Three songs that defined ... February 1978

This weekend, both the Premiere Radio Network and Sirius XM decided they were going to run the same freakin' year in an American Top 40 countdown -- 1978. Premiere chose the correct countdown of February 4, 1978, while Sirius XM -- not known for making many great decisions since the November 2008 merger -- decided on airing the January 28, 1978 countdown on the '70s on 7 channel.

With the exception of eight songs -- the four that were about to fall off from the January 28 countdown and the four that were about to debut on the February 4 countdown -- the songs were relatively the same. I decided today to a blog on three songs that defined the time period.

That is, three songs that had  nothing to do with either the "Saturday Night Fever" soundtrack or anything the Bee Gees wrote for themselves or little brother Andy or Yvonne Elliman or Samantha Sang, etc., etc. etc.

Peg--Steely Dan: On the January 28 countdown, it was No. 28. Then it moved up eight notches on the February 4 countdown. I remember my folks got very contemporary in the 1970s. I guess my father knew that pop music was becoming a big part of my life. I suggested -- and he bought -- the Fleetwood Mac "Dreams" album, along with Leo Sayer's "Endless Flight," Electric Light Orchestra's "Out Of The Blue" and he also bought Steely Dan's "Aja" album. And I listened intently to that album. It was very different from anything that was out there. At 11 years old, I wasn't aware of their earlier stuff like "Do It Again," "Reelin' In The Years" and "Rikki, Don't Lose That Number," but I found solace in the fact that Steely Dan wasn't a "rock band" by any means, but wasn't Ray Conniff, either. I remember the title track from the album being this simplistic, slowed song, and I remember listening to "Deacon Blues" and to this day 35 years later remembering that line, "They call Alabama the Crimson Tide. Call me Deacon Blues." But "Peg" was the standard bearer of the entire album, the quirky keyboard opening, the smallish guitar solo in the middle and Donald Fagen's nasally vocal. It was quintessential pop for its time ... very non-threatening, but sleek in its production approach.

I Go Crazy--Paul Davis: The little song that wouldn't go away. It would spend an unbelievable 25 weeks in the Top 40 (which today would translate to about 60 weeks in the Top 40), being No. 18 on January 28 and No. 16 on February 4, en route to peaking at No. 7 for four weeks and becoming the first record to spend 40 weeks in the Billboard Hot 100. That was a huge deal back then. Davis did just about everything on this record, play the piano and keyboards, sing the lead vocal, write the song and produce it, too. It's just one of those emotional songs that takes you back to where you were -- in this case, practically my whole sixth-grade year at Hooper Avenue Elementary School. Then again, something had to offset all those weeks I heard "You Light Up My Life" in that time period. "I Go Crazy" is one of those rare songs that you want to hear from the melancholy piano-drenched opening to the keyboards tinkling at the end as it fades out.

Short People--Randy Newman: Soon-to-be Rock 'n Roll Hall of Famer Randy Newman sure caused a firestorm when he recorded "Short People," backed by none other than good friends Glenn Frey and Don Henley of the Eagles. Like it was yesterday, I can remember the furor that this caused, how people wanted to ban this song on radio stations far and wide because Newman was mocking all the "little people." All I remembered was all those mean people saying such mean things as it got to No. 2 very, very quickly. It would only be years later when listening to the song enough (my dad also bought the album at the time the song came out called "Little Criminals") and realized this was just sarcasm and that Newman had nothing against smaller people, especially in the bridge of the song when you hear Frey and Henley singing "Short people are just the same as you and I," and then "All men are brothers until the day they die," for which Newman replies, "It's a wonderful world." Again, I was 11, I had no clue. But now I do. And those who to this day still don't get it probably never will. They're probably the ones that kept the song from hitting No. 1 as "Stayin' Alive" leaped from No. 3 to No. 1 on the February 4 countdown. "Short People" stayed at No. 2 for three frustrating weeks.

Good ol' rock 'n roll ... Raspberries style

The biggest misnomer about the Raspberries is they were a one-hit wonder.

Far from the truth. True fans of the band and 1970s music radio junkies know this for sure. Forget the fact that Sirius XM '70s on 7 plays the crap out of "Go All The Way." Though it is a classic rock staple and everyone knows every last air-guitar lick of that song and enjoys Eric Carmen's amazing vocals, the biggest injustice about this band was they were more than that one song.

