Jun 142013
 

Jen­nifer Rush released “The Power of Love” on June 14, 1985, twenty-eight years ago today.  The charted at #7 in Ger­many and topped the U.K. Sin­gles Chart; how­ever, it peaked at only #57 on the U.S. Bill­board Hot 100.  (Singer Laura Brani­gan recorded and released a ver­sion of the song, “Power of Love,” in 1987, which man­aged to climb to #26 on the U.S. Bill­board Hot 100.)

Born Heidi Stern in New York City, Rush grew up in New York and Ger­many.  She changed her name to Jen­nifer Rush at the insis­tence of CBS (Frank­furt), as they felt Heidi Stern did not sound inter­na­tional enough.

Rush co-wrote “The Power of Love” with her Ger­man record pro­duc­ers, Gun­ther Mende and Candy DeR­ouge, along with Mary Susan Applegate.

After hear­ing Rush sing at a record con­ven­tion in Hawaii, CBS Records Lon­don Chief Paul Rus­sell, he decided to release the sin­gle in the U.K.  The record ini­tially stalled at #97.  The record com­pany deleted the disc in hopes of build­ing momen­tum for the sin­gle and re-released it in Sep­tem­ber.  “The Power of Love” charted at #36, so Rush was able to per­form the song on Top of the Pops.  The record con­tin­ued to climb the chart, even­tu­ally reach­ing #1 and stay­ing there for five weeks, and was the biggest sell­ing sin­gle in the U.K. for 1985.  Rush has sold over one mil­lion copies of “The Power of Love.”  A remixed ver­sion was released a year later.

Ver­sions
The Power of Love [Radio Edit] 4’54
The Power of Love [Remix] 4’20
The Power of Love [Album Ver­sion] 6’00
The Power of Love [Inter­na­tional Album Ver­sion] 5’45
The Power of Love [Extended Remix] 7’10
The Power of Love [Orches­tral Remix] 6’00

Music Video
The music video for “The Power of Love” fol­lows Jen­nifer Rush as she sings and walks around New York City. (She also rides a freight ele­va­tor and sings, as well as singing while wear­ing sun­glasses.) Mean­while, we see her man in a sub­plot of being the fam­ily man and in trou­ble with some thugs who try to rough him up. The music video was filmed with the inten­tion of break­ing the song in the U.S. market.

Mem­o­ries
I can remem­ber see­ing the record sleeve for “The Power of Love” by Jen­nifer Rush in the bins at Sound Ware­house, but I never heard her ver­sion of the song until years later. I recall being most sur­prised by her clas­si­cal pop style, which doesn’t seem unusual once you learn her father was an opera singer. I was never a fan of Celine Dion’s ver­sion from 1994, as it seemed over­pro­duced to me, but I like Rush’s version.

What are your mem­o­ries of “The Power of Love” by Jen­nifer Rush?

Jun 072013
 

Amer­i­can vocal­ist Laura Brani­gan relased “Self Con­trol” in the Spring of 1984 and peaked at #5 on the U.K. Sin­gles Chart and #4 on the U.S. Bill­board Hot 100. The song was one of the most pop­u­lar across Europe dur­ing the sum­mer of 1984 and was the most suc­cess­ful sin­gle of the year in Switzerland.

Self Con­trol” had orig­i­nally been recorded by Ital­ian singer Raf, who had co-written the song in Eng­lish with Gian­carlo Bigazzi and Steve Pic­colo. (Bigazzi had also co-written her ear­lier hit song, “Glo­ria,” back in 1982.) The song was pro­duced by Harold Fal­ter­meyer, who had been men­tored by Gior­gio Moroder.

Ver­sions
Self Con­trol [Edit] 3’50
Self Con­trol [LP Version/Vocal]4’08
Self Con­trol [Extended Version/Vocal Extended Version/12″ Ver­sion] 5’00

Laura Brani­gan Music Video

Raf Music Video

Music Video
The music video for “Self Con­trol” was directed by Academy-Award Win­ner William Fried­kin. MTV refused to play the video, due to it’s sexy nature, until after a minor cut had been made. Brani­gan resisted at first, but then her record com­pany con­vinced her to do so, and the music video was in heavy rota­tion on MTV.

