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70's, 80's 'Feel Good' Music
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"On the Wings of Love" is a 1982 song by Jeffrey Osborne and Peter Schless, the second of three single releases from Osborne's self-titled debut album.
"On the Wings of Love" peaked at #29 on the U.S. Billboard Hot 100, #13 R&B, and #7 Adult Contemporary. It did well in the UK, where it reached #11. It also hit #1 on the Canadian Adult Contemporary chart.
In the UK, the song became the greatest hit of his career. In the U.S., it was his biggest hit since the L.T.D. song "Back in Love Again", on which he was the lead singer.
"On the Wings of Love" peaked at #29 on the U.S. Billboard Hot 100, #13 R&B, and #7 Adult Contemporary. It did well in the UK, where it reached #11. It also hit #1 on the Canadian Adult Contemporary chart.
In the UK, the song became the greatest hit of his career. In the U.S., it was his biggest hit since the L.T.D. song "Back in Love Again", on which he was the lead singer.
Jeffrey Osbourne - "On The Wings Of Love
"She Drives Me Crazy" is a song released in 1988 by English group Fine Young Cannibals, and included on their 1989 album The Raw & the Cooked. Peaking at No. 5 on the British singles chart in January 1989 (it was released on St.Stephen's Day, 1988), "She Drives Me Crazy" is the band's highest charting single in their native UK. The single proved an even bigger hit in the US, topping the Billboard Hot 100 on 15 April 1989 (for one week), and becoming the first of two chart-topping singles for the band on this chart. "She Drives Me Crazy" also reached No.1 on the US Billboard Hot Dance Music/Club Play Singles chart, as well as in countries including Australia, Austria, Canada, New Zealand and Spain. It reached the top 3 on several European charts including Belgium, Germany, Iceland, Ireland and Switzerland.
In 2018, Time Out magazine listed "She Drives Me Crazy" at No. 28 in their countdown of The 50 best '80s songs.
In 2018, Time Out magazine listed "She Drives Me Crazy" at No. 28 in their countdown of The 50 best '80s songs.
Fine Young Cannibals - She Drives Me Crazy
"Easy" is a song by Commodores for the Motown label, from their fifth studio album, Commodores. Group member Lionel Richie wrote "Easy" with the intention of it becoming another crossover hit for the group given the success of a previous single, "Just to Be Close to You", which spent two weeks at number one on the US Billboard Hot Soul Singles chart (now known as the Hot R&B/Hip-Hop Songs chart) and peaked at number seven on the Billboard Hot 100 in 1976.
Released in March 1977, "Easy" reached number one on the Billboard Hot Soul Singles chart and number four on the Billboard Hot 100. The success of "Easy" paved the way for similar Lionel Richie-composed hit ballads such as "Three Times a Lady" and "Still", and also for Richie's later solo hits.
American rock band Faith No More covered the song in 1992 and released it as a single in December of that year. This version became a worldwide hit, reaching number one in Australia and becoming a top-ten hit in eight other countries. It was less successful than the original version on the Billboard Hot 100, peaking at number 58.
Written by Commodores lead singer Lionel Richie, the song is a slow ballad expressing a man's feelings as a relationship ends. Rather than being depressed about the break-up, he states that he is instead "easy like Sunday morning"—something that Richie described as evocative of "small Southern towns that die at 11:30pm" on a Saturday night, such as his own Tuskegee, Alabama. The song is noted for its feedback noise, heard in the Bridge section, as well as an electric guitar solo. The song goes up half a step from A-Flat to A which repeats the refrain as the song fades out.
The re-recorded version is on Lionel Richie's album Tuskegee which features country legend Willie Nelson.
Released in March 1977, "Easy" reached number one on the Billboard Hot Soul Singles chart and number four on the Billboard Hot 100. The success of "Easy" paved the way for similar Lionel Richie-composed hit ballads such as "Three Times a Lady" and "Still", and also for Richie's later solo hits.
American rock band Faith No More covered the song in 1992 and released it as a single in December of that year. This version became a worldwide hit, reaching number one in Australia and becoming a top-ten hit in eight other countries. It was less successful than the original version on the Billboard Hot 100, peaking at number 58.