As a matter of fact, another injustice of the band is why they are not in the Rock & Roll Hall of Fame in their backyard in Cleveland, Ohio. They were just as influential a '70s rock band as some of the acts that are in there now or like Chicago and KISS, who still wait that call from the Hall.

Though most everyone knows of Carmen's work both with the band and solo (his biggest hit ever was the 1976 No. 2 smash of self-loathing "All By Myself"), the band also includes guitarist Wally Bryson, drummer Jim Bonfanti and bassist David Smalley.

Their 1972 self-titled debut album was infamous because the geniuses at their record company, Capitol Records, thought it'd be a cute promotion to have the album scented in raspberries. Nice thought, but when people were literally passing out after taking a whiff of the overwhelming scratch-and-sniff, the record company thought twice and re-released the album without the sweet-smelling cover. But it was on that album America was introduced to "Go All The Way," a No. 5 hit for the band and their lone Top 10 hit together.

On the heels of that album came the second release, "Fresh Raspberries," which featured two more Top 40 hits -- "I Wanna Be With You" and "Let's Pretend." The third album was far from a success in '73, "Side 3," but the fourth and final album featuring Carmen's vocals, "Starting Over," featured new bassist Scott McCarl and drummer Michael McBride, whose drumming on this album was an inspiration to E Street Band's Max Weinberg to find his style behind Bruce Springsteen, especially on "Darkness On The Edge Of Town," according to the liner notes of "Let There Be Drums, Vol. 3, The '70s."

That album, which featured more of a hard-rock edge to it, is highlighted by the five-and-a-half-minute opus "Overnight Sensation (Hit Record)," the band's last Top 40 hit that features a fadeout near the end of the song that is brought back in with McBride's thunderous drums.

Carmen left the group soon after the band released this album for his solo career and the group broke up in 1975. But the original quartet of Carmen, Bryson, Bonfanti and Smalley came back together in 2004 and did a well-received national tour in 2005 (Carmen and Bryson shown jamming in the picture above), which resulted in the 2007 live CD "Live On The Sunset Strip." The last concert the band performed was in December 2007 in their hometown of Cleveland. They have not done anything since and who knows what their status is at the moment. Reportedly, the 63-year-old Carmen, who is living back in the Cleveland area, only works now whenever he feels like doing so.

The Raspberries were more than just one song. They were a great band. And their following is still large to this day. Here's hoping they one day go back out on tour before it's too late.

http://www.youtube.com/watch?v=UyHHM17uzXY

The blog behind the Best Songs of '83 Countdown

I figured I needed to explain myself as I did this countdown. As you see each song being displayed, there are various emotions and opinions going through people's minds. "How can that song be so low in your countdown? I looooooove l-o-v-eeeee that song! How dare you!"

How this countdown was put together was by what songs hit the Billboard Hot 100 and peaked between January and December 1983. I also picked various songs that were either very well-known album-rock tracks and songs that did well on the soul chart that never truly crossed over to the Hot 100. I put them into one big glop in a blender, mixed them up and spilled out this list of the 250 best songs of 1983, one of the greatest years ever in music. The diversity of music that came out on vinyl (yes, vinyl!) and on the radio a certain memory maker. So here's how I accounted for each song in my countdown and why the song is in their respective spot. This blog will be updated every other week with 10 new songs on it all the way until the end of the year. So heeeeere we goooooo ...

No. 250 The Girl Is Mine--Michael Jackson & Paul McCartney (#2, January): Yes, it's that low and frankly, it's, to me, a "Thriller" filler. Believe me, there are far better songs on this masterpiece of an album than "The Girl Is Mine," which I think Epic Records just released because, OMG!, it's two, like, uber-superstars! For all the good they did together (and the sneakiness of MJ hearing Macca tell him how he can purchase entire catalogs, then going out and purchasing the rights to all the Beatles songs), I was never a true fan of either song they hit with, both "The Girl Is Mine" and "Say Say Say," which by the way is not in this countdown. I don't apologize for it. I just put this one here because it's from the biggest-selling album in history and well, it's a superstar duet and acknowledgement somewhere that they should be in this countdown.

