Top 10 as a sample in  LL Cool J’s Around the Way Girl and Groove Theory’s Tell Me.

Fun fact: To be fair, that sweet bassline and groove were “borrowed” (I’m being nice) from Keni Burke’s 1982 single, Risin’ To The Top.

Southside Johnny & The Jukes – New Romeo (debuted 8/11/1984, peaked at #103)

This was the Asbury Park band that didn’t make it out. It’s not for the lack of good songs as this one from the Nile Rodgers-produced seventh album, Trash It Up, is. It’s also the first to drop the “Asbury” from their name. Some just don’t get the breaks.

Fun Fact: For those that don’t know, the band was co-founded by Steven Van Zandt (y’know, the dude from Lilyhammer). Even when he left in the mid70s to join the E Street Band, he still collaborated and performed with the group.

The System – The Pleasure Seekers (debuted 8/10/1985, peaked at #108)

Keyboardist David Frank met singer Mic Murphy while both were on tour with the funk band, Kleeer, the former as a session musician, and the latter as road manager. They formed The System, and by 1985, they were three albums deep with one catchy charting single (You Are In My System, #64) and this synth-funk Bubbler. In two years, they’ll hang a sign upon the door that says, “don’t disturb this groove.”

Mai Tai – History (debuted 8/10/1985, peaked at #109)

We finish with one of my favorite songs of this lot. I first found this Dutch trio’s single on an import cassette compilation, Now That’s What I Call Music 5. It compiled the biggest UK smashes from the Summer of 1985 and turned me to so many great bands, such as Scritti Politti, Fine Young Cannibals, and Simply Red. And of course, this track, which reached #8 in England, #3 on the US Dance charts, and #37 on R&B charts. After 36 years, I still have it, and it still plays.

Gotta Fight To Keep On Dreaming

It’s chart week thirty-one, and another pile of songs has been left by the dumpster under the Hot 100. Let’s review those tunes from 1980 thru 1983 and see if we can rescue some of them.

In Transit – Turn On Your Light (debuted 8/2/1980, peaked at #107)

Here’s a forgotten 45 from an AOR sextet that released only one album. The band might have quickly disappeared, but its keyboardist Bill Cuomo showed up a year later playing the familiar synth riff on Kim Carnes’ #1 smash, Bette Davis Eyes.

Jimmy Spheeris – Hold Tight (debuted 8/2/1980, peaked at #110)

Now here’s a single that is so lost, I couldn’t even find a decent version on YouTube. Jimmy had released four quality jazz-folk albums in the 70s, with only 1975’s The Dragon Is Dancing appearing on the Album charts. After a four-year dry spell, He signed a single deal with Warner Brothers and released this yachty 45, which barely caused a ripple. Four years later, Spheeris was killed in a drunk driving accident mere hours after finishing his latest album, which wouldn’t get an official release until 2000.

Steve Winwood – Night Train (debuted 8/8/1981, peaked at #104)

Even though Steve-O finally crossed over to the Top 40 as a solo artist with While You See A Chance, which reached #7 earlier in the year, he still had a foot firmly in his prog roots. This was the third single from his second LP, Arc Of A Diver, and easily my favorite in his catalog. He records all of the instruments himself, a la Stevie or Rundgren, barely bothering to cater to the Boomer crowd. When he does, they’ll make Roll With It their own mantra along with Don’t Worry Be Happy, ponytails blowing in the wind.

The A’s – A Woman’s Got The Power (debuted 8/8/1981, peaked at #106)

Here’s a Philly Power Pop quintet, named after the baseball team initially founded in their city, who smoothed out their sound a bit for the Rick Chertoff-produced sophomore release. The title track received a good amount of rock radio airplay and a few New Wave fans but missed out on a ton of marketing opportunities. No matter how many times I listen to this, I can’t tell if they are pandering to the ladies or making an ironic joke.

Fun fact: Guitarist Rick DiFonzo would play on Cyndi Lauper’s She’s So Unusual, also produced by Chertoff.

Odyssey – Inside Out (debuted 8/7/1982, peaked at #104)

The New York trio who had a big Disco hit in early 1978, Native New Yorker, could never find a follow-up here in the States. They ended up having a pretty good career in the UK, where this single from their fifth album, Happy Together, will land at #3, their fifth Top 10 across the pond. It will climb to #12 on the R&B charts and inspire many cover versions, most recently from the duo, Workshy.

Pete Townshend – Face Dances Part Two (debuted 8/7/1982, peaked at #105)

I think Pete dealt with the loss of Keith Moon by burying his grief within his work. Between Who project and solo work, he wrote, recorded, and released at a frenetic pace in the late 70s and early 80s. I’m also assuming no one was acting as a filter for him, and that’s why we have All The Best Cowboys Have Chinese Eyes. Racist title aside, this sounds like a half-baked attempt to sound relevant during New Wave’s early years. No wonder this Who castoff ended up as a Bubbler.

