Tag: music (Page 2 of 77)

Chart Week: June 20, 1987
Song: “I Want Your Sex” – George Michael
Chart Position: #36, 3rd week on the chart. Peaked at #2 the week of August 8.

Hey, a countdown that landed on my birthday! How did I celebrate turning 16? Well, we lived in San Leandro, CA at the time, and had dinner the night before at a seafood restaurant I loved in San Francisco. Being the Bay Area, it was like 50 and dreary. In late June. I wore a sweater and jeans to my birthday dinner, where on my first day at my new school the previous January, I had worn a t-shirt and shorts. Bay Area will always Bay Area.

I also spent much of the night pouting because my parents thought it would be hilarious to get me a Hot Wheels car as a joke gift instead of the real car I wanted. I had no concept of how expensive cars were, so I was an ungrateful ass and refused to talk to them while they laughed at me.

Michael Jackson isn’t the only Giant of the Eighties I (unintentionally) ignored in the first 100 posts in this series. I have yet to get to his sister Janet, who on this countdown with “The Pleasure Principle” became the first female solo artist to have six Top 40 singles from one album. Madonna is a Mount Rushmore of the Eighties artist, and I’ve posted about her zero times.

The final super-mega star of the era finally makes their RFTS debut this week, thanks to a bit of commonly accepted AT40 trivia that I discovered to be incorrect.

George Michael hit #1 eight times in the Eighties. He did so as a member of Wham!, as a solo artist, and on his duet with Aretha Franklin, “I Knew You Were Waiting (For Me).” Tom Breihan has spent a lot of time covering Michael’s career, so there’s not much room for me to add anything new.[1]

While both “Careless Whisper” and “A Different Corner” were, officially, solo tracks, they appeared on Wham! albums. Thus, “I Want Your Sex” seemed like the proper beginning of his solo career. I’m not sure anyone was ready for the wholesome voice behind Wham! to morph into anything like this.

The song initially didn’t make much of an impact on me. For sure it was racy and suggestive, but as I wasn’t a big Michael fan, I didn’t devote much attention to it. It probably meant more to me that it was on the Beverly Hills Cop 2 soundtrack.

Until the video hit MTV.

Holy smokes!

Michael’s girlfriend Kathy Jeung prancing around in lingerie and the couple frolicking together in satin sheets seemed like a late-night Cinemax movie being played every 90 minutes all day long. Remember back when MTV would tell you the exact times when they were going to play new videos? I doubt many teenage boys missed those premiere times for “I Want Your Sex.”

Looking back, like most things that were edgy 40 years ago, the video seems pretty tame today. You see more graphic, sexually suggestive scenes in promos for prime time shows that run during daytime sporting events. I bet if you showed the video to a 16-year-old boy today it wouldn’t register much given what they have access to. I mean, they would probably still watch it, but its impact would be dramatically different than how it affected their dads.

It is also funny how many of us teenage horndogs were completely dubious of Michael’s relationship with Jeung. Could a British guy who looked, sang, and danced like him really be into a woman who looked like that? Or any woman for that matter? We weren’t familiar with the term “beard” yet, but I bet there was about 99% consensus in my friend group that Michael wasn’t really into her.

Turns out we were mostly right. Michael and Jeung had a genuine relationship, but he was also struggling to come to terms with being a gay man living in the public eye.

As for that piece of AT40 trivia I debunked…

When people talk about “I Want Your Sex” and the various controversies around it – the refusal by many radio stations to play it, the video and the disclaimers Michael eventually added saying the song was not about casual sex – they often claim that Casey Kasem never uttered its title during the song’s 13 weeks on American Top 40. A quick web search will return many sites that make this claim.

Turns out that is not true.

In this, the track’s debut week on AT40, Casey introduced it by saying it might be difficult for some listeners to hear, as many radio stations were refusing to play it. He called it “George Michael’s latest hit,” but indeed identified it by its full title both before and after spinning it. For the rest of its chart run, it remained only “George Michael’s latest hit,” or some variation on that. Which is weird. Michael sings the full title six times, so Casey not saying it doesn’t really change things.

For small town America, “I “Want Your Sex” was far too overt. For the urban centers where the AIDS epidemic was spreading out of the gay community into the larger population, singing so directly about the joys of sex seemed irresponsible. Casey was always loyal to the hundreds of stations that carried his show, and I guess he was giving those program directors an assist by not saying the title and including directions for how to skip the song in each countdown’s cue sheet.

That reluctance by some radio stations to play “I Want Your Sex” probably kept it from reaching #1, a momentary speed bump in Michael’s career. Casey never played favorites with songs, but I bet he was relieved that “I Want Your Sex” fell just short of the top spot and stations across the country didn’t skip the end of the countdown.