No. 249 How Do You Keep The Music Playing?--James Ingram with Patti Austin (#45, July): Something magical seemed to happen when these two star singers put their voices together. It happened on "Baby, Come To Me," which is further up the countdown, and again on "How Do You Keep The Music Playing?" Ingram's voice has always stood out like a light beam on a radio, whether it was those two songs or on "Yah Mo Be There" with Michael McDonald or on "One Hundred Ways" or "Just Once" with Quincy Jones. Any song with James Ingram's voice is going to be an upgrade.

No. 248 I Think You'll Remember Tonight--Axe (#94, December): Some songs may never get their moment in the sun, getting more like 15 seconds of fame instead of 15 minutes. This is one of those songs by a hard-rock act from Florida called Axe. Lead singer Edgar Riley delivers a terrific lead vocal on a song that sounds very '80s hard rock -- a lot of guitars, a little gospel-sounding organ in the backdrop and a beat you can bop your head to a bit. It sounds like something Ritchie Blackmore and Rainbow would have done.

No. 247 All-Time High--Rita Coolidge (#36, August, #1, AC): Of all the James Bond movie themes, this is one that sounds like it could come out of a smoky jazz bar and keep your attention like some torch singer who depends on you hearing every last note she sings. That's what Rita Coolidge did on the theme from "Octopussy" with this summertime hit that was a total stray-away from the electronic music that was dominating the airwaves during those months. I won't say it's better than Bond-themed "Live And Let Die" or "Nobody Does It Better," but Coolidge reminded people that she has great low-ranging vocal chops.

No. 246 You Can't Hurry Love--Phil Collins (#10, January): Put up to the original version of this song from 1966 by the Supremes, it pales in comparison, mainly due to the opening drum bombast that I was never crazy about. Still, Collins delivered a lively version of his own and though no one will ever confuse him for Diana Ross, he still put together a very good vocal. One of two songs in the countdown from his "Hello, I Must Be Going" album, the other one coming far later on.

No. 245 Walking In L.A.--Missing Persons (#70, March): All the good songs that Missing Persons put out like "Words" and "Destination Unknown" came out in 1982. From the same album called "Spring Session M" was a similar-sounding song called "Walking In L.A.," an ode to their home base which featured Terri Bozzio's flighty vocals, heavy synthesizers and the attitude that was the staple of Missing Persons at that time.

No. 244 State Of The Nation--Industry (#70, December): Like some of the other synthesizer-heavy tracks that made 1983 the year it was, this track is highlighted by Jon Carin's keyboard work and succinct lead vocals, who sounds like he's in a "him vs. the world" mood. Just a very good-sounding song.

No. 243 If Anyone Fall--Stevie Nicks (#14, November): Maybe it's me, but I was spoiled two years earlier by that terrific debut solo album by Stevie Nicks called "Bella Donna." All the songs on there were fantastic, whether it was "Leather & Lace," "After The Glitter Fades," "Edge Of Seventeen" or "Stop Draggin' My Heart Around." It focused in on what kind of a great singer-songwriter she was. Though "If Anyone Falls" is a good song, I thought her second album "The Wild Heart" paled in comparison to "Bella Donna." There are two songs from that album in this countdown, but neither are really, really high up in it. I think there was just too much instrumentation that hid her vocals on this album, especially a track like "If Anyone Falls." But that's just my opinion.

No. 242 Drop The Pilot--Joan Armatrading (#78, June): Heavy on guitar and bass, it's a true showcase of the work that Armatrading had done over the years. It's a great beat and Armatrading simply lets her guitar and vocals fit perfectly in within that frame. Personally, this talented lady from the slums of Birmingham, England never got the true credit she deserved in this country.

No. 241 You And I--Eddie Rabbitt & Crystal Gayle (#7, February, #1 country): Sometimes the best thing to do is just play a piano and let two professional singers go at a very pretty song. And that's exactly what was done on this song. The piano plays and Rabbitt leads with Gayle following the entire time. Gayle is never allowed to lead, but that's perfectly OK. It may have worked if she had, but no one is complaining. A simple love song by two great country stars was a perfect snow-melter during the winter of '83.

No. 240 Allergies--Paul Simon (#44, December): Sometimes we just have to say it like it is and add a little humor to it in the process. In "Allergies," a song from a very unfortunately panned album called "Hearts And Bones," Simon talks about how he can handle almost any problem that confronts him, but when it comes to the woman he loves, he suddenly has a bad reaction. You realize that this, at one time or another, is you, the one person in control of your emotions and yet, you have no reaction to the things a woman does. Very tongue in cheek song, indeed for Mr. Simon.