Gary Myrick – Message Is You (debuted 8/6/1983, peaked at #103)

Guitarist Gary Myrick has had an interesting underground career. Not people can say that they replaced Stevie Ray Vaughn in a band before. Of course, Stevie was already leaving, but that’s besides the point. The Texas native was on album number three, Language, when he released this moody synth-led Pop tune that sniffed the Hot 100. One year later, you’ll hear his guitar work on John Waite’s #1 smash, Missing You.

High Inergy – Back In My Arms Again (debuted 8/6/1983, peaked at #105)

Motown Records perfected the art of R&B crossover to the Pop charts, making their name synonymous with 60s Soul. But by the time of the 1980s, they were absolutely lost and running fumes and dumb luck. This is why we have one of their current roster girl group destroying their own legacy with a poorly conceived and arranged cover of the 1965 Supremes classic. It was the second single released from their eighth (!) album, Groove Patrol, and has since been out of print. I don’t know how it escaped the Friday production meeting. These ladies deserved better.

“Weird Al” Yankovic – I Love Rocky Road (debuted 8/6/1983, peaked at #106)

Al follows up his parody of Mickey [Ricky, #63] with a shot at one of the biggest singles of 1982, I Love Rock N Roll. [Side note – do they even make Rocky Road ice cream anymore?] Produced by Rick Derringer and complete with hardcore accordion solo, this is kind of stuff that was perfect for MTV and the Dr. Demento crowd. I think it’s funny that every time he does one of these tunes, people want to know if the original artist likes it or not. I bet Joan thought it was funny, and even if she didn’t, she’s still cool.

Stars On 45 proudly presents The Star Sisters – The Star Sisters Melody (debuted 8/6/1983, peaked at #107)

Fun fact: Did you that Stars On 45 was so popular that it created spinoff acts? No one asked for them, but they came anyway. The Star Sisters were the three ladies who sang on the Beatles medley, which went to #1 in 1981. Inspired no doubt by the Hooked on Classics, etc. craze, the crazy Dutch folks murdered replicated a string of Andrews Sisters tune to a mild Disco beat, most likely created by a Lowery Organ setting.

Rebecca Hall – Who Says Girls Can’t Rock & Roll (debuted 8/6/1983, peaked at #109)

First of all, they can and have. But it has been with better songs than this one. Also, how about we exchange girls for women, or did that make the record company exec queasy? And we don’t have to do a 1-2-3-4 count off four times, do we? You know I’d give Rebecca a little more slack had she not been involved with this. Yes, that’s her on “lead” vocals.

Put One And One Together

Man, do we have a lot of tunes that missed the Hot 100 during chart week thirty in the 80s. We’re just gonna focus on the Bubbler, the near misses from 1980, 1981, and (some of) 1982.

France Joli – This Time (I’m Giving All I’ve Got) (debuted 7/26/1980, peaked #103)

From her debut album, sixteen-year-old France Joli had a Top 20 hit in 1979, Come To Me. So she thought it best to alienate her fans and put out a ballad when she released her follow-up, Tonight. Needless to say, Pop radio didn’t bite. Luckily for her, the fanbase forgave her, so long as she churned out danceable singles, none of which would crossover.

Grace Slick – Dreams (debuted 7/26/1980, peaked #104)

The Chrome Nun released her second solo album during a brief hiatus from Jefferson Starship, with no help from her current band members. The album garnered her a Best Rock Female Vocalist Grammy nomination and reached #32 on the Billboard Top Albums chart. The lead single, Seasons, only climbed to #95 while its follow-up, the title track, remained as a Bubbler.

Spyro Gyra – Percolator (debuted 7/26/1980, peaked #105)

Here’s the fusion pride of Buffalo, a  jazz quintet whose music has entertained us many times during the Weather on the 8s segments of the Weather Channel. Their third album, Catching The Sun, hit #1 on the Jazz charts, and the title track had already reached #68. This peppy follow-up didn’t even get any Maxwell House endorsements.

Stephen Bishop & Yvonne Elliman – Your Precious Love (debuted 7/26/1980, peaked #105)

And now, from the soundtrack of the absolute mess of a film starring Meat Loaf called Roadie comes a yachty version of the Marvin Gaye & Tammi Terrell 1967 classic from two artists who released a lot of movie songs between them. Bishop still had a Tootsie left in him, but Elliman was done as the decade turned as her career felt the love pains.

Exile – You’re Good For Me (debuted 7/26/1980, peaked #105)

After hitting the top of the charts in late 1978 with Kiss You All Over, this sextet had no idea what they wanted to be or sound like for years. Here we find them in their Westcoast phase, ripping off a Roger Voudouris tune. By 1983, they fully commit to Nashville and rack up ten Country #1s.

RCR – Give It To You (debuted 7/26/1980, peaked #108)

RCR is short for Rhodes, Chalmers, and Rhodes, a two-women (sisters), one-man trio of background session singers. They got their chance at fame with their 1980 LP, Scandal, whose title track clipped the Hot 100 at #94. This funky follow-up pop tune was probably deemed to Disco for Top 40 playlists. If it sounds like a Bee Gees outtake, it’s because Bee Gee keyboardist Blue Weaver co-produced the track.