The weirdest thing about “I Want Your Sex,” to me at least, is the irony in its title. For a song explicitly about sex, it’s not very sexy. Wait, that’s not true. From the porno-soundtrack bounce of the electric bass, synthesizers, and cowbell, to Michael’s growling voice on his most insistent lines, there is plenty of sex here. However, there is nothing subtle about it. There are no clever, winking innuendos. It is raw, direct, and nakedly about lust, without any sense of seduction or romance. What once seemed titillating and provocative now comes across as over-the-top and, more than anything else, kind of silly. Could you ever sing this song with a straight face, as opposed to “Let’s Get It On,” or “Ain’t To Proud To Beg”?

It reminds me of two drunk people, as they are closing down their third bar of the night, clumsily deciding to go home together. It’s a physical transaction, devoid of romance, more focused on the end result than the process of getting there.

Michael didn’t seem to love the song, either. He never performed it live after 1989 and refused to include it in two different greatest hits collections. In 2008 he described it as “a bad Prince song,” which is both harsh and pretty funny.

“I Want Your Sex” was very effective in serving as a hard break from the more innocent sound of Wham! as Michael transitioned to the music he felt represented him best. To me, though, it suffers because his songs that followed over the next year were so much better. 6/10

Chart Week: June 4, 1983
Song: “Wanna Be Startin’ Somethin’” – Michael Jackson
Chart Position: #22, 2nd week on the chart. Peaked at #5 for two weeks in July.

High Fidelity was one of my favorite movies of the early 2000s. I loved the record store culture it celebrated. Hanging around with fellow music geeks, arguing about insanely obscure bits of trivia, opening each other’s minds to new sounds, and mocking people who did not listen to the right kind of music (according to us) seemed like a great way to earn a living. And making music lists all day? Could anything be more up my alley than that?!?!

One of my top five lists the employees of Championship Vinyl assembled was Top Five Side One, Track Ones.[1] Naturally, given the personalities in the store, the conversation went off the rails quickly.

There are like a million great Side One, Track Ones, so this list was destined to be flawed. The biggest selling album of all time was probably too mainstream for the Championship crew. But, seriously, “Wanna Be Startin’ Somethin’” should be on every Side One, Track One list!

You can make a legit argument that it is the greatest Side One, Track One of all time. Is it a great song? Yes. Is it on a great album? One of the greatest. Does it stand up next to the monster hits later on the LP? 100%. Does it have a bonus quality that gives it a boost? Um, check out the title.

The greatest Side One, Track Ones have to be more than terrific songs, though. They must be a blueprint for what is to follow. When you drop the needle or press play, the first sounds you hear have to grab your attention and excite you about where the next hour or so will take you. They need to make you think, or say, “Holy Shit!”

“Wanna Be Startin’ Somethin’” does all of that.

It makes an impact with its first beats. The bass, high hats, funky guitar, keyboards, and horns slowly fill in to create the classic Quincy Jones sound. When Michael Jackson begins singing, there is no mistaking the urgency in his voice. He squeezes a lot of syllables into small spaces, maintaining complete control the whole time. “Wanna Be Startin’ Somethin’” was a mission statement that Michael was all grown up, want to get something started, and would not fuck around while doing so.

Well, Michael never used the word fuck, but it was implied here.

There is a sense of unrestrained joy and celebration throughout the track. Michael’s rapturous lead vocals, including all the undefinable yelps, whoops, and hiccups. The ecstatic backing vocals. The blissful blasts from the horns. The entire low end of the song, which sets a sturdy groove for everything built upon it. The almost overwhelming hand claps in the outro. This song is a straight party from the first note to the last.

Did anyone ever make nonsense sound as good as Michael? This song includes the lines:

You’re a vegetable

Ma ma se, mama sa, ma ma coo sa

and

Hee-haw

It’s all straight ridiculousness, yet Michael made it sound amazing.[2]

He originally wrote and recorded this track in 1979 for the Off the Wall album. Which explains why you hear more of a disco influence on it than on any other Thriller track. That earlier version was written about his sister LaToya’s relationship with some of her sisters-in-law. Which seems both super interesting and a bizarre basis for a dance-pop song. But these were the Jacksons…

When he re-vamped it for Thriller, he shifted the focus to be about how the media builds up and tears down celebrities, foreshadowing where his life and music were soon headed.

How in the hell did this song not top the Billboard pop chart? It was already at #22 in its second week on the entire Hot 100!

Was it MJ fatigue? Maybe. “Billie Jean” and “Beat It” dominated the spring of 1983. They were EVERYWHERE for four months. No matter how good the next song was, it was going to be difficult to match the their chart success.

