Over the summer, I invite you to join me by celebrating a song from each year to the present. These 60 songs may not all deserve 10’s on our TNOCS scale, but they all mean something to me. And I look forward to sharing them with you.
Part 3:
In our 60-year timesweep, we’re up to the early 1980s.
It was the decade of the megastar.
And several of them are represented this time around as I move through my 20s.
1983:
Billie Jean
Michael Jackson
I bought MJ’s “Thriller” despite the first single, rather than because of it: “The Girl Is Mine” still ranks as one of the biggest wastes of major talents. (I’ll admit I like “Say, Say, Say,” though.)
Still, the first time I heard the follow-up, I knew we were in for something big – although I had no idea how big. Every party from January through June included this rccord, “Wanna Be Startin’ Something,” or both in its mix. Every time, people stopped talking and started dancing.
1983 Flashback:
My reporting internship at the South Bend Tribune. The staff included a person who did touch-ups of pictures.
She “fixed” my collar and blazer to be more professional than I was at 19-going-on-20.
1984:
Purple Rain
Prince and the Revolution
Those same parties featured “1999” and “D.M.S.R.” (usually Michael provided the warm-up, and Prince, the follow-through). By the time “the Prince movie” came out, we were primed. Never mind how ridiculous Apollonia was, nor how Prince and his band’s charisma covered a lot of acting flaws.
“Purple Rain” not only was a must-see and must-play, but a must-buy for our new videocassette players. As for the song itself, I grabbed a 12-inch version on purple vinyl and still cherish it. Why ever listen to the 45?
Flashback 1984:
Working at Indiana University’s newspaper, the Indiana Daily Student (or ids, for short).
1985:
We Are the World
USA for Africa
This is where most of TNOCS and I part ways. I guess most object because they assess it as a song – sappy lyrics, repetitive chorus, etc. The first time I heard it, I knew it was an experience. Where else would you hear Willie Nelson, Dionne Warwick, Bob Dylan, Ray Charles, Bruce Springsteen and Stevie Wonder on the same track? The call-and-response between Stevie and Bruce gets me every time I hear it.
Our consumerist society put its “buy now” mentality to an altruistic purpose, with significant effect. When I analyze this record, I use a different metric – because it deserves one. Always a 10 for me.
1986:
How Will I Know?
Whitney Houston
Whitney and I were born the same month and year, and I remember being aware of that early on. I never felt that way about Michael Jackson, Madonna or Prince, though they were only a few years older. Although her torchier songs made her seem older, this track from her debut captured all the excitement and insecurities of young adulthood. That she made it seem fun was all the sweeter.
I also loved the video, for all its dorkiness (Whitney dances as well as I do, another part of why I loved her). And its shout-out to aunt Aretha at the end is the icing on the cake.
1987:
Back in the High Life Again
Steve Winwood
I don’t recall when I bought Winwood’s biggest-selling album. It might have been when “The Finer Things” came out. (Often, if I liked three singles, I bought the album, for convenience’s sake.) I remember how much I also liked the tracks that weren’t singles – “Wake Me Up on Judgment Day,” “My Love’s Leavin,’” “Split Decision.”
I remember thinking the first time I heard this song, “Why didn’t they release this as a single?” Then, when they finally did, I was shocked it didn’t go Top 10. Maybe it was too adult for Top 40. And on the edge of 24, was I?
1988:
Never Gonna Give You Up
Rick Astley
If Winwood had me thinking I was old at 24, his fellow Brit put that to rest. Or did he? As much as I enjoyed bopping around to Astley’s debut, I found myself spending more time listening to “It Would Take a Strong, Strong Man” or his take on “When I Fall in Love.”
Oh, well. If I were to embrace being an adult contemporary fan (or, really, just acknowledge it … Looking Glass and Michael Johnson, anyone?)… best to have a cute baritone as my guide.
1989:
I Don’t Want a Lover
Texas
Personal charts don’t lie. This song debuted in late September 1989, as the destructive relationship I once detailed on the mothership was developing. At the time, I focused on Sharleen Spiteri’s main line. Within six months, I’d realize the wisdom of the bridge:
“You don’t even care about what I’m saying
You don’t even think what you’re doing
All you see is what you want it to be
There’s just no room in there for me.”