The sto­ry­line of “Self Con­trol” involves Brani­gan awake while a male sleeps on his stom­ach in her bed. Brani­gan goes out and is stalked by a stranger in a mask and a trench coat. The mys­te­ri­ous stranger appears in the club where Brani­gan is danc­ing with other dancers. She fol­lows the mys­te­ri­ous stranger down­stairs and finds an orgy of bal­let dancers wear­ing masks. Brani­gan returns to her apart­ment where the mys­te­ri­ous stranger and the dancers seduce her. After the sun comes up, Brani­gan returns to bed, only to find the men in her bed is the mys­te­ri­ous stranger, with­out a shirt, wear­ing a mask.

Mem­o­ries
I had enjoyed Laura Branigan’s hit “Glo­ria” from two years ear­lier and really liked “Self Con­trol,” too. I remem­ber record­ing the music video on a VHS tape where I kept my favorite music videos. The video seemed kind of weird at the time

What are your mem­o­ries of “Self Con­trol” by Laura Branigan?

May 312013
 

Sheila E. released “The Glam­orous Life” on June 4, 1984. The sin­gle peaked at #7 on the U.S. Bill­board Hot 100, #9 on the U.S. Bill­board Black Sin­gles Chart, and #1 on the U.S. Bill­board Hot Dance Club Songs Chart. (The song only reached #76 on the U.K. Sin­gles Chart.) “The Glam­orous Life” received a Grammy nom­i­na­tion for Best New Artist and Best Rhythm & Blues Song and won MTV’s Best Video Award.

Hav­ing orig­i­nally met Prince after play­ing a con­cert with her father, per­cus­sion­ist Pete Escovedo, Sheila E. worked with Prince dur­ing the record­ing of the Pur­ple Rain sound­track, pro­vid­ing vocals on “Erotic City,” the B-Side to “Let’s Go Crazy.”

Prince had orig­i­nally writ­ten “The Glam­orous Life” for Apol­lo­nia 6, his replace­ment for all-girl trio Van­ity 6. How­ever, once he dis­cov­ered Apol­lo­nia 6, his co-star in the movie Pur­ple Rain, had no inter­est in remain­ing in the group beyond her oblig­a­tions to the film and pro­mo­tion, he sug­gested Sheila E. record it.

After the suc­cess of “The Glam­orous Life,” Sheila E. opened for Prince on his Pur­ple Rain tour. She became famous for her drum solo at the end of the song, either spin­ning around mul­ti­ple times with­out miss­ing a beat, plac­ing one leg on the snare while stand­ing on the other dur­ing the solo, or per­form­ing with glow-in-the-dark drumsticks.

Sheila E. scored two more Top 40 hits with “The Belle of St. Mark” and “A Love Bizarre.” She has col­lab­o­rated with other artists, such as Cyndi Lau­per, Glo­ria Este­fan, Phil Collins, and Ringo Starr, among others.

Ver­sions
The Glam­orous Life [Edit/Single Edit] 3’41
The Glam­orous Life [Part II] 3’12
The Glam­orous Life [Club Edit/Album Ver­sion Edit/Full Length Ver­sion] 6’33
The Glam­orous Life [Album Ver­sion] 8’58

Music Video
The music video for “The Glam­orous Life” shows Sheila E. per­form­ing with her band in the stu­dio, along with footage of her wear­ing a fur coat in a lim­ou­sine. At one point, she steps out of the car to buy flow­ers from a less glam­orous ver­sion of her­self. A man in a tuxedo attempts to seduce her, and even­tu­ally leads her into a build­ing with flames flick­er­ing through the win­dows in the door. Upon watch­ing it again, I was taken back by how prim­i­tive it now seems, espe­cially the flames. Still, it cap­tures the fla­vor of Sheila E.‘s per­cus­sion and live per­for­mance in the stu­dio shots.

Mem­o­ries
For some rea­son, the Sum­mer of 1984 is the golden age of pop music and music video. So many great songs and videos were released that sum­mer by The Cars, Cyndi Lau­per, Duran Duran, Eury­th­mics, Go-Go’s, Huey Lewis and the News, Madonna, Prince & the Rev­o­lu­tion, Van Halen, Wang Chung and so many more. “The Glam­orous Life” was all over radio and the syn­di­cated music video shows that sum­mer. (We didn’t have access to MTV where I lived in the coun­try.) Hear­ing this song always takes me back to that time and makes me think of my older sis­ter, Vicki, singing along to it as she put her makeup on to go out on Fri­day and Sat­ur­day nights.