Van Halen – So This Is Love? (debuted 8/1/1981, peaked #110)

Van Halen started off their career with a few Top 40 hits in the late 70s. Then Pop programmers went soft, and VH’s singles didn’t get much chance for Top 40 airplay. This was the only single from their fourth album, Fair Warning, to sniff the Hot 100, even though four of its tracks got lots of Rock airplay. It’s easy to forget how great a band they were, and songs that can swing easy and rock hard can only be mastered by a few.

Stacy Lattisaw – Don’t Throw It All Away (debuted 7/31/1982, peaked #101)

And now we’ve reached the Soul portion of the Bubblers, the 80s R&B that was continuously kicked to the curb. The D.C. teenager had a few Top 30 hits in 1981 but then got locked out in 1982 with the release of her Narada Michael Walden-produced LP, Sneakin’ Out. This 60’s styled ballad would reach the R&B Top 10.

Stephanie Mills – Last Night (debuted 7/31/1982, peaked #101)

The production team behind her 1980 smash – James Mtume & Reggie Lucas – produced this track from her sixth album, Tantalizingly Hot. This would be her fourth and last collaboration with the duo. #14 on the R&B charts will be the peak for this slab of synth-funk.

Deniece Williams – Waiting By The Hotline (debuted 7/31/1982, peaked #103)

Niecy follows her up Top Ten cover of the Royalettes’ It’s Gonna Take a Miracle with this sweet midtempo ballad co-written and produced by Thom Bell. Released from her sixth album titled after her nickname, this track will rise to #29 on the Soul charts.

Nazareth – Love Leads To Madness (debuted 7/31/1982, peaked #105)

Sweet Jesus. It’s Nazareth, still trying to shake off their one-hit-wonder label. The Scottish lads had released their thirteenth album, 2XS, in 1982. This was the lead single and, in my opinion, good enough to break the curse. But alas, it ends up as a Bubbler even as it reached #3 in South Africa.

The second half shall be forthcoming. Until then, here’s Prince.

Images Conflicting Into Data Overload

We are back with our review of Bubbling Under the Hot 100 singles during the 80s. Let’s take a look at the first half of chart week twenty-nine.

Waylon – Clyde (debuted 7/19/1980, peaked at #103)

Singer-songwriter Jennings became well-known as a Country outlaw, first with the Wanted! album in 1976, then through his collaboration with Willie Nelson in 1978, leaving him to go by his first name only for several years. This J.J. Cale-penned number was the lead single from his LP, Music Man, and would climb to #7 on the Country charts. But his follow-up, Good Ol’ Boys, would take him into the living rooms of Dukes Of Hazzard fans each Friday night, reaching #21 on the Pop charts.

Glass Moon – (I Like) The Way You Play (debuted 7/19/1980, peaked at #108)

Here’s the pride of Raleigh, North Carolina – a progressive rock quartet that evolved into a no-frills Power Pop outfit by the time of their self-titled 1980 debut. The album became such a big hit in Puerto Rico that they were commissioned to record a 7-Up commercial in Spanish to broadcast there.

The only single to debut as a Bubbler this week in 1981 is Larry Graham’s Just Be My Lady. It will chart on the Hot 100 and hit a high of #67.

Tommy Tutone – Which Man Are You (debuted 7/24/1982, peaked at #101)

The San Francisco band (yes, Tommy Tutone is a band, not a person) that made Jenny’s phone number a fun prank opportunity is back with their follow-up. Released from their second album Tommy Tutone 2, this laid-back rocker featured former Steve Miller Band member Lonnie Turner on bass.

Shalamar – I Can Make You Feel Good (debuted 7/24/1982, peaked at #102)

After reaching #8 in early 1980 with The Second Time Around, this trio had trouble getting anything else into the Top 40 for years, despite their success on the Soul charts and over in the UK, where this reached #7. This was the follow-up to the #44 single, A Night To Remember, from their sixth album, Friends. Personally, I would have traded this midtempo boogie for one less Journey or REO Speedwagon tune on the radio.

Cheryl Lynn – Instant Love (debuted 7/24/1982, peaked at #105)

Here’s another R&B one-hit-wonder whose solid output was virtually ignored by Pop radio since her 1979 smash, Got To Be Real. This was the title track to her fourth album, produced and written by Luther Vandross and Marcus Miller recorded almost as a warm-up to their Aretha Franklin renaissance. It will climb to #16 on the Soul charts.

Charlene – It Ain’t Easy Comin’ Down (debuted 7/24/1982, peaked at #109)

From the song-things-are-better-left-alone file: Here’s a singer who retired from the music industry in 1980 and was working in a candy store in England when her 1977 single, I’ve Never Been To Me, took off on Pop radio in 1982, getting undressed by kings all the way up to #3. The very white Charlene resigned a contract with Motown (that sentence sounds wrong, but it’s true), and the company re-released this 1976 flop looking for some double lightning. Had something actually hit them in the head, they might not have wasted Stevie Wonder’s time with her. You can also hear this song in The Last American Virgin, which seems perfect if you’ve seen that film.

Fun Fact: The man that wrote this and “never been to me” originally co-wrote Stevie’s For Once In My Life. How?