Written by Commodores lead singer Lionel Richie, the song is a slow ballad expressing a man's feelings as a relationship ends. Rather than being depressed about the break-up, he states that he is instead "easy like Sunday morning"—something that Richie described as evocative of "small Southern towns that die at 11:30pm" on a Saturday night, such as his own Tuskegee, Alabama. The song is noted for its feedback noise, heard in the Bridge section, as well as an electric guitar solo. The song goes up half a step from A-Flat to A which repeats the refrain as the song fades out.
The re-recorded version is on Lionel Richie's album Tuskegee which features country legend Willie Nelson.
The Commodores - Easy 1977
Peaches & Herb are an American vocalist duo. Herb Fame (born October 1, 1942) has remained a constant as "Herb" since the duo was created in 1966; seven different women have filled the role of "Peaches", most notably Francine "Peaches" Hurd Barker (April 28, 1947 – August 13, 2005), the original "Peaches" who lent her nickname to the duo, and Linda Greene, the third "Peaches", who appeared on the duo's biggest hits "Shake Your Groove Thing" (1978) and "Reunited" (1979).
Peaches & Herb lay dormant until Fame decided to re-enter the music business in 1976. In his search for a new "Peaches", Herb again enlisted the assistance of Van McCoy, who suggested that Linda Greene would be suitable for the position. Fame met Greene and concurred, thereby leading to formation of the most successful of the "Peaches & Herb" incarnations to date. Linda's early musical training (while growing up in Washington, D.C.) was at The Sewell Music Conservatory.
Fame and Greene recorded seven albums altogether, including one album released only in Argentina. Their first album, Peaches & Herb, was recorded for MCA Records and produced by Van McCoy, but it generated only one charted hit, "We're Still Together". Peaches & Herb signed with MVP/Polydor and under the management of Paul J. Cohn, released 2 Hot, which went gold. The album's first single, "Shake Your Groove Thing", went gold and peaked at #5 on the Billboard Hot 100 in March 1979. The follow-up single, viewed as the album's "secret weapon" by producer/songwriter Freddie Perren, was the triple platinum hit "Reunited". This song, evoking the 1960s Peaches & Herb hit "United" (originally recorded and made a hit by The Intruders), reached #1 on both the Hot 100, the Billboard R&B chart, and in Canada. "Reunited" was nominated for a Grammy Award for Song of the Year in 1980. Subsequent releases with Polydor produced several more hits, including the lasting wedding staple, "I Pledge My Love". After changing labels again to the Entertainment Company, Fame and Greene released their seventh album in 1983. Scoring only one minor hit, Greene and Fame decided to make no more albums and retired their partnership. Once again, Fame returned to law enforcement and joined the U.S. Marshals Service in 1986 as a deputized court security officer at the U.S. Court of Appeals for Veterans Claims. Greene returned to her family and, together with her husband Stephen Tavani, went on to release three gospel albums and start the charity WOW (Winning Our World). Formerly Greene, Linda now goes by Linda Peaches Tavani, and anticipates a solo album release in the coming years.
Peaches & Herb lay dormant until Fame decided to re-enter the music business in 1976. In his search for a new "Peaches", Herb again enlisted the assistance of Van McCoy, who suggested that Linda Greene would be suitable for the position. Fame met Greene and concurred, thereby leading to formation of the most successful of the "Peaches & Herb" incarnations to date. Linda's early musical training (while growing up in Washington, D.C.) was at The Sewell Music Conservatory.