What are your mem­o­ries of “The Glam­orous Life” by Sheila E.?

 Posted by at 7:00 am
May 242013
 

 

Blondie released “Rap­ture” on Jan­u­ary 12, 1981. It peaked at #5 on the U.K. Sin­gles Chart and #1 on the U.S. Bill­board Hot 100. It was Blondie’s last U.S. hit until they released “Maria” in 1999.

Rap­ture” is a fusion of musi­cal styles (post­punk, new wave, and hip-hop. It was the first sin­gle with a rap to top the music charts, as well as the first rap music video broad­cast on MTV. The U.S. 7″ record con­tained the album ver­sion, while the U.K. 7″ offered an edit. The U.S. 12″ vinyl included an addi­tional verse and is not even an entire minute longer than the album ver­sion. Pro­ducer Mike Chap­man remixed “Rap­ture” to cre­ate a Spe­cial Disco Ver­sion. In 1988, D.J.‘s would remix some of the most pop­u­lar Blondie songs with a cur­rent sound. The remixes proved so pop­u­lar, a com­pi­la­tion of Blondie and Deb­bie Harry’s solo hits was issued, enti­tled Once More into the Bleach.

Lead singer Deb­bie Harry had an ear for new trends. She used to take Nile Rodgers and Bernard Edwards of Chic to New York clubs and expose them to new things. While club­bing, Deb­bie became friendly with Fab Five Freddy and name-checked him in “Rap­ture.” Fab Five Freddy actu­ally appears in the music video for “Rapture.”

Ver­sions
Rap­ture [U.K. 7″ Promo Ver­sion] 3’53
Rap­ture [Edited Ver­sion] 4’50
Rapture [U.K. 7″ Mix] 4’59
Rap­ture [Album Version/Long Ver­sion] 6’33
Rap­ture [U.S. 12″ Mix] 7’13
Rap­ture [Spe­cial Disco mix] 10’01
Rap­ture [The Teddy Riley Remix] 6’58

Music Video
The music video for “Rap­ture” is shot to appear as if it takes place in the East Vil­lage of Man­hat­tan. While Deb­bie Harry sings and raps to the cam­era, William Barnes, a dancer in a white suit and top hat, fol­lows her. Rap­per Fab Five Freddy and graf­fiti artists Lee Quinones and Jean-Michel Basquiat appear in the video. Sup­pos­edly, Basquiat, an Andy Warhol pro­to­gee was asked to be in the video when Grand­mas­ter Flash did not show up.

Mem­o­ries
I can remem­ber shortly after we moved from Waco to Burleson, watch­ing Solid Gold on TV in my bed­room. Deb­bie Harry hosted the show and sang “The Tide Is High.” I liked the song, but it was no “Heart of Glass” or “Call Me,” in my opin­ion. Later in the pro­gram, she played the music video for Blondie’s new sin­gle, “Rap­ture.” It totally blew my lit­tle 7th grade mind. I wanted to rush out and buy the song after I heard it once. After the hol­i­days, “Rap­ture” began to receive air­play and it always seemed to be on the radio when my sis­ter Vicki drove me to school or picked me up after­wards. I always loved the rap, prob­a­bly because I loved old sci­ence fic­tion movies from the ‘50s.

What are your mem­o­ries of “Rap­ture” by Blondie?

May 172013
 

The Wait­resses released “I Know What Boys Like” in 1980; how­ever, it didn’t chart until 1982, when it peaked at #62 on the U.S. Bill­board Hot 100. The song was a cult sen­sa­tion and fea­tured on their debut album, Wasn’t Tomor­row Wonderful?

The Wait­resses got their start on the Akron/Cleveland music scene.

Chris But­ler was the leader of The Wait­resses and wrote most of their songs from a female per­spec­tive, because he found it funny and stu­pid and cool and dif­fer­ent. In 2005, he unknow­ingly bought the child­hood home of Jef­frey Dah­mer. He had orig­i­nally writ­ten “I Know What Boys Like” and recorded all the instru­ments for the track, before ask­ing his friend Patty Don­ahue to record the vocals as Patty Dar­ling. He bor­rowed the name The Wait­resses from a favorite t-shirt of a friend. After set­tling into New York, But­ler scored a record deal with “I Know What Boys Like” and scram­bled to find mem­bers for his imag­i­nary band.