Gary Moore – Falling In Love With You (debuted 7/23/1983, peaked at #110)

Here’s the second Bubbler from Gary’s second album, Corridors of Power, his attempt at a US Pop crossover. This bluesy ballad has the ingredients of a sleeper hit but gets weighed down by the sleepy performance. Gary’s a great guitarist, but this song would have benefited from a guest vocalist with more depth and range.

“We’ll be back with more stuff,” as Chuck Barris used to say in our review of 1984 and 1985 from chart week twenty-nine in the 80s.

Find Me The Place For Us

Here we are. We’ve reached chart week twenty-eight during our review of Bubbling Under the Hot 100 singles from the 80s. There’s a lit bit of country, soundtrack tunes, and as always, soul. Let’s lift these castoffs up and give them a new life.

Barbara Mandrell – Crackers (debuted 7/12/1980, peaked at #105)

Is this song about the eldest Mandrell sister going crazy? No, the title refers to the food she won’t mind her lover eating in bed with her. My joke meter just sounded off multiple alarms, but I’ll keep it clean. Considering Babs doesn’t mind sleeping in a double bed rather than a Queen or King or could care less about being wrong about love, her low self-esteem of sleeping in a pile of Ritz crumbs matches perfectly. From her first 80s LP, Love Is Fair, this single will climb to #3 on the Country charts.

Cheeks – Boney Moronie (debuted 7/12/1980, peaked at #110)

Here’s a pub rock band that released a few singles between 1979 and 1981. This one ended up on the soundtrack to the Animal House-ripoff, Up The Academy starring a young Ralph Macchio. The film is an absolute debacle, and even Mad Magazine, which “presented” it, immediately distanced itself from it after its release.  This amateur cover of this 1957 Larry Williams classic fits the movie to a T. As it plays, you can imagine horny teens crazily running around, gratuitous nudity, and senseless destruction.

Savoy Brown – Lay Back In The Arms Of Someone (debuted 7/18/1981, peaked at #107)

UK blues-rock outfit Savoy Brown had some minor success in the States during the late 60s and early 70s but fell out of favor by the time of their 1976 release Skin N Bone, which failed to chart. Their last attempt at crossing over to the US Top 40 was filled with Smokie covers, first this single, initially a #12 UK hit for Chris Norman and his gang (a Bubbler for Savoy B.), then Run To Me released later in 1981. It was featured on Smokie’s 1980 Greatest Hits Volume 2 collection, but Savoy Brown’s version was their best US showing, reaching #68.

Charlie Daniels Band – Sweet Home Alabama (debuted 7/18/1981, peaked at #110)

From Volunteer Jam VII (which I assumed no one was paid for) comes the inevitable Skynyrd cover from Charlie D. I’m not sure if this was done as a tribute to the fallen members, pandering to the Nashville crowd, or a veiled political statement. I only say that as after the line Birmingham, they love the governor, and he leaves out the Boo, boo, boo part. They peaked at #94 on the County charts.

Zapp – Dance Floor (Part I) (debuted 7/17/1982, peaked at #101)

Roger Troutman was the most successful musically in advancing the funk genre into the 80s with funky synth grooves that were so tight, you’d think they’d snap in half. Maybe his talkbox was the glue that held them together. These jams were too good for Top 40 the first time around, but the hip-hop community sampled them so much, you heard them in dozens of rap songs, especially West Coast, in the 80s and beyond. Everything came full circle when Roger performed the talkbox on Dr. Dre & 2Pac’s #1 smash, California Love. This single will be Zapp’s only R&B #1 hit.

John Williams – Theme From E.T. (The Extra-Terrestrial) (debuted 7/17/1982, peaked at #103)

John Williams is one of the best-known film composers of all time and has garnered a few Top 40 hits with his themes to Star Wars, Close Encounters of the Third Kind, and Jaws. The blockbuster film E.T. quickly became the highest-grossing film for over a decade. The single didn’t get any traction on radio, though, and was relegated to Bubbler status. As soon as you hear John’s theme, you immediately think of Elliott riding his bicycle, flying in the sky with E.T. in his basket. Or it makes you hide in your closet crying into a bag of Reese’s Pieces. Take your pick.

Charlie Daniels Band – Ragin’ Cajun (debuted 7/17/1982, peaked at #109)

Charlie’s back with the second single from his twelfth studio album, Windows, and the follow-up to his #22 hit, Still in Saigon. Someone from Louisiana will have to confirm if this funky fiddle hoedown gets played at U of L games or maybe during your roller coaster ride at Six Flags America in Maryland.

Dionne Warwick – All The Love In The World (debuted 7/16/1983, peaked at #101)

The third single from the Bee Gees-produced Heartbreaker album has a similar shuffly feel to Eyes That See In The Dark, a tune the trio would write for Kenny Rogers. This single didn’t chart on the Hot 100 or the R&B charts, but it would reach #16 on the AC charts and #10 in the UK.