Fame and Greene recorded seven albums altogether, including one album released only in Argentina. Their first album, Peaches & Herb, was recorded for MCA Records and produced by Van McCoy, but it generated only one charted hit, "We're Still Together". Peaches & Herb signed with MVP/Polydor and under the management of Paul J. Cohn, released 2 Hot, which went gold. The album's first single, "Shake Your Groove Thing", went gold and peaked at #5 on the Billboard Hot 100 in March 1979. The follow-up single, viewed as the album's "secret weapon" by producer/songwriter Freddie Perren, was the triple platinum hit "Reunited". This song, evoking the 1960s Peaches & Herb hit "United" (originally recorded and made a hit by The Intruders), reached #1 on both the Hot 100, the Billboard R&B chart, and in Canada. "Reunited" was nominated for a Grammy Award for Song of the Year in 1980. Subsequent releases with Polydor produced several more hits, including the lasting wedding staple, "I Pledge My Love". After changing labels again to the Entertainment Company, Fame and Greene released their seventh album in 1983. Scoring only one minor hit, Greene and Fame decided to make no more albums and retired their partnership. Once again, Fame returned to law enforcement and joined the U.S. Marshals Service in 1986 as a deputized court security officer at the U.S. Court of Appeals for Veterans Claims. Greene returned to her family and, together with her husband Stephen Tavani, went on to release three gospel albums and start the charity WOW (Winning Our World). Formerly Greene, Linda now goes by Linda Peaches Tavani, and anticipates a solo album release in the coming years.
Howzabout some love - Peaches & Herb
Shake Your Groove Thing
Shake Your Groove Thing
"Wordy Rappinghood" is a song by American new wave band Tom Tom Club. The song was the lead single from the band's debut studio album, Tom Tom Club. It uses part of a traditional Moroccan children's song and game, "A Ram Sam Sam", made popular by the 1971 Rolf Harris recording. In the United States, the song topped the Billboard Disco Top 80 chart along with "Genius of Love".
The song opens with the sound of a typewriter and features jarring synthesizer chords and a distinctive drum break. The words of the fifth verse are spoken in French: "Mots pressés, mots sensés, mots qui disent la vérité, mots maudits, mots mentis, mots qui manquent le fruit d'esprit" which translate as: "hurried words, sensible words, words that tell the truth, cursed words, lying words, words that lack the fruit of the mind."
Tina Weymouth and Chris Frantz of Tom Tom Club had bought a house in Nassau, Bahamas, next door to Chris Blackwell, owner of Island Records, and it was Blackwell who arranged the recording in his Compass Point Studios. Frantz and Weymouth brought in Steven Stanley, a 21-year-old keyboard player who had been the sound engineer on Ian Dury's album Lord Upminster, and bass player Monte Browne, a former member of T-Connection.
The song opens with the sound of a typewriter and features jarring synthesizer chords and a distinctive drum break. The words of the fifth verse are spoken in French: "Mots pressés, mots sensés, mots qui disent la vérité, mots maudits, mots mentis, mots qui manquent le fruit d'esprit" which translate as: "hurried words, sensible words, words that tell the truth, cursed words, lying words, words that lack the fruit of the mind."
Tina Weymouth and Chris Frantz of Tom Tom Club had bought a house in Nassau, Bahamas, next door to Chris Blackwell, owner of Island Records, and it was Blackwell who arranged the recording in his Compass Point Studios. Frantz and Weymouth brought in Steven Stanley, a 21-year-old keyboard player who had been the sound engineer on Ian Dury's album Lord Upminster, and bass player Monte Browne, a former member of T-Connection.
Tom Tom Club -- Wordy Rappinghood
Genius of Love
Genius of Love
"Let It Whip" is a 1982 single by the Dazz Band and their biggest hit, peaking at number one on the R&B chart for five non-consecutive weeks. The single also reached number two on the Dance chart and number five on the Billboard Hot 100 chart. The song won the Grammy Award for Best R&B Performance by a Duo or Group with Co-written by producers Reggie Andrews and Leon "Ndugu" Chancler, performed by the Dazz Band, "Let It Whip" features a percolating drum machine rhythm underneath live drums, and a Minimoog bassline, underneath an electric bass guitar. Vocals in 1983.
Dazz Band - Let It Whip
"Heat of the Moment" is the first single released by English progressive rock supergroup Asia from their 1982 eponymous debut album. It reached #4 in both the Canadian Singles chart and on the Billboard Hot 100 chart. It was written by singer and bass guitarist John Wetton and keyboardist Geoff Downes.
