A handful of Steve Miller tracks are on today’s playlist, as it’s his birthday.
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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Your (Almost) Daily Playlist: 10-2-24
Lots of music from The Police on today’s playlist, as it is the birthday of their frontman Sting.
Tunes Du Jour Presents 1957
The year 1957 stands as a pivotal moment in the evolution of popular music, where rock ‘n’ roll, rhythm and blues, and even a touch of jazz converged to create a soundtrack that would resonate for decades. The hits of the year showcase not only the diverse range of genres but also the rise of some of the most influential voices in music history. A prime example is The Crickets’ “That’ll Be the Day,” a track that embodies the early rock ‘n’ roll spirit, blending Buddy Holly’s unmistakable vocal delivery with a catchy, driving beat. It’s a song that helped shape the sound of the era.
Elvis Presley’s “Jailhouse Rock” is another cornerstone of 1957, with its infectious energy and rebellious attitude. Presley was at the height of his powers, blending rock, blues, and a hint of swagger that would influence generations of performers. Meanwhile, Fats Domino’s “Blueberry Hill” offered a smoother, more melodic contrast. Domino’s effortless combination of rhythm and blues with pop sensibility helped bridge the gap between different audiences, securing his place as one of the genre’s pioneers.
But 1957 wasn’t just about rock ‘n’ roll—it was a year that embraced the full spectrum of American music. Take Harry Belafonte’s “Day-O (Banana Boat Song),” a calypso tune that brought Caribbean sounds to mainstream audiences. Similarly, the soulful ballad “You Send Me” by Sam Cooke introduced a voice that would soon come to define soul music. Cooke’s ability to combine gospel roots with pop elegance opened the doors for future R&B artists.
The variety of sounds continued with tracks like “Whole Lotta Shakin’ Goin’ On” by Jerry Lee Lewis and “Lucille” by Little Richard, both of which pushed the boundaries of what rock music could be with their raw energy and wild performances. On the other end of the spectrum, Ella Fitzgerald and Louis Armstrong’s rendition of “Summertime” added a jazzy sophistication to the year’s musical offerings, reminding listeners that timeless standards still had a place in the changing musical landscape.
Ninety fifty-seven was a year when rock ‘n’ roll solidified its place in popular culture, while artists from various genres continued to innovate and inspire. Whether through the heartfelt croon of Johnny Mathis on “Chances Are” or the rough-edged blues of Muddy Waters’ “Got My Mojo Working,” the music of this year still echoes today as a testament to a time when creativity flourished across musical boundaries.
Your (Almost) Daily Playlist: 9-29-24
Shortly after British rock band Suede released their debut album in the US in 1993, they encountered a trademark issue. An American lounge singer named Suzanne deBronkart had been performing under the name “Suede” since the 1980s and had already trademarked the name for musical performances in the US. She sued for trademark violation.
Two years later, the British band reluctantly agreed to use the name “The London Suede” for all their US releases and performances. This compromise allowed them to maintain their original name in other parts of the world while respecting the existing trademark in the United States.
This name change applied to all their album releases, merchandise, and concert promotions in the US throughout their career.
(The London) Suede’s Brett Anderson was born on this date in 1967. A handful of the band’s tracks are included on today’s playlist.
Tunes Du Jour Presents The Drifters
The Drifters, known for their timeless hits, were more than just a vocal group—they were a revolving door of talent, innovation, and influence. Their manager, George Treadwell, famously owned the rights to the group’s name, allowing him to replace members as he saw fit. This created a unique dynamic in which the lineup of The Drifters was constantly evolving, but the sound remained consistent, thanks to brilliant vocalists like Clyde McPhatter, Ben E. King, and later, Johnny Moore. The shifting roster didn’t diminish the group’s success; rather, it seemed to fuel their ability to adapt to the changing music landscape of the late 1950s and early 1960s.
Before joining The Drifters, Clyde McPhatter was the usual lead singer for Billy Ward and the Dominoes, contributing to their early success with his distinctive, gospel-infused voice. Songs like “Have Mercy Baby” and “The Bells” highlighted his emotional delivery and vocal range, setting the stage for what would come next in his career. His time with the Dominoes laid the foundation for the innovative sound he would help bring to The Drifters, marking a pivotal moment in his development as one of R&B’s greatest vocalists.
The Drifters were trailblazers in many respects. Songs like “There Goes My Baby” brought orchestration into the realm of rhythm and blues, breaking new ground by blending classical strings with a soulful vocal performance. Similarly, “On Broadway” and “Up on the Roof” captured urban life’s glamour and grit, weaving storytelling with lush, intricate harmonies. The songs’ productions were often grand and ambitious, thanks in part to producers like Jerry Leiber and Mike Stoller, who knew how to balance pop accessibility with artistic flair.
The influence of The Drifters extended beyond their chart success. Ben E. King’s solo work, such as the universally beloved “Stand By Me” and “Spanish Harlem,” grew from the soulful foundation he helped build with The Drifters. Clyde McPhatter’s solo career also flourished with hits like “A Lover’s Question” and “Without Love (There Is Nothing),” which showcased his soaring voice. Their work as both individuals and part of the group helped shape the sound of R&B and soul music for years to come.