1990:
Time for Letting Go
Jude Cole
First loves can be great, awful or a bit of both. It’s all the stickier when “first loves” don’t turn out to be that. By summer 1990, it had been half a year since that relationship ceased. As I was still in the same job, “letting go” was easier said than done.
Jude Cole’s second hit seemed to put my every thought to music, and as I sang along throughout the fall, I found myself feeling better each time the song ended.
Flashback 1990:
I realized that my colleagues and I had just won a county corporate spelling bee fund-raiser for the literacy council.
1991:
Something to Talk About
Bonnie Raitt
After the drama of 1989 and 1990, it was fun to dig into songs that let me just sing along. Mariah Carey’s “Best of My Love” knockoff “Emotions” did that, but Bonnie Raitt’s slow burner was even better. It was from a great album, “Luck of the Draw,” the second of three straight from Raitt that dominated my stereo for half a decade.
1992:
Do You Believe In Us
Jon Secada
Unlike the song from 1989, this choice is happily coincidental: It was already in the Top 5 on my personal charts the week I met the man who is now my husband.
Flashback 1992:
Enjoying a trip out west, a few months before life changed in a big way.
Next time:
Building a new home…
The roots of a marriage…
…and a shock to the world.
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The playlist is updated: https://open.spotify.com/playlist/47FTYLni9GZBSTvvC1OTzq?si=287362489b4e4062
What were they thinking when they released “The Girl is Mine” as the lead single for Thriller? I know the lead typically is not intended to be the biggest one, but man, what a dud of a track.
“How Will I Know” is my favorite Whitney song. Jubilation perfected. 💖
I see your ‘The Girl is Mine,’ and I raise you ‘Women’ off of Hysteria (at least in the US).
Prince is one of those artists who’s so great that I forget how great he is. I’ll go months without hearing any of his stuff and then a song comes on and I’ll be amazed, again, at how phenomenal he was.
Thanks for the reminder!
Yeah – Prince’s greatness becomes white noise after a while. I was reminded a few years ago when “Let’s Go Crazy” came on the radio, and my son, who was 13 at the time, said “I really love this song – who is it?”
And then it all comes back – the crazy spoken intro, the two insane guitar solos – so, so great.
I can’t possibly be the only one who occasionally starts off work meetings I’m leading by saying “Dearly Beloved, We Are gathered here today to get through this thing called life…”
That’s pretty classy. I wish I had that kind of style.
In fact, just yesterday, I was in a meeting and described a shady and delinquent vendor as a “skeezebag.”
I’ll do better.
Squeeeeee!!!!
[High fives mt]
I never get sick of “Never Gonna Give You Up.” You could rickroll me 10 times a day, and I’d still be dork-dancing along with Rick Astley’s boyish baritone…
“We’re no strangers to love
You know the rules, and so do I…”
“Someone I know” may have used that song for his or her wedding vows. And maybe did some dork dancing as well.
I got sick of Never Gonna Give You Up in 1988. Nevermind today’s culture wars, in late 80s Britain there was a fierce divide between the slick populist pop production line of Stock Aitken Waterman on one side and the weekly music press of NME and Melody Maker on the other lauding guitar driven authenticity.
Not that the pop kids devouring Rick, Kylie, Jason and the rest cared what the sun deprived pasty faced indie fan thought. It was war but only on one side.
Great set of songs. Bonnie Raitt’s run of albums in that period was just incredible. Still in rotation at my house.
I like “Time for Letting Go,” but when I see the title, I always expect to hear this song.
https://www.youtube.com/watch?v=XALoIvo9GJI
Nice write-up Chuck! I especially agree re: “We Are the World” – I thought Tom B gave it a misguided savaging. The Essential Moment I wrote for it is one of my favorites, maybe you’ll enjoy it too:
https://www.openweb.com/share/2T1o85RageVBhwuz9ytuPPhlYZD
I remember this; it was great.
Reprinting with the [implied] permission of the author:
———————————————————————
The Essential Moment of “We Are the World”:
I can see it both ways on this song. Yes, the lyrics seem somewhat naïve and overbearing. I’m sure there are lots who find this whole thing insufferable. But I’m placing that directly on the doorstep of the songwriters, MJ and Mr. Richie.