The single climbed to the top position on the U.S. Billboard Mainstream Rock chart, achieving six non-consecutive weeks at #1 in the spring and summer of 1982. It was named by Lee Zimmerman of Paste as Asia's signature song.
The single climbed to the top position on the U.S. Billboard Mainstream Rock chart, achieving six non-consecutive weeks at #1 in the spring and summer of 1982. It was named by Lee Zimmerman of Paste as Asia's signature song.
Asia - Heat At The Moment
"Lady" is a 1978 song written by Graeham Goble, and performed by Australian rock music group Little River Band. It was the second single release from their Sleeper Catcher album. The song was their second Top 10 hit in the U.S., peaking at #10 on the Billboard Hot 100 chart in March 1979 and #7 on the Easy Listening chart.
Little River Band - Lady
"Heartbreaker" is a single by American pop and soul singer Dionne Warwick from her album Heartbreaker (1982). The song was written by Barry, Robin and Maurice Gibb of the Bee Gees, with Barry Gibb's backing vocal being heard on the chorus.
Warwick admitted in The Billboard Book of Number One Adult Contemporary Hits by Wesley Hyatt that she was not fond of "Heartbreaker" (regarding the song's international popularity, she quipped, "I cried all the way to the bank"), but recorded it because she trusted the Bee Gees' judgment that it would be a hit. It turned out to be Warwick's most successful solo hit of the 1980s. The Bee Gees recorded a version, with Barry Gibb on lead vocals, which was featured on the album Their Greatest Hits: The Record, as well as their Love Songs album.
Maurice Gibb, who co-wrote the song, commented, "I cried my eyes out after we wrote it. I drove home and thought, 'We should be doing this one', and when she did it, it was brilliant. We sang on it, and it still became like a duet between the Bee Gees and Dionne Warwick"
The song reached the top of charts around the world and stands as one of Warwick's biggest career hits, selling an estimated 4 million copies worldwide. It made the Top 10 on the US Billboard Hot 100 chart in January 1983. The track was Warwick's eighth #1 Adult Contemporary hit and reached #14 on the Soul chart. In the UK Singles Chart, the track reached #2 for two weeks in November 1982.
It was ranked as Billboard magazine's 80th-biggest US hit of 1983.
I got to say it and it's hard for me
You got me crying like I thought I would never be
Love is believing but you let me down
How can I love you when you ain't around
And I
Get to the morning and you never call
Love should be everything or not at all
And it don't matter whatever you do
I made a life out of loving you
Only to find any dream that I follow is dying
I'm crying in the rain
I could be searching my world for a love everlasting
Feeling no pain
When will we meet again
Why do you have to be a heartbreaker
Is it a lesson that I never knew?
Gotta get out of the spell that I'm under
My love for you
Why do you have to be a heartbreaker
When I was being what you want me to be?
Suddenly everything I ever wanted has passed me by
This world may end
Not you and I
My love is stronger than the universe
My soul is crying for you
And that cannot be reversed
You made the rules and you could not see
You made a life out of hurting me
Out of my mind
I am held by the power of you love
Tell me when do we try
Or should we say goodbye?
Why do you have to be a heartbreaker
When I was being what you want me to be?
Suddenly everything I ever wanted has passed me by
Oh
Why do you have to be a heartbreaker
Is it a lesson that I never knew?
Suddenly everything I ever wanted
My love for you, ooh
Why do you have to be a heartbreaker
Warwick admitted in The Billboard Book of Number One Adult Contemporary Hits by Wesley Hyatt that she was not fond of "Heartbreaker" (regarding the song's international popularity, she quipped, "I cried all the way to the bank"), but recorded it because she trusted the Bee Gees' judgment that it would be a hit. It turned out to be Warwick's most successful solo hit of the 1980s. The Bee Gees recorded a version, with Barry Gibb on lead vocals, which was featured on the album Their Greatest Hits: The Record, as well as their Love Songs album.