Patty Don­ahue was the lead singer for The Wait­resses. She quite the band in 1984, then returned until the band broke up at the end of that year. After­wards, she worked for ABC in the Polit­i­cal Unit and the A&R depart­ment at MCA Records. She died of lung can­cer in 1996.

Drum­mer Billy Ficca also played drums for leg­endary punk band Tele­vi­sion, Nona Hendryx & Zero Cool, among many other bands.

Sax­o­phon­ist Mars Williams went on to play with The Psy­che­delic Furs, Billy Idol, Robert Palmer, Billy Squier, Power Sta­tion, Min­istry, and many others.

Bass gui­tarist Tracy Worm­worth went on to tour with The B-52s for 20 years. She was also a mem­ber of the house band on the Rosie O’Donnell Show.

Ver­sions
I Know What Boys Like 3’11
I Know What Boys Like 3’20

Music Video
The music video show­cases The Wait­resses per­form­ing “I Know What Boys Like” in a stu­dio, with some ani­mated seg­ments. Lead singer Patty Don­ahue flirts play­fully with the cam­era, while the rest of the band pro­vides addi­tional comic relief. The video seems ama­teur by today’s stan­dards; how­ever, it has a cer­tain charm rem­i­nis­cent of the early days of MTV that I miss so much.

Mem­o­ries
“I Know What Boys Like” by The Wait­resses reminds me of my older sis­ter, Vicki. She played the radio as she put her makeup on in the morn­ing before school and when she got ready to go out for the week­end, as well as giv­ing me a lift to school. I always enjoyed the catchy gui­tar riff and the monot­o­nous melody of this song, not men­tion the wicked sense of humor. I was still fairly naive, so I’m not sure I really under­stood what boys liked yet.

What are your mem­o­ries of “I Know What Boys Like” by The Waitresses?

May 102013
 

Wang Chung released “Dance Hall Days” on Jan­u­ary 14, 1984. The sin­gle only charted at #21 on the U.K. Sin­gles Chart, but peaked at #16 on the U.S. Hot Bill­board 100, becom­ing one of five U.S. Top 40 hits the band would have over the next three years.

Wang Chung is Chi­nese for “yel­low bell.” It’s also the first note in the Chi­nese clas­si­cal music scale. The band orig­i­nally spelled it Huang Chung, but changed the spelling at Gef­fen Records’ sug­ges­tion, as English-speaking peo­ple were pro­nounc­ing the band’s name as “Hung Chung.”

Lead singer Jack Hues stated in an inter­view that “Dance Hall Days” was par­tially inspired by Adam Ant, which led to Wang Chung record­ing the song with Chris Hughes, who also pro­duced Adam and the Ants’ “Kings of the Wild Frontier.”

Ver­sions
Dance Hall Days 3’58
Dance Hall Days [Remix] 8’02
Dance Hall Days [Remix] 7’22

Music Video #1

Music Video #2

Music Video
Two music videos were filmed for “Dance Hall Days.” The first was directed by Derek Jar­man and included his father’s home movies from the World War II era inter­spersed with footage of the band play­ing vio­lins and dressed as char­ac­ters from The Wiz­ard of Oz. (The tod­dler in the footage is actu­ally the direc­tor as a child.)

The sec­ond music video takes place in an art deco music hall. The band per­forms the song while cou­ples dance. Later, the cam­era pans across the tables and reveals the audi­ence is filled with iden­ti­cal twins. The mir­rored ball falls to the dance floor and a mir­rored dancer hatches from it and dances. Out­side the dance hall, lead singer Jack Hues walks off with­out his suit­case, which sprouts legs and chases after him. This video was nom­i­nated for Best New Artist at the 1984 MTV Music Awards, but lost to Eury­th­mics’ “Sweet Dreams (Are Made of This).”

Mem­o­ries
“Dance Hall Days” is one of the few songs I can hear and instantly feel six­teen again. The song and the music video were in heavy rota­tion on radio and T.V. in the Sum­mer of 1984, which I feel was the apoth­e­o­sis of MTV. There’s just some­thing about the gui­tar and synth, the cryp­tic lyrics, and the sur­real video that has remained with me over the past almost thirty years.