Yello – I Love You (debuted 7/16/1983, peaked at #103)

Here’s the Swiss electronic duo with the lead single from their third album, You Gotta Say Yes To Another Excess,  a New Wave-vibed dance track that will reach #16 on the Dance Club charts. In the US, they are most known for their tune, Oh Yeah, featured in Ferris Bueller’s Day Off, which only reached #51. Or, as Mac calls it, Day Bow Bow.

Juluka – Scatterlings Of Africa (debuted 7/16/1983, peaked at #106)

Here’s the Johannesburg, South Africa band led by Johny Clegg and Sipho Mchunu with a single from their fourth album, Scatterlings, which helped get their interpretation of  Zulu music heard outside of their native country. Only three years later, we’d be listening and overpraising Paul Simon’s Graceland. Johnny would re-record this track with his new band Savuka in 1987, and it would land on the Rain Man soundtrack.

Shor Patrol – Loverboy (debuted 7/16/1983, peaked at #108)

The pride of Baltimore (or at least, Ocean City) in the 80s was this hard-working rock band led by vocalist Alana Shor. This quintet, which rose from the ashes of the group Paper Cup,  released a four-song EP on Arista Records in 1983, and this single almost broke them into the big time. Instead, its lack of success drove the five members to split up.

Karla Bonoff – Somebody’s Eyes (debuted 7/14/1984, peaked at #109)

The Footloose soundtrack had already generated six Top 40 hits in 1984. But I think Columbia Records got a little greedy releasing a seventh single. Not that the tune isn’t good. It was just overkill. Though it did manage to climb the AC charts landing at #16.

Russ Ballard – The Fire Still Burns (debuted 7/13/1985, peaked at #105)

We wrap up chart week twenty-eight with the title track from this British singer/songwriter/guitarist’s seventh album and last, for eight years. It will fail to make an impact on Pop radio but will receive a decent amount of airplay on Mainstream Rock stations.

Back On The Beat

We’re feeling the heat of Summer as we reach chart week twenty-seven in our review of 80s singles Bubbling Under the Hot 100. We have an excellent group of New Wave tunes and, as always, some forgotten R&B.

Al Jarreau – Never Givin’ Up (debuted 7/5/1980, peaked at #102)

Al was four albums deep when he finally crossed over to the R&B charts with this single from the Jay Graydon-produced This Time, a #1 Jazz album. It will also garner him a Best Male R&B Vocal Grammy nomination and will set up his Pop breakthrough with Breakin’ Away.

J.C. Cunningham – The Pyramid Song (debuted 7/5/1980, peaked at #104)

Here’s a country novelty record sung in the style of Jim Stafford or early Charlie Daniels. But it didn’t have near the success of either of those two artists. In fact, outside of Bernie Madoff, I don’t know who else even bought this 45. JC would write a few Country hits, namely David Allan Coe’s Mona List Lost Her Smile.

Def Leppard – Rock Brigade (debuted 7/5/1980, peaked at #106)

Time for the Sheffield, England quintet who constantly tried to go through the metal door even though they were better characterized as hard rock. From their debut, On Through The Night, this single was their first attempt at the US  market. It wouldn’t be until three years later that producer Mutt Lange would inject a little pop into their sound, resulting in their first hit, Photograph.

Ian Hunter – We Gotta’ Get Out Of Here (debuted 7/5/1980, peaked at #108)

The former frontman of Mott The Hoople continued to climb onto the charts as a solo act and finally managed a #68 peak with Just Another Night from 1979’s You’re Never Alone With a Schizophrenic. And in the 70s, with a bit of success comes either a greatest hits compilation or a double live LP. Ian opted for the latter and kept side four open for some new studio recordings, of which this rocker is one.

Congrats to the class of 1981, chart week 27, especially the song Tempted by Squeeze, which debuts as a Bubbler and will scuttle onto charts cheating its way up to #49. It remains the band’s signature song even though it has two other Top 40 hits.

Squeeze – Black Coffee In Bed (debuted 7/10/1982, peaked at #103)

Keeping the R&B vibe of the former tune but moving on from the Paul Carrack vocals, here’s the first single from the UK quintet’s fifth album, Sweets From A Stranger. This New Wave classic featured backing vocals from Paul Young and Elvis Costello, neither of whom had a Top 40 hit under their belt at the time. One of my favorite songs from one of my favorite bands.

Roxy Music – Take A Chance With Me (debuted 7/10/1982, peaked at #104)

Roxy’s eighth and final album, Avalon, was their third UK #1. This was the third single released from it which reached #26 over in England. It wasn’t as catchy as More Than This but still worthy of a better showing than as a 1982 Bubbler. But this was never going to best anything from the Air Supply department as far as Pop radio was concerned.

Heaven 17 – We Live So Fast (debuted 7/9/1983, peaked at #102)

Ian Craig Marsh & Martyn Ware were founding members of the Human League. But by 1980, they couldn’t take being boiled any longer and split to form their own synth-pop band, Heaven 17. Officially a trio with lead singer Glenn Gregory, they racked up seven Top 40hits in the UK but only one chart hit in the US [Let Me Go, #74]. This speedy dance single, also from the album, The Luxury Gap,  got close to the Hot 100, but it died as it lived.