Another fascinating aspect of The Drifters was the way they handled romantic themes. Hits like “Save the Last Dance for Me” and “This Magic Moment” masterfully conveyed the highs and lows of love, set to irresistible melodies that have since become part of the Great American Songbook. The group’s ability to evoke deep emotion, whether it was longing, joy, or heartache, made their music resonate across generations. The universal appeal of songs like “Under the Boardwalk” further solidified their legacy.
The Drifters’ story is a testament to the power of adaptability. Though they were often a group in flux, the quality of their music never wavered. By blending innovation with a revolving door of vocal talent, they left an indelible mark on popular music. Whether you’re drawn to the lush productions, the heartfelt lyrics, or the seamless harmonies, The Drifters’ catalog remains a treasure trove of R&B brilliance.
Your (Almost) Daily Playlist: 9-26-24
A handful of Roxy Music tracks on today’s playlist in honor of the birthday of group member Bryan Ferry
Your (Almost) Daily Playlist: 9-25-24
Celebrating Santigold’s birthday today by including a handful of her songs on the playlist.
Tunes Du Jour Presents Bruce Springsteen
Few artists have captured the American experience as vividly and authentically as Bruce Springsteen. With a career spanning over five decades, “The Boss” has crafted a body of work that resonates with millions, chronicling the hopes, struggles, and dreams of working-class America. While a 30-song playlist can offer a glimpse into Springsteen’s artistry, it barely scratches the surface of his vast and nuanced catalogue.
From the youthful exuberance of “Born to Run” to the somber reflection of “Streets of Philadelphia,” Springsteen’s music embodies a range of emotions and experiences. His early works, such as “Rosalita (Come Out Tonight)” and “Thunder Road,” burst with the energy of youth and the promise of escape. As his career progressed, songs like “The River” and “My Hometown” delved deeper into the complexities of adulthood and the weight of responsibility.
Springsteen’s ability to craft character-driven narratives is evident in tracks like “The Ghost of Tom Joad” and “Atlantic City.” These songs, along with many others, paint vivid portraits of individuals facing adversity, reflecting broader societal issues through personal stories. His music often serves as a voice for the voiceless, addressing topics such as economic hardship, war, and social injustice.
While Springsteen’s rock anthems like “Born in the U.S.A.” and “Glory Days” have become cultural touchstones, it’s important to note the depth and diversity of his musical style. From the introspective folk of “I’m On Fire” to the soul-influenced “Hungry Heart,” Springsteen has continually evolved his sound while maintaining his distinctive storytelling approach.
Beyond his musical contributions, Springsteen is also known for his philanthropic efforts. He has consistently used his platform to support various causes, including veteran’s rights, LGBTQ+ equality, and food banks. His commitment to social justice is not only evident in his charitable work but also woven into the fabric of his music, as exemplified by songs like “The Rising,” which offered hope and healing in the aftermath of 9/11. Bruce Springsteen’s enduring legacy lies not just in his music, but in his unwavering dedication to giving voice to the American experience in all its complexity.
Tunes Du Jour Presents Leonard Cohen
Leonard Cohen’s music holds a rare place in popular culture, weaving together poetry, spirituality, and a reflective take on human frailty. His ability to navigate profound themes of love, loss, and longing is evident across his catalog. Take “Suzanne,” one of his earliest and most enduring songs, where Cohen fuses romantic yearning with spiritual overtones. His lyrics, always precise, evoke intimate moments that feel both deeply personal and universal. “So Long, Marianne” offers a similar balance, with its reflective yet warm farewell to a past lover, capturing Cohen’s gift for turning life’s farewells into something poetic.
It’s impossible to talk about Cohen without mentioning “Hallelujah,” a song that has been interpreted countless times, but it’s his original version that remains a complex exploration of faith and doubt. While it may have been covered to the point of ubiquity, Cohen’s rendition holds a quiet intensity, never overselling the emotion, but allowing the listener to find their own place within the song’s deeply human contradictions.
Cohen was often as much a philosopher as he was a songwriter, and “You Want It Darker,” from his final album, stands as a testament to this. The song, released shortly before his death, feels like a stark and meditative final statement, confronting mortality head-on without flinching. Yet, Cohen never fully wallows in despair—songs like “Dance Me to the End of Love” and “Tower of Song” remind us of his wit and the subtle humor that often appeared in his work, even when tackling life’s heavier topics.
Beyond his introspective ballads, Cohen ventured into political commentary, as seen in “The Future” and “Democracy.” These songs, though written decades ago, feel eerily prescient today, as Cohen critiques societal decay with the same sharpness he uses to dissect personal relationships. “First We Take Manhattan” mixes defiance with a sense of foreboding, and “Everybody Knows” similarly casts a cynical eye on the world’s broken promises.
Even in his later years, Cohen’s voice—both literally and metaphorically—grew deeper and richer. Songs like “Going Home” and “Happens to the Heart” reflect a man nearing the end of his journey, but still curious, still searching. He never stopped asking the big questions, and in the process, Cohen gave his audience not just songs, but reflections on what it means to be alive, to love, to suffer, and ultimately, to accept it all.