Plus, the prominent roles of Harry Belafonte and Quincy Jones in this song do a lot to even out the presence of the two songwriters, at least theoretically. Still, my least favorite part of the song is the first chorus featuring MJ alone. MJ singing “We are the children”, and sounding so childlike himself, makes me distinctly uncomfortable.
Facts, though: WATW was groundbreaking in terms of approach, scale, and focus. Apparently, money on the modern order of $100M+ was raised and then used for famine relief and legit-sounding longer term projects to benefit the natives in several African countries. There are people who lived through those times in part because of this single. In that regard, the song got results and has earned respect.
Obviously, this is equal parts song and stunt. The songwriting may be weak, but the stunt came off like a champ.
And as a song in itself, this is kind of a hoot! The big group vocals are boring, but the verses are fun, with the various A-listers taking turns with the lead. They all sound fully invested in delivering their lines. And even if it had no other redeeming qualities, it’s got what few other #1’s have: a screamingly funny moment. Yes, I’m talking about Dylan’s couple of lines.
Springsteen’s full-gravel delivery of the second chorus was my early front-runner. But what’s really moving me is Brother Ray Charles. He holds together the last part of the song and gets to sing the same couplet (“There’s a choice we’re making … Just you and me”) THREE TIMES, first at 4:42 and then, after Stevie and Bruce both have a go at it, again at 6:28. And barely under the wire, he sings it again on the outro! It’s a fitting honor, too. He had seniority over nearly everyone else there, after all.
God I miss Ray Charles. I’d walk a solid month to be able to see him again, even if he sang the same two lines over and over.
Couldn’t agree more, BG. I’m OK being in the minority on this one.
The biggest problem with “We Are The World” is that “Do They Know It’s Christmas?” exists and is so much better.
Hard disagree there. The “thank God it’s them instead of you” line particularly grates on me. I know it’s delivered with irony but I still hate it.
“WELL, TONIGHT THANK GOD IT’S THEM, INSTEAD OF YOU!”
Sorry. It’s not the same without all-caps. Give Bono credit, though. He changed the lyric to: “Tonight we’re reaching out and touching you,” for Band Aid 30. And it doesn’t look bad in all-caps.
“TONIGHT WE’RE REACHING OUT AND TOUCHING YOU!”
Oh good, they did change that line. I’ve never bothered to listen to the 30 year redo version.
Although, if I didn’t know any better, I’d have read that shouted revised line as being the theme for this year’s Universal Studios Halloween Horror Nights…
On board with this opinion. I bought DTKiC, gave money to Hands Across America, but i could not stand WatW.
Hands Across America, totally forgot about that. I had a friend who went down to Philly with her church group to participate in the Main Chain. Closest we came was Hands Around Our Elementary School (it was 6th grade), but I don’t think we had enough students to actually encircle the entire school. Ha!
I bought the cassette. I like “We Are the World”. The song was irrelevant, though. It was an event. Bob Geldof made me want to help feed the world. The UK threw down the gauntlet with “Do They Know It’s Christmas?”
Cyndi Lauper’s star was ascending. Young me thought the song revolved around her.
You made it okay for me to admit that my cousins and I would laugh when it was Bob Dylan’s turn.
Nice. For whatever reason, I always chuckle when I think about describing Dylan’s voice as “screamingly funny”…
I’ve seen Dylan twice, before and after the renaissance. I learned that no matter how his career is going, you’re not going to get any audience rapport from him.
Did you read the Doja Cat article on the mothership.
Brilliant. She’s pulling a Dylan. I get it now. Imagine how many stalkers Dylan would have if he was fan-friendly.
I’d always hoped that Cyndi’s performance on WATW was as spontaneous and true (colors?) as it appeared to be.
Years later, I found that it pretty much was. Here’s Cyndi ascending.
https://www.youtube.com/watch?v=HpReqNFVL-0
Thanks, mt58. This behind the scenes look dispels my impression that Kim Carnes couldn’t stand Cyndi Lauper. When Carnes flinches in the music video, maybe it has nothing to do with Lauper. Maybe there’s a small bug Carnes is averting that doesn’t show up on camera.