No. 239 I Like It--DeBarge (#31, April, #2 Soul): In a breezy, sunshine-filled spring of 1983 came the equally breezy and sunshine-filled sounds of DeBarge, a Detroit family act of four brothers and one sister. "I Like It" was shared vocals between Terry and El DeBarge, but it's El who takes over these vocals with his powerful high range as the other family members follow along. By no means were they the Jacksons, but they were a very nice alternative on the Motown family.

No. 238 Come Give Your Love To Me--Janet Jackson (#58, March): Long before she had "Control," Janet Jackson was Charlene DuPray on the television show "Diff'rent Strokes," playing Willis' girlfriend. The 16-year-old had just signed to Herb Alpert's A&M record label, so there was a feeling that she was doing music "part-time" and it wasn't very serious. Well, the tracks on the self-titled debut weren't all that good, but this infectious dance track was and deserved to be released as a single. It missed out on the Top 40, but it gave us a little glimpse of what was to happen three years later.

No. 237 Legal Tender--B-52's (#81, July): The music in between songs like "Rock Lobster" and "Private Idaho" in 1980 and the breakthrough "Love Shack" in 1989 was more of the former than the latter. And that's what endeared me and a loyal fan base to the 52s -- they never veered too far off the new wave ranch. And in "Legal Tender," a song whose meaning is pretty clear-cut and, well, very illegal (the making of money), the quirkiness that made the band famous once again came through. Always refreshing, indeed, to hear the ladies and gents from Athens, Ga.

No. 236 Europa And The Pirate Twins--Thomas Dolby (#67, July): This particular track from the album "The Golden Age Of Wireless" was set during wartime, most likely World War II, but is very sad. Dolby meets a young girl named Europa, she being 12, he being 14. They hit it off, then the war hits and she moves away with family. He sees her in magazines, then later at a London hoverport, yet she is unapproachable because of her bodyguards. A sad tale indeed, told with the underlying sound of Dolby's synthesizer and a harmonica solo to start by Andy Partridge of the group XTC.

No. 235 You Don't Believe--The Alan Parsons Project (#54, December): Personally, I don't think you can ever go wrong with an APP song. Well-produced thanks to the leader of the group and well-sung songs thanks to their two lead singers, Lenny Zakatek, the lead singer on this one, and the late Eric Wolfson on some of the great songs like "Time" and "Eye In The Sky." This song came from an album called "Ammonia Avenue" and though it wasn't a big hit, it just shows the APP style and a song about feeling deceived while feeling loved.

No. 234 Mornin'--Al Jarreau (#21, May): "Mornin' is the radio, mornin' is the Cheerios." Yeah, from that moment on, you know it's the start of a beautiful day. The wonderful mellow voice of Milwaukee-born Jarreau makes you feel like this is going to be a beautiful day and that the morning is the highlight of that day. Not quite up yet, sleepyhead? Well, it's time to take the day on at full speed. Still sounds good 30 years later.

No. 233 What You Do To Me--Carl Wilson (#72, June): If there is anything that sounds close to a pop-country song, it's this one. Wilson's legendary voice puts a "face" to this nice-sounding song. It didn't get very high on the chart, but it showed Wilson could do something outside of his brothers and Mike, Al and Bruce.

No. 232 Lies--Thompson Twins (#30, April): I know when I heard this song the first time, I felt there was something quirky about this group. I mean, they're called the "Thompson Twins" but none of them look like they're related to one another and none of them were even named Thompson. So what was up with that? As for "Lies," it's a typical example of the synth-pop genre. It wasn't one of those songs that you remember for its greatness -- you remember it because it wouldn't leave your head!

No. 231 That's Love--Jim Capaldi (#28, June): British-born Capaldi of Traffic fame finally made it on his own with a song that hit the Top 40 that spring from what was his 10th album called "Fierce Heart." It's a song that is just so simplistic in nature and very electronic thanks to former Traffic member and good friend Steve Winwood, who co-produced the song and adds the synthesizers and backing vocals with then-wife Nicole. Capaldi was never over the top at all with his vocals and maybe that was what made this song seem so good.