Maurice Gibb, who co-wrote the song, commented, "I cried my eyes out after we wrote it. I drove home and thought, 'We should be doing this one', and when she did it, it was brilliant. We sang on it, and it still became like a duet between the Bee Gees and Dionne Warwick"
The song reached the top of charts around the world and stands as one of Warwick's biggest career hits, selling an estimated 4 million copies worldwide. It made the Top 10 on the US Billboard Hot 100 chart in January 1983. The track was Warwick's eighth #1 Adult Contemporary hit and reached #14 on the Soul chart. In the UK Singles Chart, the track reached #2 for two weeks in November 1982.
It was ranked as Billboard magazine's 80th-biggest US hit of 1983.
Dionne Warwick - Heartbreaker
I got to say it and it's hard for me
You got me crying like I thought I would never be
Love is believing but you let me down
How can I love you when you ain't around
And I
Get to the morning and you never call
Love should be everything or not at all
And it don't matter whatever you do
I made a life out of loving you
Only to find any dream that I follow is dying
I'm crying in the rain
I could be searching my world for a love everlasting
Feeling no pain
When will we meet again
Why do you have to be a heartbreaker
Is it a lesson that I never knew?
Gotta get out of the spell that I'm under
My love for you
Why do you have to be a heartbreaker
When I was being what you want me to be?
Suddenly everything I ever wanted has passed me by
This world may end
Not you and I
My love is stronger than the universe
My soul is crying for you
And that cannot be reversed
You made the rules and you could not see
You made a life out of hurting me
Out of my mind
I am held by the power of you love
Tell me when do we try
Or should we say goodbye?
Why do you have to be a heartbreaker
When I was being what you want me to be?
Suddenly everything I ever wanted has passed me by
Oh
Why do you have to be a heartbreaker
Is it a lesson that I never knew?
Suddenly everything I ever wanted
My love for you, ooh
Why do you have to be a heartbreaker
"When I Think of You" is a song written by James Williams and performed by Leif Garrett. It reached #11 on the US adult contemporary chart and #78 on the Billboard Hot 100 in 1979. The song was featured on his 1978 album, Feel the Need.
Leif Garrett (born Leif Per Nervik; November 8, 1961) is an American singer, actor, and television personality. He worked as a child actor, then in the 1970s became famous as a teen idol in music. He later received much publicity for his drug abuse and legal troubles.
Garrett admitted that he started using drugs when he was 14. On November 3, 1979, five days before his 18th birthday, he crashed a Porsche 914 that was being leased to his mother after a midnight party while he was driving to buy more cocaine. His blood alcohol level was three times over today's legal limit, and he was high on quaaludes. The accident left his passenger and best friend, Roland Winkler, a paraplegic. Neither Garrett nor Winkler was wearing a seatbelt. Garrett was later tried as a juvenile on drunk-driving charges; his driver's license was suspended for a year and he was placed on a year's probation. Winkler sued in January 1980, claiming Garrett was at fault in the accident.
In December 1984, Los Angeles Superior Court ordered Garrett's insurers, Transamerica Insurance Co., to pay $3.9 million to Winkler. Jurors assessed total damages in the civil negligence case at $4,215,500, but subtracted 8% of that amount, or $337,240, on the grounds that Winkler contributed to his own injuries by agreeing to ride in a car with a driver who he knew was drunk. Both Garrett and Winkler admitted in court that they were drunk and had taken depressant drugs; the court heard they had each taken equal amounts of alcohol and drugs that night. The panel ordered Garrett to pay $15,000 in punitive damages, which was not diminished by Winkler's partial responsibility. Winkler's attorney, Edward Steinbrecher, attributed the relatively small punitive damage award to Garrett's testimony that his net worth was only $50,000 to $100,000. In 1987 Winkler settled for $6 million with the Premier Insurance Co., which had insured the firm leasing the Porsche to Garrett's mother. Garrett and Winkler were reunited in 1999 for an episode of Behind the Music, where Garrett was relieved to learn that Winkler had no ill feelings towards him and even said that Garrett's actions following the accident had actually saved his life. The two remained in contact until Winkler's death in 2017.
