Tunes Du Jour Presents 1986

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Looking back at 1986, what stands out isn’t just the quality of the music, but how effortlessly genres merged and boundaries dissolved. Run-D.M.C. and Aerosmith’s “Walk This Way” wasn’t just a collaboration – it was a statement about how rock and hip-hop could amplify each other’s strengths. Prince, at the height of his powers, stripped everything down to bare essentials with “Kiss,” proving his superstardom could take any form. Robert Palmer’s “Addicted to Love” became inescapable, powered by one of the era’s most iconic videos, while Peter Gabriel’s “Sledgehammer” merged art rock with soul and funk, accompanied by groundbreaking stop-motion animation.

The women of pop music wielded particular influence that year. Madonna continued pushing buttons with “Papa Don’t Preach,” tackling teenage pregnancy in a way that sparked national conversation. Whitney Houston’s “How Will I Know” showcased her extraordinary vocal range while proving dance-pop could be both sophisticated and irresistible. Janet Jackson asked “What Have You Done for Me Lately,” establishing herself as a force independent of her famous family. Cyndi Lauper’s “True Colors” transcended its moment, becoming an enduring anthem of self-acceptance that would be covered for decades to come.

The underground was rising to the surface, but keeping its edge. The Smiths’ “There Is A Light That Never Goes Out” brought literary depth to alternative rock, while New Order’s “Bizarre Love Triangle” helped blueprint the future of electronic dance music. The Pet Shop Boys’ “West End Girls” married street-smart observations with pristine synth-pop, and Public Image Ltd.’s “Rise” proved post-punk could evolve without losing its bite. Even The Cure, with “In Between Days,” found a way to make melancholy sound surprisingly radio-friendly.

Soul and R&B were experiencing their own renaissance. Anita Baker’s “Sweet Love” brought sophisticated quiet storm to the mainstream, while Cameo’s “Word Up!” demonstrated funk’s continuing vitality. Grace Jones’ “Slave to the Rhythm” showcased the artist’s commanding presence, and James Brown reminded everyone he was still the Godfather of Soul with “Living in America.” The year also saw George Michael step out of Wham!’s shadow with “A Different Corner,” proving he could hold his own as a solo artist.

The year proved fertile ground for both established and emerging voices. Bruce Springsteen’s “My Hometown” painted a portrait of a changing America, while Billy Bragg’s “Levi Stubbs’ Tears” showed how personal stories could carry political weight. Elvis Costello’s “I Want You” pushed the boundaries of what a love song could express, and R.E.M.’s “Fall on Me” managed to be both cryptic and urgently relevant. Meanwhile, LL Cool J’s “I Can’t Live Without My Radio” brought hip-hop closer to the mainstream while maintaining its street credibility. In retrospect, 1986 wasn’t just a great year for music – it was a moment when artists across the spectrum proved that innovation and accessibility weren’t mutually exclusive.

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Tunes Du Jour Presents Kate Bush

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Kate Bush’s career spans over four decades, marked by her distinctive voice, innovative songwriting, and boundary-pushing artistry. From her debut in the late 1970s to her recent resurgence, Bush has consistently captivated audiences with her unique blend of art rock, progressive pop, and literary-inspired narratives.

Bush burst onto the scene with “Wuthering Heights,” a haunting ode to Emily Brontë’s classic novel. This early hit showcased her ability to weave complex storytelling into infectious melodies, a skill that would become her hallmark. As her discography expanded, so did her musical palette. Albums like Hounds of Love and The Sensual World demonstrated her evolving sound, incorporating world music influences and experimental production techniques.

Throughout her career, Bush has explored a wide range of themes in her music. From the deeply personal introspection of “This Woman’s Work” to the environmentally conscious “Breathing,” her lyrics often tackle weighty subjects with poetic grace. Her collaborations, such as “Don’t Give Up” with Peter Gabriel, further highlight her versatility as an artist and her ability to complement other voices while maintaining her distinct style.

Bush’s influence extends far beyond her chart success. Her theatrical performances, innovative use of technology in music production, and fiercely independent approach to her career have inspired generations of artists across genres. Songs like “Running Up That Hill” and “Cloudbusting” continue to resonate with new audiences, testament to the timeless quality of her work.

As we look back on Kate Bush’s career through the lens of her extensive discography, from early gems like “The Man with the Child in His Eyes” to later works such as “King of the Mountain” and “Wild Man,” it’s clear that her artistic vision has remained consistently bold and unapologetically unique. Kate Bush’s legacy in popular music is not just about hit songs or record sales, but about pushing the boundaries of what pop music can be – a true fusion of sound, story, and spectacle.

Tunes Du Jour Presents 1978

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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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Tunes Du Jour Presents 1985

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The year 1985 was a remarkable one for music, as it showcased a variety of genres, styles, and influences. From pop to rock, from synth to soul, from rap to reggae, the music of 1985 reflected the diversity and creativity of the artists and the listeners. Whether it was the catchy melodies, the powerful lyrics, or the innovative sounds, the music of 1985 had something for everyone.