Ultravox – Dancing With Tears In My Eyes (debuted 7/7/1984, peaked at #108)

Midge Ure became famous for co-founding Band Aid and then, Live Aid in the mid-80s. But he was also the lead singer of a pretty good New Wave outfit that netted seventeen Top40 singles in the UK. The closest they ever got in the States was Reap The Wild Wind in 1982. This 45 was even better than that and barely even bubbled. It reached #3 in England and the Top 10 in Belgium, Germany, Ireland, and New Zealand.

Kid Creole & The Coconuts – My Male Curiosity (debuted 7/7/1984, peaked at #110)

What an odd choice to have August Darnell and his 40s-style trio of coconut ladies perform in the Jeff Bridges film, Against All Odds. I’m cool with it. Any chance to see them perform. Unfortunately, their placement in the movie and the soundtrack did not help elevate their status. Their only chart single will be as guests of Barry Manilow on the #90 peak of Hey Mambo in 1988. If you want to know what they’re all about, pick up a copy of their 1982 LP, Wise Guy, which has three of their best songs: Annie, I’m Not Your Daddy, I’m A Wonderful Thing, Baby and Stool Pigeon.

Gwen Guthrie – Padlock (debuted 7/6/1985, peaked at #102)

The first lady of the Paradise Garage is back with another post-disco Bubbler. It’s a great upbeat dance song that could have easily fit in on Pop radio during the Summer of 1985. Initially recorded for Gwen’s 1983 album, Portrait, and produced by Sly & Robbie, it received a special remix by DJ Larry Levan. It will climb to #25 on the R&B charts.

To Say What’s Got To Be Said

It’s easy in hindsight to shake your head and wonder why some of these songs weren’t bigger hits or at least chart on the Hot 100. That’s my immediate thought as I look at this list of 80’s Bubbling Under songs from that week twenty-six. It’s easy to forget that some songs take time to grow into classics. Sometimes record companies just bungle the promotion. Some program directors who had particular tastes or were towing corporate lines created pop radio playlists as formulas for marketing executives rather than listeners. Eventually, we, the fans, get to choose, generation by generation, what we enjoy, so long as we can find it and have the ability to listen to it.

Gary Numan & Tubeway Army – Are ‘Friends’ Electric? (debuted 6/28/1980, peaked at #105)

Gary blew up the Pop charts in the late Spring of 1980 with the Synthpop classic, Cars, an absolute game-changer, robotic and lush. When it peaked at #10 in early June, it was surrounded by Linda Rondstadt on one side and Elton John on the other. A new day had come. But rather than release another track from The Pleasure Principle, such as Observer or Complex, ATCO re-released this 1979 UK #1 smash recorded with his former band, Tubeway Army. The single was more aligned with Joy Division than with Funkytown, and thus Gary remains a US one-hit-wonder.

Odyssey – Don’t Tell Me, Tell Her (debuted 6/28/1980, peaked at #105)

This New York City trio had a U.S. Top 40 in early 1978 with Native New Yorker. But they just could not get any more songs of theirs to click on the Pop chart for some reason. This was the lead single from their third album, Hang Together, and with the proper promotion and maybe better timing, this easily could have been a hit. Its gentle calypso vibe helped it do well on the Dance Club charts, where it reached #6.

Cameo – Freaky Dancin’ (debuted 7/4/1981, peaked at #102)

New York funk band Cameo whittled their group down from 14 to 10 members by their seventh album, Knights of The Sound Table. They are also of the few funk outfits to move through the pre-Disco, Disco, and post-Disco periods without losing their stroke. This will be their eleventh R&B Top 40 hit and fifth Top 10 when it peaks at #3. They will rack up 19 Soul hits before their first Pop Top 40 smash, Word Up!.

Ozzy Osbourne – Crazy Train (debuted 7/4/1981, peaked at #106)

People forget that when Ozzy was kicked out of Black Sabbath in 1979, many thought his career was over. But this where the legend of Oz begins. His agent, Don Arden, got him signed to Jet Records and made his daughter Sharon look after him and get him on the right track. [Ozzy was currently married to his first wife, Thelma, at the time.] He recruited members of various rock bands, including Quiet Riot’s Randy Rhoads, to play with him and record his debut, Blizzard Of Ozz, released in the UK in the Fall of 1980. This was the first solo single he ever released, and although it never reached the Hot 100, it was certified four times platinum in 2020.

Imagination – Just An Illusion (debuted 7/3/1982, peaked at #102)

Here’s a British trio that dabbled in some post-disco synth-funk that netted them lots of hits in their native country. This single, released from the second album, In the Heat of the Night, reached the Top 10 in almost every European country during the Spring of 1982. By the time this midtempo track reached the US shores, it had managed some Dance club spins and a #27 post on the R&B charts, but not much else. Producers Steve jolly & Tony Swain helmed one more album for the group before turning their attention to creating hits for Spandau Ballet and Bananarama.

Gino Soccio – It’s Alright (debuted 7/3/1982, peaked at #108)

If you listened to dance music after 1979 or danced in the clubs, you know that Disco never died. It just became less mainstream and less commercialized. You’re also probably one of the few who would know who Canadian producer Gino Soccio is. He had a slew of smashes on the Disco charts in the early 80s, including this one which peaked at #2. It will also chart on the R&B Hot 100, reaching #60.

