Richard Carpenter was born on this date in 1946. A handful of the hits he made with his sister Karen are included on today’s playlist.
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Tunes Du Jour Presents 1979
The year 1979 was a vibrant time in popular music, characterized by disco’s stronghold on the charts and a rich variety of emerging and evolving genres. From dancefloor anthems to rock classics, the year’s hits reflected a dynamic musical landscape.
Disco reigned supreme in 1979, dominating the airwaves and nightclubs alike. Gloria Gaynor’s empowering “I Will Survive” became an instant classic, while Chic’s “Good Times” and Sister Sledge’s “We Are Family” kept dance floors packed. The genre’s influence extended far and wide, with Village People’s “Y.M.C.A.” becoming a cultural phenomenon, Donna Summer’s “Hot Stuff” showcasing disco’s enduring appeal, and Amii Stewart’s cover of “Knock on Wood” breathing new life into a soul classic. McFadden & Whitehead’s “Ain’t No Stoppin’ Us Now” and Sylvester’s “You Make Me Feel (Mighty Real)” further exemplified disco’s ability to blend uplifting messages with irresistible rhythms.
While disco flourished, rock music continued to evolve and diversify. AC/DC’s “Highway to Hell” solidified their status as the preeminent heavy metal band of the era, its raw energy and power chords setting a new standard for the genre. Dire Straits’ “Sultans of Swing” showcased a more refined, guitar-driven sound, while The Police emerged with “Message in a Bottle,” signaling the rise of post-punk. The new wave and power pop scenes gained momentum with Elvis Costello & the Attractions’ “Oliver’s Army,” The Jam’s “The Eton Rifles,” and Squeeze’s “Up the Junction” all making their mark. Meanwhile, M’s “Pop Muzik” and Blondie’s “Heart of Glass” demonstrated how disco influences could be merged with new wave sensibilities.
The year also saw the birth of iconic pop hits that would define the era. Michael Jackson’s “Don’t Stop ‘Til You Get Enough” hinted at the superstardom that awaited him, while The Knack’s “My Sharona” became an instant power pop classic. The Buggles’ prophetic “Video Killed the Radio Star” not only topped charts but would later make history as the first music video played on MTV. Earth, Wind & Fire’s “September” continued to showcase the enduring appeal of funk, while R&B ballads like Peaches & Herb’s “Reunited” and The Commodores’ “Still” made significant impacts on the pop charts.
As 1979 drew to a close, the musical landscape was rich and varied. While disco maintained its grip on popular culture, the seeds of change were being sown. The diversity of the year’s hits, from Charlie Daniels Band’s country crossover “The Devil Went Down to Georgia” to Rickie Lee Jones’ jazz-influenced “Chuck E’s In Love,” stood out against the backdrop of disco and straightforward pop tunes. This musical variety, along with emerging studio technologies and evolving artist expressions, set the stage for the significant shifts that would characterize the sound of the coming decade.
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Tunes Du Jour Presents Disco
This fall marks fifty years since Billboard magazine began publishing its disco chart, an acknowledgment of a genre that danced its way into the hearts of millions. Disco music, with its infectious rhythms and vibrant energy, was more than just a soundtrack for nightlife; it was a cultural phenomenon rooted in the experiences of Black, Latinx, and gay communities. The genre’s pulsating beats and soulful melodies offered an escape, a place where people could come together and express themselves freely on the dance floor.
Disco’s origins can be traced back to the dance halls of New York City, where marginalized communities created spaces for celebration and expression. Early tracks like The Trammps’ “That’s Where the Happy People Go” and Shirley & Co’s “Shame, Shame, Shame” laid the foundation for what would become a global movement. These songs, along with others from the era, were not just about the beats but also about creating a sense of community and shared experience on the dance floor, where people from all walks of life could come together and express themselves freely.
Black artists played a central role in shaping disco’s sound and message. Chic’s “Le Freak” and Sister Sledge’s “He’s the Greatest Dancer” brought sophisticated grooves that transcended race, while Marvin Gaye’s “Got to Give It Up” and Diana Ross’s “Upside Down” combined soul with danceable rhythms, pushing the genre into mainstream consciousness. The smooth yet dynamic production styles and vocals showcased a depth that went beyond the glittering surface often associated with disco.
