Tunes Du Jour Presents 1976

by with No Comment Uncategorized

By 1976, disco had moved from underground clubs to the top of the charts, and rock music found itself facing challenges from multiple fronts. Donna Summer’s “Love to Love You Baby” and Diana Ross’ “Love Hangover” showcased the genre’s hypnotic groove and sensuality, while Wild Cherry’s “Play That Funky Music” blurred the lines between rock and funk, proving that even guitar-driven bands weren’t immune to disco’s influence. Hits like Andrea True Connection’s “More, More, More” and Candi Staton’s “Young Hearts Run Free” reinforced that this was no passing trend—it was a movement reshaping popular music.

Mainstream rock, meanwhile, leaned into grandeur and melody. Queen’s “Bohemian Rhapsody” became a landmark in songcraft, a multi-part epic that defied conventional structure and solidified the band’s place in rock history. Boston’s “More Than a Feeling” offered a soaring, polished take on arena rock, while Blue Öyster Cult’s “(Don’t Fear) The Reaper” balanced an ethereal mood with a sinister undercurrent. Even David Bowie, ever the shape-shifter, leaned into a sleeker sound with “Golden Years.”

Yet, outside of the glossy productions and layered harmonies, a different kind of energy was brewing. The Sex Pistols’ “Anarchy in the U.K.” was a shot across the bow, rejecting the excesses of rock in favor of raw urgency. While not a punk act, Thin Lizzy’s “The Boys Are Back in Town” carried a swagger and directness that resonated with rock fans who would soon embrace punk’s stripped-down ethos. Punk’s full-blown arrival was just around the corner, but 1976 gave the first clear signs that the dominant sounds of the decade were about to face a reckoning.

Beyond disco and rock, R&B and soul continued to thrive, offering both lush ballads and infectious grooves. The Manhattans’ “Kiss and Say Goodbye” and Lou Rawls’ “You’ll Never Find Another Love Like Mine” showcased rich, emotive vocal performances, while Spinners’ “The Rubberband Man” and Boz Scaggs’ “Lowdown” leaned into rhythmic sophistication. Daryl Hall & John Oates’ “She’s Gone” marked a breakthrough for the duo, setting the stage for their string of hits in the late 1970s and early 1980s, where they refined their blend of blue-eyed soul and pop.

In a year that saw both nostalgia and forward momentum, songs like the Four Seasons’ “December, 1963 (Oh, What a Night)” and Gordon Lightfoot’s “The Wreck of the Edmund Fitzgerald” reminded listeners of storytelling’s power in song. Meanwhile, ABBA’s “Mamma Mia” and Elton John and Kiki Dee’s “Don’t Go Breaking My Heart” offered sheer pop exuberance. The music of 1976 reflected an industry in transition—disco was ascendant, rock was splintering, and a new wave of rebellion was beginning to make itself heard.

Follow Tunes Du Jour on Facebook

Follow me on Bluesky

Follow me on Instagram

Tunes Du Jour Presents 1971

by with No Comment Uncategorized

The music of 1971 was shaped by a world in transition. The optimism of the ’60s had given way to a more complicated reality—political upheaval, the Vietnam War, and shifting cultural norms weighed heavily on society. In response, many artists channeled these changes into their music, whether through protest, storytelling, or deeply personal reflection. The result was a year that produced enduring songs across multiple genres, from confessional singer-songwriter fare to hard-hitting rock and infectious soul.

Some of the most memorable hits of the year leaned into personal themes rather than overt social commentary. Carole King’s “It’s Too Late” and Elton John’s “Your Song” exemplified the rise of the singer-songwriter era, blending lyrical vulnerability with sophisticated melodies. Al Green’s “Tired of Being Alone” showcased his effortless mix of longing and smooth Southern soul, while Rod Stewart’s “Maggie May” became his breakthrough solo hit, telling the story of youthful romance with a blend of folk and rock. At the same time, Marvin Gaye’s “What’s Going On” took a broader view, addressing war, inequality, and injustice in a way that felt both urgent and timeless.