U2 – Two Hearts Beat As One (debuted 7/2/1983, peaked at #101)

Until The Joshua Tree, the quintessential U2 album was War. If you were a fan, you knew every song on this album and truly believed Bono and the boys could change the world. It became their first #1 album in the UK and spent years on the US album charts. This single, easily my favorite from the LP,  was the follow-up to their first chart single, New Year’s Day, which hit #53.

Jennifer Warnes – Nights Are Forever (debuted 7/2/1983, peaked at #105)

Nobody thinks of Jennifer Warnes as the Queen of 80s soundtracks. But if you needed a woman to sing your film’s theme song, you called her. Her voice was at once familiar and new, comforting yet disquieting. What a perfect choice for Twilight Zone – The Movie, a production with its own complicated history. This track probably got buried because of the film’s bad press, but its Yachty-vibe is ripe for rediscovery. It will reach the Top 10 on the AC charts.

I’ll get to the rest in the next post…

Time To Work It Out

We’ve made it to chart week twenty-five in our review of the singles Bubbling Under the Hot 100 during the 80s. It’s a light week, so congrats to those who go out. Let’s see who didn’t make it.

Brick – All The Way (debuted 6/21/1980, peaked at #106)

The Atlanta funk quintet that gave us Dazz and Dusic hit a wall at the turn of the decade. This mid-tempo groover owes a bit of debt to those late 70s Raydio hits, albeit with grittier lead vocals. The lead track from their fourth album, Waiting On You, will reach #38 on the Soul charts. Push Push, the funkier follow-up, will do a little better.

Split Enz – One Step Ahead (debuted 6/27/1981, peaked at #104)

This New Zealand quintet’s sixth release, Waiata, Maori for singing, spawned the band’s second Top 10 hit in Australia. It’s one of my favorite songs of theirs and writer Neil Finn’s. But a track this downtempo wasn’t going to break through the Bette Davis Eyes wall that Pop radio was erecting.

Also, if it seemed weird to you that Neil Finn and Mike Campbell of the Heartbreakers filled in for Lindsey Buckingham’s spot in Fleetwood Mac recently, consider that Split Enz opened for Tom Petty in 1981.

Bram Tchaikovsky – Shall We Dance? (debuted 6/27/1981, peaked at #109)

The former guitarist of the UK New Wave quartet The Motors had a surprise Top 40 in 1979 called Girl of My Dreams with a band that was also his stage name, kinda like Alice Cooper or Sade. But as the charts quickly softened in the early 80s, it was hard to get another song to break through the Pop cheese. This Power pop track from his third album, Funland, was his last stand before quitting the music industry.

Rich Little – President’s Rap (debuted 6/26/1982, peaked at #105)

Rich Little, the man of a thousand voices, is here to destroy America’s last musical art form. If you don’t know who Little is, consider yourself lucky. When it comes to roasts, he was to Dean Martin’s as Jeffrey Ross is to Comedy Central’s. Someone had the great idea in 1981 to do another installment of Vaughn Meader’s The First Family, but have Rich do the Ronnie Reagan part. Wait, it gets worse. Then Boardwalk Records decided to take a bunch of the “comedy bits” and insert them over the band War performing Tom Tom Club’s Genius of Love. And they didn’t even bother to credit the songwriters. It’s a cringe-worthy mess.

Fun fact: Michael Richards plays Ron Jr. on the cover, but the voice of a psychiatrist on the album.

Bill LaBounty – Never Gonna Look Back (debuted 6/26/1982, peaked at #110)

Bill LaBounty is a WestCoast legend. Unfortunately, that doesn’t always pay the bills. Thankfully Michael Johnson covered his 1978 #65 hit This Night Won’t Last Forever and took it into the Top 20 in 1979. This single was the last time Bill would get close to the Hot 100 again. And it’s from an album, his fourth, which in my opinion is his absolute best. Recorded with the best L.A. studio musicians of the day, this ballad will be his highest-charting single on the AC charts, peaking at #22. Warner Bros./Curb Records screwed up when they couldn’t get this or one of the three best tracks on LP on the radio: Dream On, Livin’ It Up, or Look Who’s Lonely Now.

After this release, Bill moved over to Nashville and wrote some big hits for Steve Wariner, such as the #1s, Lynda, and I Got Dreams.

Deniece Williams – Do What You Feel (debuted 6/25/1983, peaked at #102)

Niecy’s seventh album, I’m So Proud, was named after the 1964 Curtis Mayfield-penned hit by the Impressions, which she covers on the LP. This single was the lead 45, written by Willaims and produced by George Duke. The track, which will reach #9 on the R&B charts, has a familiar sound to it, mainly because the intro sounds like this hit, and the chorus sounds like this one. Of course, the chorus also reminds me of this Ashford & Simpson tune recorded five years previous.