Latinx influences also left an indelible mark on the genre. Songs like “Turn The Beat Around” by Vicki Sue Robinson and “Cherchez La Femme” by Dr. Buzzard’s Original Savannah Band infused Latin rhythms with disco beats, creating a vibrant and eclectic sound. This cross-pollination of cultures on the dance floor reflected the diversity of the communities that embraced disco, making it a genre that celebrated inclusivity long before it became a mainstream value.
As we commemorate fifty years since Billboard recognized disco’s impact, it’s important to remember that disco was more than just a moment in time. It was a movement that broke down social barriers and created a space where joy and liberation could thrive. Whether it’s the enduring appeal of “Stayin’ Alive” by the Bee Gees or the timeless groove of KC & the Sunshine Band’s “That’s the Way (I Like It),” disco’s legacy lives on, reminding us of the power of music to unite and uplift.
Tunes Du Jour Presents 1978
The year 1978 was a pivotal moment in music history, showcasing a striking contrast between the mainstream hits dominating the airwaves and the underground sounds bubbling beneath the surface. This year offered a rich assortment of genres, from disco and pop ruling the charts to punk and new wave carving out their own rebellious niches.
Disco was undoubtedly the dominant force in popular music. The Bee Gees’ “Stayin’ Alive” became an anthem of the era, while Chic’s “Le Freak,” A Taste of Honey’s “Boogie Oogie Oogie,” Donna Summer’s “Last Dance,” and Alicia Bridges’ “I Love the Nightlife (Disco ‘Round)” kept the dance floors packed. Even rock legends like the Rolling Stones couldn’t resist disco’s pull oor, as evidenced by their hit “Miss You.”
But 1978 wasn’t all about disco. Pop music thrived with ABBA’s timeless “Take a Chance on Me” and Electric Light Orchestra’s upbeat “Mr. Blue Sky.” Queen’s anthemic “We Are the Champions” became a staple at sporting events worldwide. In R&B, the Commodores’ soulful ballad “Three Times a Lady,” Funkadelic’s anthemic “One Nation Under a Groove,” and Chaka Khan’s empowering “I’m Every Woman” showcased the genre’s range. The soundtrack to Grease, featuring John Travolta and Olivia Newton-John’s “You’re the One That I Want,” dominated both radio and cinema.
While mainstream pop and disco ruled the charts, a counter-cultural revolution was taking place in underground venues. The Clash’s “(White Man) In Hammersmith Palais” blended social commentary with irresistible hooks, while the Buzzcocks’ “Ever Fallen in Love (With Someone You Shouldn’t’ve)” captured the essence of punk’s raw emotional energy. The Undertones’ “Teenage Kicks” embodied the unbridled spirit of youth, and Siouxsie & the Banshees’ “Hong Kong Garden” showcased the emerging goth-punk sound. Public Image Ltd.’s self-titled track “Public Image” signaled the evolution of post-punk.
1978 also saw the emergence of artists who defied easy categorization. Kate Bush’s haunting “Wuthering Heights” introduced a unique voice to the pop landscape, blending literary references with art-rock sensibilities. Kraftwerk’s “The Model” pushed the boundaries of electronic music, influencing countless genres in the decades to come. Patti Smith’s “Because the Night” (co-written with Bruce Springsteen) bridged the gap between punk poetry and mainstream rock. The year also saw reggae making inroads with Althea & Donna’s “Uptown Top Ranking,” while Randy Newman’s misunderstood “Short People” showcased his brilliance in crafting satirical, thought-provoking pop.
Looking back, it’s clear that 1978 was more than just a year of disco balls and safety pins. It was a time of musical diversity and innovation, where chart-toppers and underground icons coexisted, each pushing the boundaries of their respective genres. From the dancefloor anthems to punk’s raw energy, from synth-pop’s early days to reggae’s growing influence, 1978 offered a rich and varied soundtrack that continues to resonate today. This dynamic interplay between mainstream and alternative sounds would continue to shape the musical landscape for years to come, making 1978 a truly unforgettable year in music history.
