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 Michael Jackson

Michael Jackson’s legacy in music is undeniably profound, with a career spanning several decades and an influence that is still felt today. From his early days with The Jackson 5 to his solo career that redefined the boundaries of pop music, Jackson’s contributions have left an indelible mark on the industry.

Jackson’s work with The Jackson 5 introduced the world to a young talent capable of captivating audiences with his voice and energy. Hits like “I Want You Back” and “ABC” showcased his ability to bring a unique sense of rhythm and soul, even as a child. As he transitioned into his solo career, Jackson’s music evolved, blending elements of pop, rock, and R&B to craft a distinctive sound that set him apart. Songs like “Don’t Stop ‘Til You Get Enough” and “Rock With You” from his Off the Wall album laid the groundwork for what would become his signature style—catchy melodies, intricate rhythms, and an infectious energy.

The release of Thriller in 1982 was a watershed moment, not just for Jackson but for the entire music industry. With tracks like “Billie Jean,” “Beat It,” and the title track, Jackson broke records and set new standards. The music video for “Thriller” itself became a cultural phenomenon, pioneering the concept of the music video as an art form and cementing Jackson’s reputation as a creative visionary. His music during this period was not just entertainment; it was a catalyst for change, influencing countless artists and shaping the future of pop music.

Beyond his musical achievements, Jackson was also known for his philanthropic efforts. His involvement in the creation of “We Are the World,” a charity single aimed at raising funds for famine relief in Africa, demonstrated his commitment to using his platform for good. Jackson supported numerous charities throughout his life, including the Make-A-Wish Foundation, the Elizabeth Taylor AIDS Foundation, and his own Heal the World Foundation, which focused on improving the lives of children around the globe.

However, Jackson’s legacy is also marred by credible criminal allegations of child abuse, which have cast a long shadow over his career. These allegations have led to ongoing debates about how to reconcile his artistic contributions with his personal life. While the legal battles and media scrutiny that followed these accusations are part of his story, they do not erase the impact of his work on music and culture.

In the end, Michael Jackson’s legacy is a complex one, marked by both extraordinary musical achievements and troubling personal controversies. His influence on the music industry is undeniable, as is his role in philanthropy. The challenge lies in acknowledging the full scope of his life and career while recognizing the impact he had on both music and society.

https://open.spotify.com/playlist/4Pg5WcK54h3NSlzjDJYQ16?si=17ecfba7705245d6

Tunes Du Jour Presents 1981

As the new decade dawned, 1981 emerged as a year of significant musical transformation. The eclectic mix of songs that defined this period reflected a music industry in flux, with established genres evolving and new sounds emerging to captivate listeners across the globe.

Rock music continued to hold its ground, adapting to the changing times. The Rolling Stones proved their enduring relevance with the gritty “Start Me Up,” while Journey’s “Don’t Stop Believin'” became an arena rock anthem that would stand the test of time. Bruce Springsteen’s “The River” showcased his storytelling prowess, and Phil Collins’ “In The Air Tonight” introduced a new dimension of atmospheric rock with its iconic drum break. George Harrison’s “All Those Years Ago,” a touching tribute to John Lennon, marked Harrison’s first U.S. top ten single in eight years, demonstrating the lasting appeal of the former Beatles.

New Wave and post-punk sounds flourished in 1981, pushing boundaries and incorporating electronic elements. Talking Heads’ “Once in a Lifetime” demonstrated the genre’s art-rock leanings, while The Go-Go’s brought a pop sensibility to new wave with “Our Lips Are Sealed.” Duran Duran’s “Girls on Film” hinted at the new romantic movement that was gaining traction. The Psychedelic Furs’ “Pretty in Pink,” with its blend of post-punk edge and pop accessibility, showcased Richard Butler’s distinctive vocals and would later inspire and lend its name to a defining film of the ’80s.

The year also saw the emergence of hip-hop as a force in popular music. Blondie’s “Rapture” became the first song featuring rap vocals to reach number one on the U.S. Billboard Hot 100, fusing new wave with hip-hop influences. Meanwhile, Grandmaster Flash’s innovative “The Adventures of Grandmaster Flash on the Wheels of Steel” was one of the first records to extensively use sampling, laying the groundwork for hip-hop’s future.