Roger Glover – The Mask (debuted 6/23/1984, peaked at #102)

I think it’s obvious that Roger had a wild dream or a bad trip and thought it was a good idea to turn it into a misguided NEw Wave attempt. But the Deep Purple bassist might have been wiser to write it down and share it with a shrink instead. Instead, we get a very 80s production and an offensive video – a NatGeo clip gone awry.

Talking Heads – Road To Nowhere (debuted 6/22/1985, peaked at #105)

Let’s end on a high note from a band who knew how to make interesting videos. This was the lead single from the quartet’s 1985 LP, Little Creatures, their sixth, featuring a cover designed by Howard Finster. And like Once In a Lifetime before it, this classic too will languish under the charts. This will be a hit in many other countries, including the Top 10 in Germany, New Zealand, and the UK. David Byrne finished his American Utopia performance with this track, and for the Spike Lee film, he takes his band through the audience while they performed it.

Forget What I’ve Tried To Be

It’s another full dance card for chart week twenty-four regarding those Bubbling Under singles from the 80s. First, let’s review a handful from 1980 through 1983.

GQ – Sitting In The Park (debuted 6/14/1980, peaked at #101)

After scoring a #20 hit in 1979 with the Billy Stewart tune, I Do Love You, this Bronx quartet goes back to the well with another of his songs, which initially reached #24 in 1965. This one finds a bench, feeds the pigeons, and ends up a Bubbler. It will reach the R&B Top 10.

Gene Chandler – Does She Have A Friend? (debuted 6/14/1980, peaked at #101)

The Duke Of Earl tries to elongate his late 70s mini-comeback with this funky mid-tempo track from his eleventh album, ’80. It was a nice change of pace after his last two disco singles and should have received more love. It will only reach #28 on the Soul charts but will match that peak in the UK.

Survivor – Rebel Girl (debuted 6/14/1980, peaked at #103)

Oh, Survivor. We meet again. The band that placed ten singles in The Other Sixty group is back with their second and final Bubbler. It’s the follow-up to their first chart hit, Somewhere in America, but was not included on their 1980 debut for some reason.

Fun Fact: Lead singer Dave Bickler was also the band’s keyboard player in the beginning. Keyboardist Jim Peterik played rhythm guitar for the first two albums before switching.

Angel City – Marseilles (debuted 6/14/1980, peaked at #109)

Wanna know what AC/DC would sound like with a mellower lead vocalist? Well, look no further. The Angels were an Australian quintet eager to break into the US market at the turn of the decade. Their 1980 album Face to Face was a compilation from their last two late 70s Down Under releases, Face To Face and No Exit. They changed their name to Angel City, and this was all they had to show for it. The group would keep that double name charade up for five years. During that time, the US band Angel split up, and no one ever mistook these guys as the ones who sang My Boyfriend’s Back.

Heart – Bebe Le Strange (debuted 6/14/1980, peaked at #109)

The first five years of Heart’s career were filled with false starts and lawsuits. But even with their janky momentum, they still racked up seven Top 40 hits to this point. The title track to their fifth album was the follow-up to the #33 climber, Even It Up. No one got their Zeppelin better on better than the Wilson sisters.

Billy Ocean – Night (Feel Like Getting Down) (debuted 6/20/1981, peaked at #103)

Leslie Charles had an eight-year Top 40 gap between 1976’s Love Really Hurts Without You and Caribbean Queen. But he wasn’t on hiatus or asleep. Pop programmers were. The title track to his third album is a smooth jam that should have been pumping from car speakers that Summer. The cool cars in my neighborhood did, and it reached #7 on the R&B charts.

Also, Billy’s presence here is my cue to link this pre-Ted Lasso favorite.

The Pinups – Song On The Radio (debuted 6/19/1982, peaked at #110)

What a horribly misogynistic and exploitative concept as a band. But this is a damn fine pop song, which goes to prove that T&A doesn’t automatically sell music [see The Pussycat Dolls]. The song was written by Tony “A Fine Fine Day” Carey and released in the Netherlands in 1981 before getting a proper release here in the States. Pop radio missed the boat on this one.

The Isley Brothers – Between The Sheets (debuted 6/18/1983, peaked at #101)

We’re gonna finish with two classics in their respective genre. First up, the smooth grooves of the Isley Brothers, who released the title track to their twenty-second LP and last with the classic six-person lineup. Pop radio has absolutely no excuses for ignoring this Quiet Storm masterpiece. It will reach #3 on the Soul charts but will be sampled repeatedly by Jay-Z, Aaliyah, Whitney Houston, and, most importantly, Biggie. It’s hard to play this song and not think of throwing your hands in the ay-ya like a true playa. But we all know the true big poppa was Ronald Isley.

Marshall Crenshaw – Whenever You’re On My Mind (debuted 6/18/1983, peaked at #103)

Now on to a New Wave classic. What was the reason to keep the lead single off of Marshall’s second album, Field Day, off Pop radio? It’s easily the best thing he ever wrote and performed, and considering he already had a Top 40 presence the year before with Someday, Someway, this should have been a non-brainer for programmers. I also dig this version by Marti Jones, another artist Pop radio ignored.

That’s nine. We’ll finish up the chart week with the back nine in the next post.