Garrett was arrested for possession of cocaine in 1997.
On June 29, 1999, Los Angeles police arrested Garrett in the MacArthur Park area after he allegedly tried to buy heroin and cocaine from undercover officers. In March 2001, a Los Angeles judge issued a warrant for his arrest when he failed to attend court for a progress report required by his 1999 conviction. Two days later, the judge lifted the warrant and dropped the 1999 charges after Garrett submitted evidence that he had completed a rehab program.
He was arrested for possession of cocaine in 2004. He pleaded guilty in March 2005 to attempted possession of cocaine-based narcotics and was placed on probation. When he failed to appear in court in December 2005 for a status report, a warrant was issued for his arrest. On January 14, 2006, when Garrett was arrested on a Los Angeles Metro Rail platform for not having a ticket, police found heroin in his possession. Because of the outstanding warrant for violating probation in a cocaine-related arrest, he was held without bail. He agreed to join a strict drug-diversion program, and his release from jail was ordered. He dropped out of the rehabilitation program and was taken into custody again on March 30 after a Superior Court commissioner determined he failed several drug tests while staying in a live-in drug diversion program. Garrett acknowledged he needed more help. On May 11, after failing to complete court-ordered drug rehabilitation, he was sentenced to 90 days in jail and three years' probation. He was given credit for the jail time he had already served since March 30.
On February 1, 2010, Garrett was arrested again for possession of narcotics. After denying having any drugs in his possession, he finally admitted to police that he had black tar heroin in his shoe. He posted $10,000 bail and was charged with a felony count of heroin possession. On October 18, 2010, Garrett pleaded no contest to heroin possession in Los Angeles and entered a court-ordered rehabilitation program.
Leif Garrett (born Leif Per Nervik; November 8, 1961) is an American singer, actor, and television personality. He worked as a child actor, then in the 1970s became famous as a teen idol in music. He later received much publicity for his drug abuse and legal troubles.
Garrett admitted that he started using drugs when he was 14. On November 3, 1979, five days before his 18th birthday, he crashed a Porsche 914 that was being leased to his mother after a midnight party while he was driving to buy more cocaine. His blood alcohol level was three times over today's legal limit, and he was high on quaaludes. The accident left his passenger and best friend, Roland Winkler, a paraplegic. Neither Garrett nor Winkler was wearing a seatbelt. Garrett was later tried as a juvenile on drunk-driving charges; his driver's license was suspended for a year and he was placed on a year's probation. Winkler sued in January 1980, claiming Garrett was at fault in the accident.
In December 1984, Los Angeles Superior Court ordered Garrett's insurers, Transamerica Insurance Co., to pay $3.9 million to Winkler. Jurors assessed total damages in the civil negligence case at $4,215,500, but subtracted 8% of that amount, or $337,240, on the grounds that Winkler contributed to his own injuries by agreeing to ride in a car with a driver who he knew was drunk. Both Garrett and Winkler admitted in court that they were drunk and had taken depressant drugs; the court heard they had each taken equal amounts of alcohol and drugs that night. The panel ordered Garrett to pay $15,000 in punitive damages, which was not diminished by Winkler's partial responsibility. Winkler's attorney, Edward Steinbrecher, attributed the relatively small punitive damage award to Garrett's testimony that his net worth was only $50,000 to $100,000. In 1987 Winkler settled for $6 million with the Premier Insurance Co., which had insured the firm leasing the Porsche to Garrett's mother. Garrett and Winkler were reunited in 1999 for an episode of Behind the Music, where Garrett was relieved to learn that Winkler had no ill feelings towards him and even said that Garrett's actions following the accident had actually saved his life. The two remained in contact until Winkler's death in 2017.
Garrett was arrested for possession of cocaine in 1997.
On June 29, 1999, Los Angeles police arrested Garrett in the MacArthur Park area after he allegedly tried to buy heroin and cocaine from undercover officers. In March 2001, a Los Angeles judge issued a warrant for his arrest when he failed to attend court for a progress report required by his 1999 conviction. Two days later, the judge lifted the warrant and dropped the 1999 charges after Garrett submitted evidence that he had completed a rehab program.