Rock music remained as dominant as ever, though it took on new forms. Led Zeppelin’s “Immigrant Song” showcased their thunderous power, while The Who’s “Won’t Get Fooled Again” harnessed synthesizers and political defiance to craft an enduring anthem. The Rolling Stones’ “Brown Sugar,” released without much controversy at the time, has since been reevaluated due to its lyrical content. Meanwhile, The Doors painted a dark, atmospheric landscape on “Riders on the Storm,” and Paul & Linda McCartney’s “Uncle Albert/Admiral Halsey” leaned into whimsical experimentation, proving that rock still had room for playfulness.

Soul and funk made significant strides in 1971, with Sly & The Family Stone’s “Family Affair” pioneering a more subdued, groove-heavy sound. The Staple Singers’ “Respect Yourself” and Curtis Mayfield’s “Move On Up” carried messages of empowerment, while Honey Cone’s “Want Ads” and Jean Knight’s “Mr. Big Stuff” infused attitude into their infectious rhythms. The Jackson 5’s “Never Can Say Goodbye” demonstrated a maturing sound beyond their bubblegum pop beginnings, while Cher’s “Gypsies, Tramps and Thieves” and Melanie’s “Brand New Key” brought storytelling into the pop realm with memorable melodies and an enduring campiness.

Fifty-plus years later, the music of 1971 still resonates. Whether through the social commentary of “What’s Going On,” the country-rock warmth of “Me and Bobby McGee,” or the swampy energy of Ike & Tina Turner’s “Proud Mary,” these songs remain essential listening. They serve as both a time capsule and a reminder that great music doesn’t just reflect its era—it continues to shape the generations that follow.

Follow Tunes Du Jour on Facebook

Follow me on Bluesky

Follow me on Instagram

Tunes Du Jour Presents Holland-Dozier-Holland

by with No Comment Uncategorized

Brian Holland, Lamont Dozier, and Eddie Holland, collectively known as Holland-Dozier-Holland (H-D-H), are synonymous with the sound of Motown. Their string of hits in the 1960s and beyond fueled the success of the record label, shaping popular music and paving the way for R&B to dominate the airwaves. Each song on this playlist, from The Four Tops’ powerful “Reach Out (I’ll Be There)” to The Supremes’ iconic “Where Did Our Love Go,” credits one or more members of H-D-H. With a blend of melody, rhythm, and hooks that remain timeless, the team’s work redefined what hit songwriting could accomplish.

This songwriting trio didn’t merely write songs—they crafted narratives of love, heartbreak, and resilience that resonated with audiences across generations. Tracks like “This Old Heart of Mine (Is Weak for You)” by The Isley Brothers and Marvin Gaye’s “Can I Get a Witness” reveal the emotional depth in their compositions, supported by rhythms and production styles that have endured decades of cover versions. Their songs often feel instantly recognizable, whether it’s the infectious chorus of Chairmen of the Board’s “Give Me Just a Little More Time” or the stomping beat of Junior Walker & the All-Stars’ “(I’m A) Road Runner.”

The irony, however, is that Eddie Holland, despite being a key member of the team, had only one top 40 pop single as a solo artist, “Jamie”—and it wasn’t written by any member of Holland-Dozier-Holland. Instead, it was penned by Barrett Strong and William “Mickey” Stevenson, fellow Motown talents who contributed in their own right to the label’s powerhouse status. Though Eddie found his calling behind the scenes rather than as a performer, his experience as an artist gave him unique insight into the singer’s perspective, a quality that helped make H-D-H’s songs vocally compelling and relatable.

Beyond Motown, the trio’s influence stretched into rock, pop, and soul genres, as evident from covers and reinterpretations by artists like The Rolling Stones, Rod Stewart, and Bananarama. These renditions, like Linda Ronstadt’s cover of “Heat Wave” or James Taylor’s soulful take on “How Sweet It Is (To Be Loved by You),” show how their music transcended genre boundaries. Each version emphasizes the versatility of H-D-H’s songwriting, capable of adapting to various musical expressions while retaining its core appeal.

Ultimately, the legacy of Holland-Dozier-Holland isn’t just in their impressive catalog but in their contributions to the very essence of popular music. They captured the spirit of a generation through music that continues to find new audiences, sounding as fresh today as it did over half a century ago. Their work endures, a testament to their genius, and is rightly celebrated by the many artists who’ve covered and revived their timeless songs.