One of the most notable trends of 1985 was the emergence of new wave and synth-pop, which dominated the charts and the airwaves. Artists like Tears for Fears, a-Ha, Simple Minds, and The Cure blended synthesizers, guitars, and drums to create catchy and memorable songs that captured the mood and the spirit of the times. Songs like “Everybody Wants To Rule The World”, “Take On Me”, “Don’t You (Forget About Me)”, and “Close to Me” became anthems for a generation that was looking for fun, freedom, and adventure.

Another trend of 1985 was the influence of dance and disco, which brought energy and excitement to the music scene. Artists like Madonna, Frankie Goes To Hollywood, Dead Or Alive, and Sade combined dance beats, catchy hooks, and sensual vocals to create songs that made people want to move and groove. Songs like “Into the Groove”, “Relax”, “You Spin Me Round (Like A Record)”, and “Smooth Operator” became hits that defined the style and the attitude of the era.

A third trend of 1985 was the resurgence of rock and roll, which showed the diversity and the versatility of the genre. Artists like Bruce Springsteen, Prince, Dire Straits, and The Smiths demonstrated their musical skills, their lyrical talents, and their artistic visions. Songs like “Born In The U.S.A.”, “Raspberry Beret”, “Money For Nothing”, and “How Soon Is Now” became classics that showcased the range and the depth of rock music.

A fourth trend of 1985 was the rise of social awareness and activism, which inspired many artists to use their music as a platform for change and charity. Artists took part in USA For Africa and Band Aid to raise funds and awareness for famine relief.

The music of 1985 was a year of diversity and innovation, as it offered a wide range of musical experiences and expressions. The playlist below features some of the best songs of 1985, which represent the different trends and influences of the year. Enjoy the music and relive the memories of 1985!

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Tunes Du Jour Presents Covers of Show Tunes

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The theme of today’s playlist is cover versions of songs that originated in stage musicals. Here are the songs listed with the shows that introduced them:

  • Mack the Knife by Bobby Darin – From The Threepenny Opera (1928)
  • Till There Was You by The Beatles – From The Music Man (1957)
  • Smoke Gets In Your Eyes by The Platters – From Roberta (1933)
  • Little Girl Blue by Nina Simone – From Jumbo (1935)
  • You’ll Never Walk Alone by Gerry & The Pacemakers – From Carousel (1945)
  • I Am What I Am by Gloria Gaynor – From La Cage aux Folles (1983)
  • On The Street Where You Live by Vic Damone – From My Fair Lady (1956)
  • Everything’s Coming Up Roses by The Replacements – From Gypsy (1959)
  • Send In The Clowns by Judy Collins – From A Little Night Music (1973)
  • I Don’t Know How to Love Him by Helen Reddy – From Jesus Christ Superstar (1970)
  • Hair by The Cowsills – From Hair (1967)
  • Put On A Happy Face by Diana Ross & The Supremes – From Bye Bye Birdie (1960)
  • Losing My Mind by Liza Minnelli – From Follies (1971)
  • Tomorrow by Grace Jones – From Annie (1977)
  • My Favorite Things by John Coltrane – From The Sound of Music (1959)
  • Well Did You Evah? by Debbie Harry & Iggy Pop – From DuBarry Was a Lady (1939)
  • The Man I Love by Kate Bush – From Lady, Be Good! (1924)
  • If My Friends Could See Me Now by Linda Clifford – From Sweet Charity (1966)
  • Summertime by Big Brother & The Holding Company – From Porgy and Bess (1935)
  • Cabaret by Harold Melvin & The Blue Notes – From Cabaret (1966)
  • I Get A Kick Out Of You by Frank Sinatra – From Anything Goes (1934)
  • Don’t Cry For Me Argentina by Festival – From Evita (1978)
  • Somewhere by Pet Shop Boys – From West Side Story (1957)
  • The Lady is a Tramp by Tony Bennett & Lady Gaga – From Babes in Arms (1937)
  • I’ll Never Fall In Love Again by Dionne Warwick – From Promises, Promises (1968)
  • I Love Paris by Screamin’ Jay Hawkins – From Can-Can (1953)
  • Night + Day by U2 – From Gay Divorce (1932)
  • There Are Worse Things I Could Do by Alison Moyet – From Grease (1971)
  • Corner of the Sky by The Jackson 5 – From Pippin (1972)
  • I Enjoy Being a Girl by Phranc – From Flower Drum Song (1958)

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Your (Almost) Daily Playlist: 7-30-23

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As it achieved massive success just last year, many younger people think that Kate Bush’s “Running Up That Hill” was written this decade, but the truth is Kate wrote the song back in 1492, during the Spanish Inquisition. Believe me. I know. I was the one who taught her how to play the synthesizer.

Kate Bush turns 558 years old today, or 65 if you wanna go by Wikipedia, the website invented by Gottfried Wilhelm Leibniz in 1695. Lots of her musical goodness is on today’s playlist.

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