Dance music was evolving beyond disco into new, exciting forms. Grace Jones’ “Pull Up to the Bumper” blended funk, new wave, and reggae influences, pointing towards a more eclectic and experimental future for club music. Taana Gardner’s “Heartbeat” helped define the emerging genre of garage house with its stripped-down beat and soulful vocals. Kool & the Gang’s “Celebration” remains a party staple, bridging the gap between disco and contemporary R&B.

In the realm of R&B and funk, Luther Vandross’ “Never Too Much” marked the acclaimed background vocalist’s first hit under his own name, showcasing his smooth, sophisticated style. Rick James pushed funk to new heights with “Super Freak,” incorporating rock elements and a memorable synth line that would be sampled for years to come. The Pointer Sisters’ “Slow Hand” kept R&B smooth and soulful.

1981 also witnessed the continued rise of synth-pop and electronic music. Heaven 17’s politically charged “(We Don’t Need This) Fascist Groove Thang” and New Order’s “Ceremony” showcased the genre’s range from danceable pop to moody post-punk.

As some artists embraced new sounds, others used music to comment on social issues. The Specials’ “Ghost Town” reflected the urban decay and racial tensions in Britain, while Black Flag’s hardcore punk anthem “Rise Above” railed against societal norms. Prince’s “Controversy” challenged listeners both musically and lyrically, blending funk, rock, and new wave while tackling taboo subjects and questioning social norms, hinting at the boundary-pushing artist he would become.

From the chart-topping pop of Kim Carnes’ “Bette Davis Eyes” and Olivia Newton-John’s “Physical” to ABBA’s emotionally charged ballad “The Winner Takes It All,” 1981 was a year of contrasts and transitions. It was a time when established stars adapted to new trends, emerging artists made their mark, and genres blended in exciting ways. This rich musical landscape set the stage for the diverse and innovative sounds that would define the rest of the decade, making 1981 a pivotal year in the evolution of popular music.

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Your (Almost) Daily Playlist: 12-10-23

“Nightshift” was Commodores’ biggest hit following the departure of usual lead singer Lionel Richie. The group’s Walter Orange, a co-writer of the song, sings lead on verse one. Orange also sang lead on Commodores’ hits “Brick House” and “Too Hot Ta Trot.” So there. 

Commodores’ Walter Orange was born on this date (or maybe yesterday’s date) in 1946. Two of the group’s songs on which he sang lead are included on today’s playlist.

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Your (Almost) Daily Playlist: 8-29-23

FUN FACT: The original lyrics to the song pictured were “Billy Joel is not my brother / He’s just some shlub who sang that the good die young / But he’s not my mother’s son.” Michael Jackson changed the words when Quincy Jones told him “That’s really stupid, Smelly.” (Note: I didn’t get this info from a reliable source, so take it with a grain of salt.)

Michael Jackson was born on this date in 1958. Lotsa Jackson on today’s playlist.

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Your (Almost) Daily Playlist: 10-14-22

Today’s playlist celebrates the October 14 birthdays of The Moody Blues’ Justin Hayward, Usher, Cliff Richard, The Chicks’ Natalie Maines, All Saints’ Shaznay Lewis, Nazareth’s Dan McCafferty, Bill Justis, Thomas Dolby, Robert Parker, Karyn White, and Omar; and the October 15 birthdays of The Jacksons’ Tito Jackson, The Orb’s Alex Paterson, Carpenters’ Richard Carpenter, Jessie Ware, Barry McGuire, The Bad Plus’s Reid Anderson, Ginuwine, The Dead Milkmen’s Joe Genaro, Marv Johnson, and Chris DeBurgh.

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A Philly Soul Playlist

Not all records classified as Philly Soul come from Philadelphia-based artists, though all share characteristics – orchestral string arrangements married to rhythm and blues with a funk influence that bridged the way toward disco. Here are thirty examples of the genre, with the songwriting-production team of Kenny Gamble and Leon Huff working on the lion’s share of these releases.

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Throwback Thursday: 1984

Madonna! Prince! Bruce! Michael! Chaka! Cyndi! Rockwell! Boy! The best of 1984’s pop stars/hits made a mark that remain part of our consciousness nearly forty years later. The influence of upstarts who didn’t crack the Hot 100 – The Smiths, The Replacements, Run-D.M.C. – has been acknowledged in the years since. For those who wish to relive those days, for those who wish they were living then, and for those who wish to associate 1984 with something other than a misunderstood piece of classic literature or the most recent Wonder Woman movie, this playlist is for you. Happy Throwback Thursday!

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