Follow Tunes Du Jour on Facebook

Follow Tunes Du Jour on Twitter

Follow me on Instagram

Tunes Du Jour Presents Miguel

by with No Comment Uncategorized

Miguel (full name Miguel Pimentel) has made a significant mark on contemporary R&B with his unique blend of sensuality, introspection, and genre-defying sounds. His music consistently moves between themes of love, self-discovery, and social consciousness, giving listeners a multifaceted experience that mirrors his own artistic journey. From early hits like “Adorn” to more recent introspective works like “Now,” Miguel’s catalog showcases his growth both as a singer and as a songwriter unafraid to explore new territories.

“Adorn,” a song often cited as his breakout, set the tone for Miguel’s signature style—smooth, seductive vocals layered over lush, atmospheric production. It’s no surprise that songs like “How Many Drinks?” and “Pussy Is Mine” carry a similar vibe, blending elements of soul and R&B with lyrics that delve into romantic and intimate themes. But Miguel doesn’t just stop at smooth love songs; tracks like “Candles in the Sun” and “What’s Normal Anyway” offer thoughtful commentary on identity and the human experience, showing his capacity for depth beyond the surface.

Miguel’s collaborations also reveal his versatility. Whether teaming up with Mariah Carey on the summery “#Beautiful” or with Janelle Monae on the sultry “Primetime,” Miguel adapts his voice and style to fit diverse musical landscapes. His work with artists across genres—such as Travis Scott on “Sky Walker” or A$AP Rocky on “Everyday”—proves he’s comfortable blending R&B with hip-hop, pop, and even rock influences. Tracks like “Arch & Point” and “waves” highlight his willingness to experiment with his sound, pushing the boundaries of traditional R&B.

Social and political awareness also weave into Miguel’s body of work. “Now” reflects his thoughts on current events, while “Anointed” and “Told You So” lean into themes of self-empowerment and resilience. He balances these more weighty subjects with lighter, groove-heavy tracks like “Pineapple Skies,” reminding listeners that Miguel’s range isn’t just confined to one message or mood.

Miguel’s ability to seamlessly shift between introspective ballads, politically charged anthems, and sensual love songs is what makes his discography stand out. He continually reinvents himself while staying true to his core as an artist who blends heart, soul, and mind into every track. Whether you’re in the mood for reflective listening or something more upbeat, Miguel’s music offers something for every occasion.

Follow Tunes Du Jour on Facebook

Follow Tunes Du Jour on Twitter

Follow me on Instagram

Tunes Du Jour Presents Rod Stewart

by with No Comment Uncategorized

They thought they were done with the making of the album Every Picture Tells A Story, but it seemed to be a song short, so they added a song Rod Stewart wrote about losing his virginity. The song was a bit long and had no actual chorus, but it did pad out the album. Stewart’s record label also put the song on the b-side of the album’s first single. The song’s title? “Maggie May.” Perhaps you’ve heard it.

Follow Tunes du Jour on Facebook

Follow Tunes du Jour on Twitter

Follow me on Instagram

Your (Almost) Daily Playlist: 12-22-23

by with No Comment Uncategorized

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.

Follow Tunes du Jour on Facebook

Follow Tunes du Jour on Twitter

Follow me on Instagram

Your (Almost) Daily Playlist: 11-15-23

by with No Comment Uncategorized

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.

Follow Tunes du Jour on Facebook

Follow Tunes du Jour on Twitter

Follow me on Instagram

Your (Almost) Daily Playlist: 9-1-23

by with No Comment Uncategorized

The Bee Gees wrote “How Deep Is Your Love” at the Château d’Hérouville in France, where Chopin had stayed and played piano, though Chopin wasn’t involved in the recording of the song, as he was busy being dead. The song was intended for Yvonne Elliman, but Robert Stigwood, the producer of Saturday Night Fever, said “No, no way. Uh uh. Forget it.” The Gibb brothers took their song to number one, the first of 7034 number one hits (give or take) from the Saturday Night Fever soundtrack. HDIYL spent 17 weeks in the top ten of the Billboard Hot 100, a record at that time.

Bee Gee Barry Gibb was born on this date in 1946. A half dozen of his group’s hits are included on today’s playlist.

Follow Tunes du Jour on Facebook

Follow Tunes du Jour on Twitter

Follow me on Instagram