What are your mem­o­ries of “Dance Hall Days” by Wang Chung?

May 032013
 

Orches­tral Manoeu­vres in the Dark (OMD) released “Dream­ing” on June 6, 1988 to pro­mote their first com­pi­la­tion album, The Best of OMD. Although the song only reached #50 on the U.K. Sin­gles Chart, “Dream­ing” peaked at #16 on the U.S. Hot Bill­board 100, mak­ing it OMD’s sec­ond most suc­cess­ful chart entry in the U.S.

After the suc­cess of “If You Leave” from the motion pic­ture Pretty in Pink two years prior, and the momen­tum behind “Dream­ing” on the U.S. charts, OMD sup­ported Depeche Mode on their 101 Tour at the Rose Bowl in Pasadena, Cal­i­for­nia. Unhappy with the com­mer­cial direc­tion the band had taken, co-founder Paul Humphrey’s left in 1989 and formed The Lis­ten­ing Pool with for­mer OMD mem­bers Mar­tin Cooper and Mal­colm Holmes. Andy McClusky con­tin­ued to record under the OMD name for three more albums. McClusky and Humphreys reunited in 2006 and have since released two new OMD albums.

I chose this song for Flash­back Fri­day because it’s a good exam­ple of how a pop song can be ubiq­ui­tous at the time of its release and then fade into obscurity.

Ver­sions
Dream­ing [7″ Ver­sion] 3’56/4’15
Dream­ing [Radio USA Mix/Radio Edit] 3’50
Dream­ing [7″ Edit] 3’56
Dream­ing [Album Version/Seven Inch Version/Single Ver­sion] 4’00
Dream­ing [Club Mix Edit] 4’58
Dream­ing [Extended Mix] 6’19
Dream­ing [The William Orbit Remix] 7’15
Dream­ing [Club Mix] 7’13
Dream­ing [12″ USA Club Mix] 7’05
Dream­ing [Extended 12″ Club Mix] 8’22

Music Video
The music video for “Dream­ing” cuts between a young woman who seems to be stranded on a rural road and OMD per­form­ing the song inside a mission-style build­ing. Occa­sion­ally, a hand drawn box appears on the screen, which fre­quently changes designs. It’s not an ambi­tious video, but I always though the band were well-lit.

Mem­o­ries
In May of 1988, I bought my first stereo with a CD player. The Best of OMD was one of the first CDs I pur­chased to play on my stereo, and I can still remem­ber the sur­prise I felt at see­ing the CD adver­tised in the Tar­get cir­cu­lar that came in the Sun­day news­pa­per. Since OMD had not achieved main­stream suc­cess in the States until “If You Leave,” I was unfa­mil­iar with most of their pre­vi­ous sin­gles, although it began my love affair with this band.

I don’t recall being par­tic­u­larly fond of “Dream­ing” at the time; how­ever, I’ve noticed over the years I always find myself singing along to the track quite enthu­si­as­ti­cally when­ever I hear it, so maybe I liked it bet­ter than I pre­vi­ously imag­ined. Regard­less, it always takes me back to the spring of 1988 when I finally real­ized the depres­sion that had haunted me since the pre­vi­ous sum­mer had finally lifted.

What are your mem­o­ries of “Dream­ing” by Orches­tral Manoeu­vres in the Dark?

Apr 262013
 

The Human League released “(Keep Feel­ing) Fas­ci­na­tion” on April 17, 1983. It reached #2 on the U.K. Sin­gles Chart and #8 on the U.S. Bill­board Hot 100. It also topped the Bill­board Hot Dance Club Play Chart.

After the huge suc­cess of their pre­vi­ous album, Dare, The Human League were under immense pres­sure from Vir­gin Records to pro­duce an even more suc­cess­ful fol­lowup album. As the record­ing ses­sions lagged on, the band released “Mir­ror Man” and “(Keep Feel­ing) Fas­ci­na­tion” as stand­alone sin­gles. Their record label decided to release an EP enti­tled Fas­ci­na­tion! until the band com­pleted their next album, which would be Hys­te­ria in 1984. Fas­ci­na­tion! includes two ver­sions of “(Keep Feel­ing) Fas­ci­na­tion,” “Mir­ror Man,” “Hard Times” (B-Side for their pre­vi­ous sin­gle “Love Action (I Believe in Love)”), “I Love You Too Much,” and “You Remind Me of Gold” (B-Side to “Mir­ror Man”).
The song is unique for The Human League, as the verses are alter­nately shared between Philip Oakey, Susan Ann Sul­ley, Joanne Cather­all, and guitarist/keyboardist Jo Callis.