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Your (Almost) Daily Playlist: 12-22-23
The first of nine US number one singles for The Bee Gees was “How Can You Mend a Broken Heart,” written for Andy Williams by the group’s three brothers (credited to Barry and Robin Gibb on its initial release but later amended to include brother Maurice). The song is from their album Trafalgar, named after where in London they stayed during the recording sessions; however, the single failed to chart in the UK.
The Bee Gees’ twins Maurice and Robin Gibb were born on this date in 1949. Lots of Bee Gees on today’s playlist.
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Your (Almost) Daily Playlist: 11-15-23
I saw the movie Muriel’s Wedding with my friend Kathy in the theater when it was released. You know what’s better than watching Muriel’s Wedding? Not watching Muriel’s Wedding. As I recall, ugly duckling Muriel marries a smoking hot South African swimmer who looks like he stepped out of a Calvin Klein ad and then dumps him for no good reason. Oh, I probably should have written SPOILER ALERT before I told you that. Oh well. Here’s another SPOILER ALERT: Muriel’s an idiot. When she tells the delicious hunk of meat that they’re over, Kathy screamed out “WHAT?” I felt the same, as did most of the people in the theater, as we were in a gay neighborhood. Why would she leave that gorgeous piece of manflesh? To “discover herself?” To “follow her dream?” Give me a break. The only thing she found was a one-way ticket to Loserville. The best thing about Muriel’s Wedding…well, the best thing about Muriel’s Wedding not counting that yummy man candy who Muriel threw away like yesterday’s trash is that it brought AꓭBA back to the spotlight. Since their breakup in 198something they remained prominent throughout much of the world, but in the US, they were a campy artifact of a bygone era. Stateside the group had one number one single, “Dancing Queen,” whereas in England they hit number one 1,876 times. England. People in England are – I say this with love and as a die-hard AꓭBA fan – nuts. Anyhoo, after Muriel’s Wedding we got AꓭBA featured in the delightful motion picture The Adventures of Priscilla, Queen of the Desert, which I also saw in the movie theater, where I was seated behind former New York City mayor Ed Koch, who I used to call Ed Crotch. Then we got the jukebox musical Mamma Mia, which was super successful on stage and screen. I never saw it on stage but I saw the movie – not in the theater but on television – and it made me miss my friends in New York – Kathy, Laura, Daisy, Debbie – because we used to have bad movie days every few weeks where we’d watch Showgirls or Battlefield Earth or that movie in which Anna Nicole Smith played a hostage negotiator and we’d laugh and talk through the movies and it was always a blast. They would love Mamma Mia. It’s like the musical equivalent of Showgirls. I know many disagree. Many disagree with me (and Kathy) about Muriel’s Wedding, too. To each their own. You’re allowed to have your wrong opinions.
AꓭBA’s Frida was born Anni-Frid Lyngstadon this date in 1945. Lots of AꓭBA on today’s playlist.
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Your (Almost) Daily Playlist: 10-25-23
Released as a single in 1971, Helen Reddy’s “I Am Woman” tanked. She rerecorded the song. The new version was released as a single the following year, debuting on the Hot 100 at number 99. Two weeks later it was number 97. Then it fell off the chart. Lots of television appearances and many phone calls from Reddy’s husband to radio stations across the US led to the song re-entering the Hot 100, eventually becoming the first of three US number one singles for Reddy and winning her the very first American Music Award for Favorite Pop/Rock Female Vocalist.
The late Helen Reddy was born on this date in 1941. Several of her recordings are included on today’s playlist.
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Your (Almost) Daily Playlist: 9-24-23
I say let the sun catch you crying. You have control over your own life. As long as you’re not impinging on someone else’s rights or happiness, do it. Cry.
The late Gerard Marsden of Gerry and The Pacemakers was born on this date in 1942. A couple of his group’s tunes are on this week’s playlist.
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