It didn’t help that the song’s first week at #5 was also the beginning of the Police’s “Every Breath You Take”’s two-month reign at the top of the chart. Irene Cara’s former #1 “Flashdance…What A Feeling” was also ahead of Michael both weeks. The other two songs that kept “Wanna Be Startin’ Somethin’” from climbing higher? Eddy Grant’s “Electric Avenue,” and Sergio Mendes’ “Never Gonna Let You Go.” Segio fucking Mendes!

The biggest reason is, likely, that Michael didn’t release a video for “Wanna Be Startin’ Somethin’.” Why? I can’t find a reason. It seems kind of insane that MJ didn’t make one. Perhaps it was his ego, insisting he could be just as successful without the MTV push. Or maybe it was Epic Records wanting to save some money? Perhaps there just wasn’t enough time in Michael’s schedule.

The record did make it to #1 in Canada and The Netherlands but topped out at #5 here in the States. I think that’s crazy and a sign that sometimes America isn’t all that it can be.

Another crazy thing: I did not know until sometime in the last 5–10 years that part of the third verse referenced “Billie Jean.” I don’t remember how I learned that: on another AT40, in some list of songs that reference other songs, or just in an article about MJ’s music. I do know my mind was utterly blown that I had never deciphered what Michael was saying in that verse. I blame it on getting my copy of Thriller from Columbia House, which lacked the lyric sheet.

You know what else is crazy? That I somehow made it through 100 RFTS entries without any of them focusing on Michael Jackson. Sure, I’ve referenced him multiple times.[3] But never writing just about Michael seems like a massive oversight.

Yeah, I know, his career became very problematic. There are a lot of people who have serious, legitimate issues listening to his music. However, I’ve always been able to compartmentalize his songs from what he was accused of doing. I haven’t been able to do that with some other artists, so I realize that makes me a bit of a hypocrite.

When Pitchfork last ranked their Top 200 songs of the 1980s, they included four tracks from Thriller. The highest? “Wanna Be Startin’ Somethin’,” which they slotted as the second-best song of the decade, 11 spots higher than “Billie Jean.” Maybe it was that lack of a video that kept “Wanna Be Startin’ Somethin’” from topping the pop chart like “Billie Jean” and “Beat It” had done. It was every bit as good a song as those two number ones, though. This may be my newest musical obsession: convincing people that “Wanna Be Startin’ Somethin’” is a woefully underrated, under appreciated song. 9/10

With 100 Reaching for the Stars entries under my belt, it is time to break down where we’ve been, AT40 style.

It should be no shock that there have been more entries from 1984 than any other year, a healthy 18 posts from the greatest year in pop music history. I was mildly surprised that 1982 was second with 16. Not sure if that’s a function of more 1982 countdowns being rebroadcast than other years, or more 1982 songs grabbing my attention. Here’s a year-by-year breakdown:

1976 – 3
1977 – 2
1978 – 4
1979 – 3
1980 – 6
1981 – 7
1982 – 16
1983 – 12
1984 – 18
1985 – 10
1986 – 10
1987 – 3
1988 – 2
1989 – 3
2023 – 1

One of the biggest artists of 1984 led the way on the posts-per-act list. Again, not a surprise who is at the top.

Prince – 3
Elton John – 2*
Daryl Hall and John Oates – 2
Pat Benatar – 2
Sheena Easton – 2
Kansas – 2
Stevie Nicks – 2*

(Both Elton and Stevie have entires as duets with other artists that I give them full credit for.)

Another common element of American Top 40 was Casey Kasem sharing the geographic breakdown of charts in weeks when there was a lot of non-American representation. “This week there are a whopping 21 foreign acts on the chart!” Here are the locations where we can place pins on our virtual RFTS map.

United States – 67
United Kingdom – 20
Australia – 4
Canada – 4
Netherlands – 1

The remaining four were either multi-national groups or posts about special countdowns that had no single act as a focus.

I tried to tally the entries by genre, but that proved difficult. In retrospect, like 90% of what I’ve written about can be defined as Pop. How do you decide which Prince songs were Pop and which were Soul, for example? Same for several other Black artists. Where was the line between Pop and Rock? Adult contemporary vs. Pop? Disco/Dance vs. Soul? Impossible. So I scrapped that breakdown.

Beyond those numbers, nothing else really jumped out at me. My entries have gotten longer and more detailed, which shouldn’t be a surprise. They also take more time to write now than they did when I began this series. I think that has made them better. I hope that means they are more interesting to read for my fellow music geeks. If you’re not into deep music trivia dives, you probably think those early posts were better.

If you want to go back and review any of the first 100 posts in the series, here’s the link to my RFTS page.

If you had any worries that I was bringing the series to a close after making it to 100 post, never fear, I’m already working on volume 101. I also have several partial drafts waiting for when we get to the right part of the calendar. As Casey said every week, the countdown continues!