On the record sleeve, “(Keep Feel­ing) Fas­ci­na­tion” fea­tures the word RED, which ref­er­ences a brief cat­e­go­riza­tion The Human League used in the early 80s to indi­cate whether a sin­gle was clas­si­fied as pop (blue) or dance (red).

Ver­sions
(Keep Feel­ing) Fas­ci­na­tion [7″ Version/Chris Thomas Remix] 3’43
(Keep Feel­ing) Fas­ci­na­tion [Extended/Extended Version/Extended 12″ Version/Extended Remix/Special Extended Ver­sion] 4’56
(Keep Feel­ing) Fas­ci­na­tion [Improvisation/Improvisation 12″ Dub/Dub Ver­sion] 6’15

Music Video
Direc­tor Steve Bar­ron came up wit the idea for the music video for “(Keep Feel­ing) Fas­ci­na­tion.” It begins with an orange dot on a map, which morphs into a huge orange dot painted in a run­down neigh­bor­hood in Newham, Lon­don, even­tu­ally reveal­ing an orange house in the mid­dle of the dot. The cam­era moves through an open win­dow to show The Human League per­form­ing the song, although the inside of the house is painted gray. Later in the video, two boys scene play­ing foot­ball kick the ball into the orange dot. When one of the boys fetches it, the ball and his clothes change to orange. The scenes with the band were actu­ally filmed in a stu­dio, as a fam­ily was liv­ing in the house at the time. The house remained painted orange until it was demol­ished a few months later.

Mem­o­ries
I caught the music video for “(Keep Feel­ing) Fas­ci­na­tion” by The Human League late one night on a music video show at my grandmother’s house. I was already famil­iar with “Don’t You Want Me” and “Mir­ror Man,” but I had never seen The Human Leage before, and I remem­ber being shocked by Phil Oakey’s dan­gling ear­rings and makeup. Of course, every­thing about the video is visu­ally stim­u­lat­ing, but what stands out is that fan­tas­tic bass line and shared vocal duties. This song always makes me want to sing along and dance. It also reminds me of a day when I drove to Sem­i­nary South Mall with my friends Joan, Kent, and Susan. This song was play­ing on my tape deck when we parked and Kent said some­thing incred­i­bly nasty and hate­ful. The rest of us looked at each other and laughed, hav­ing no idea what put him in such a sud­den bad mood.

What are your mem­o­ries of “(Keep Feel­ing) Fas­ci­na­tion” by the Human League?

Apr 192013
 

Fine Young Can­ni­bals released “She Dri­ves Me Crazy” on Jan­u­ary 1, 1989. It peaked at #5 on the U.K. Sin­gles Chart and went to #1 on the U.S. Bill­board Hot 100. It was the first sin­gle released from their sec­ond album, The Raw and the Cooked.

After The Beat broke up, gui­tarist Andy Cox and bassist David Steele formed Fine Young Can­ni­bals with vocal­ist Roland Gift, for­merly of British ska band Akry­lykz in 1984. They took the name from the 1960 Robert Wag­ner & Natalie Wood film, All the Fine Young Can­ni­bals.

The band had orig­i­nally wanted Prince to pro­duce some tracks to com­plete the album, but MCA Records sug­gested pro­ducer David Z, who had worked with Prince and is the older brother of Bobby Z of the Rev­o­lu­tion. Together, they recorded “She Dri­ves Me Crazy,” “I’m Not Sat­is­fied,” and “It’s OK (It’s Alright)” at Pais­ley Park Studios.

Sup­pos­edly, the song was orig­i­nally titled “She’s My Baby” and Gift sang the song in his reg­u­lar voice, before tweak­ing the lyrics and singing in falsetto.