I remember Lauper’s star stopped ascending when she co-starred with Jeff Goldblum in the roundly lambasted Vibes. The original song “Hole in My Heart(All the Way to China)” inexplicably stopped ascending at #54(#51 Cashbox). It should be included on The Essential Cyndi Lauper, because it’s essential. What happened? It’s a jam; it slaps. After “Beautiful World”, “Hole in My Heart” was the song I originally put up for nomination in JonDeutsch’s column, but I was afraid nobody would vote for it. The song has disappeared.
A Night to Remember underperformed(#37). “I Drove All Night” should have topped the charts. It stalled at #6. And it was all downhill from there. The follow-up single “My First Night Without You” bubbled under the top 40(#62). No. No. No. That’s a top twenty hit.
Cyndi Lauper was still big in…Colombia. “Heading West” and “A Night to Remember” were roundly ignored around the world, but it reached #10 and #17 on the Colombian Top 40.
More than Siouxsie and the Banshees and Devo, in my opinion, Cyndi Lauper is the most glaring omission in the RR HOF.
Yup. The Rock and Roll Hall of Fame means something to me.
I hope this comes across as normal healthy fandom.
Agreed on “My First Night Without You.” I also liked other songs of hers from her later ’90s output including “Who Let in the Rain,” “Unhook the Stars,” “Brimstone and Fire” and “Hot Gets a Little Cold.”
“ I hope this comes across as normal healthy fandom.”
It sure does. Perfectly so.
I guess it’s safe for me to admit here that the first few times I heard WATW (before seeing the video), I thought the offkey lines were being sung by Matthew Wilder (14-year-old me didn’t know Dylan from Adam).
We were both watching Dylan out of context. In 1983, my musical knowledge of Bob Dylan was probably “Blowin’ in the Wind”, and maybe, “Like a Rolling Stone”. Empire Burlesque wasn’t going to add new fans. It wasn’t until Columbia reissued his catalogue that I got with the program.
“Looney Joe” confused everybody in TNOCS. I thought I was communicating with a contemporary. I bet he knew the Dylan catalogue back to front by 14.
Another gem – thanks for these, Chuck!
Thanks, buddy. I appreciate it!
It still amazes me that Purple Rain, When Doves Cry and Let’s Go Crazy all failed to get Oscar nominations for Best Song while the likes of Maniac and I Just Called to Say I Love You got the nod instead (and the Oscar for the latter). Thank God members of the Academy of Motion Picture Arts and Sciences came to their senses and rightly gave Prince the Oscar for Best Score. That soundtrack still shimmers nearly 40 years later.
Oh, and great column as always, Chuck!
You’ve been rocking that mustache since you were a teenager Chuck?! Go you!!! Do you have a particular grooming routine you’ve perfected for it over the years? I’ve got a buddy at work who’s got the greatest Santa beard halfway down his chest (and is bald, he says the beard’s long to make up for the lack of hair on his head). Someone asked him in a meeting once how much time he spent on his beard, and he was like – oh my God I’m too lazy for that. I let a barber clean it up every few weeks!
I’ve never thought of it that way, but yes, I have. I grew it the summer between high school and college out of necessity — came down with the mumps and couldn’t stand up to shave. The only time I haven’t had it since then was a 1-week period sophomore year in college when I had to shave it off to get a job in the dorm cafeteria (no facial hair allowed). Within two shifts, I heard about a job in the dorm library, quit the cafe and regrew the mustache.
And, as far as care goes, I’m like your buddy. I trim it just a bit when I’m shaving and leave anything significant to my barber every few months (since there’s little else for them to do!) 🙂
On second thought, it was mono that summer. I had the mumps sophomore year in high school. (Got all the “fun” stuff out of the way early.)
When I was in college, I was knocked out with mono for nearly 3 weeks in bed. When I started to finally come around, I had a full beard, because shaving hadn’t been a priority. Before getting sick, I’d never considered a beard, but I went with it, and it’s with me to this very day.
(This concludes another “Great Moments In Adolescent Infectious Disease And Facial Hair.”)
Justice for Apollonia!