Ver­sions
She Dri­ves Me Crazy [Sin­gle Ver­sion] 3’35
She Dri­ves Me Crazy [Sin­gle Remix] 3’48
She Dri­ves Me Crazy [Radio Edit] 5’20
She Dri­ves Me Crazy [Radio Rap Ver­sion] 5’44
She Dri­ves Me Crazy [Remix/David Z Remix] 7’05
She Dri­ves Me Crazy [U.S. Mix/The Justin Strauss Remix] 7’39
She Dri­ves Me Crazy [Extended Ver­sion] 8’25
She Dri­ves Me Crazy [Louil Silas Jr. Remix] 4’53
She Dri­ves Me Crazy [The Monie Love Remix] 5’56

Music Video
The music video for “She Dri­ves Me Crazy” was directed by Philippe Decou­flé, a French chore­o­g­ra­pher, dancer, and the­ater direc­tor, who had pre­vi­ously directed the music video for “True Faith” by New Order. The video fea­tures Fine Young Can­ni­bals per­form­ing the song, inter­cut with footage of peo­ple danc­ing in col­or­ful and unusual cos­tumes. The music video was nom­i­nated for Best Video at the 1989 MTV Music Awards and

Mem­o­ries
The sin­gu­lar per­cus­sion cap­tured my atten­tion the first time I heard this song. I went to Sound Ware­house on S. Hulen Street in Forth Worth and bought the 7″ vinyl the next day. Shortly after, I caught the music video on MTV. At first, “She Dri­ves Me Crazy” was my lit­tle secret, and then it was all over Top 40 radio and the Fine Young Can­ni­bals were main­stream and I lost inter­est in them. Still, when­ever I hear this song, it takes me back to the Spring of 1989 and work­ing in the PBX at Tar­get. One night, we had a bad thun­der­storm with flash flood­ing, and our Store Man­ager, Mrs. Hahn sent me home early. I lived out in the coun­try and at one point I hit a patch of road where the water was run­ning across the road and it swept 1971 VW Super­bee­tle away a few feet. This song was play­ing on my mix tape at the time.

What are your mem­o­ries of “She Dri­ves Me Crazy” by Fine Young Cannibals?

Apr 122013
 

Shan­non released “Let the Music Play” in Sep­tem­ber of 1983. Her only Top 40 hit reached #14 on the U.K. Sin­gles Chart, #8 on the U.S. Bill­board Hot 100, and #1 on the U.S. Hot Dance Club Songs Chart. The record sold eight mil­lion copies.

An asso­ciate of pro­duc­ers Mark Liggett and Chris Bar­bosa noticed col­lege stu­dent Brenda Shan­non Greene singing with a band in her cousin’s record­ing stu­dio and invited her to audi­tion for them. They asked her to record a track Bar­bosa had writ­ten, enti­tled “Fire and Ice,” which evolved into “Let the Music Play.” The sin­gle was issued on New York-based dance label Emer­gency Records and became a mas­sive club hit before cross­ing over to radio.

Some regard “Let the Music Play” as a sem­i­nal dance record, as it was one of the first dance-pop songs to chart on main­stream U.S. radio after the disco back­lash a few years ear­lier. The song is con­sid­ered one of the first freestyle records, which fused Latin Amer­i­can rhythms with syn­co­pated drum pat­terns and synthesizers.

Shan­non released sev­eral more dance hits–“Give Me Tonight,” “My Heart Divided,” “Do You Wanna Get Away,” “Stronger Together,” “Urgent,” “Prove Me Right,” and “Dancin’”–before ask­ing to be released from her record con­tract in 1987.

Ver­sions
Let the Music Play [7″ Version/Vocal Long Version/Vocal/Radio Edit] 4’38
Let the Music Play [Album Version/Vocal Short Ver­sion] 3’34
Let the Music Play [12″ Version/Vocal] 5’49
Let the Music Play [Re-Mix] 6’03

Music Video
The music video for “Let the Music Play” was directed by Nigel Dick. Shan­non per­forms the song in an empty the­ater while dancers in tuxedo shirts and bowties dance behind her.

Mem­o­ries
“Let the Music Play” is one of those songs that instantly takes me back to late 1983/early 1984. Although it wasn’t a favorite of mine at the time, I appre­ci­ate it more now. “Let the Music Play,” along with Madonna’s “Hol­i­day,” was all over Top 40 radio in Dallas/Fort Worth; how­ever, I don’t ever remem­ber see­ing the music video on any of the local music video shows.

What are your mem­o­ries of “Let the Music Play” by Shannon?