He was arrested for possession of cocaine in 2004. He pleaded guilty in March 2005 to attempted possession of cocaine-based narcotics and was placed on probation. When he failed to appear in court in December 2005 for a status report, a warrant was issued for his arrest. On January 14, 2006, when Garrett was arrested on a Los Angeles Metro Rail platform for not having a ticket, police found heroin in his possession. Because of the outstanding warrant for violating probation in a cocaine-related arrest, he was held without bail. He agreed to join a strict drug-diversion program, and his release from jail was ordered. He dropped out of the rehabilitation program and was taken into custody again on March 30 after a Superior Court commissioner determined he failed several drug tests while staying in a live-in drug diversion program. Garrett acknowledged he needed more help. On May 11, after failing to complete court-ordered drug rehabilitation, he was sentenced to 90 days in jail and three years' probation. He was given credit for the jail time he had already served since March 30.
On February 1, 2010, Garrett was arrested again for possession of narcotics. After denying having any drugs in his possession, he finally admitted to police that he had black tar heroin in his shoe. He posted $10,000 bail and was charged with a felony count of heroin possession. On October 18, 2010, Garrett pleaded no contest to heroin possession in Los Angeles and entered a court-ordered rehabilitation program.
Leif Garrett - When I think of you
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"Voyage, voyage" (French pronunciation: [vwa.jaʒ vwa.jaʒ]) is a song by French singer Desireless, released as the first single from her debut studio album, François (1989). It was written by Jean-Michel Rivat and Dominique Dubois, and produced by the former. Despite being sung entirely in French, the song circumvented the language barrier on the music charts and became a huge international success between 1986 and 1988, reaching the top position in more than 10 countries across Europe.
Since "Voyage, voyage" is sung exclusively in French, its chart success came as a surprise as it managed the rare feat of becoming a success in several nations usually closed to Francophone songs and artists, such as the United Kingdom and Ireland. In West Germany, the song topped the chart, and has the longest chart trajectory of 1987 in the top 20. It also reached number one in Austria, Norway and Spain. The song missed the top spot in France, peaking at number two for four weeks, behind Elsa Lunghini's "T'en va pas".
The song initially reached number 53 on the UK Singles Chart in November 1987. After being remixed by Pete Hammond and Pete Waterman of PWL, the song was re-released in the United Kingdom in the spring of 1988, and climbed to number five in June of that year. The song's success continued in Ireland, where it reached number four twice, the original version in November 1987 followed by the PWL remix in June 1988.
The music video for "Voyage, voyage" was directed by Bettina Rheims, and premiered in France in December 1986.
Since "Voyage, voyage" is sung exclusively in French, its chart success came as a surprise as it managed the rare feat of becoming a success in several nations usually closed to Francophone songs and artists, such as the United Kingdom and Ireland. In West Germany, the song topped the chart, and has the longest chart trajectory of 1987 in the top 20. It also reached number one in Austria, Norway and Spain. The song missed the top spot in France, peaking at number two for four weeks, behind Elsa Lunghini's "T'en va pas".
The song initially reached number 53 on the UK Singles Chart in November 1987. After being remixed by Pete Hammond and Pete Waterman of PWL, the song was re-released in the United Kingdom in the spring of 1988, and climbed to number five in June of that year. The song's success continued in Ireland, where it reached number four twice, the original version in November 1987 followed by the PWL remix in June 1988.
The music video for "Voyage, voyage" was directed by Bettina Rheims, and premiered in France in December 1986.
Desireless - Voyage Voyage
La Bamba is a 1987 American biographical film written and directed by Luis Valdez that follows the life and career of Chicano rock 'n' roll star Ritchie Valens. The film stars Lou Diamond Phillips as Valens, Esai Morales, Rosanna DeSoto, Elizabeth Peña, Danielle von Zerneck, and Joe Pantoliano. The film depicts the impact Valens's career had on the lives of his half-brother Bob Morales, his girlfriend Donna Ludwig and the rest of his family.
In 2017, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant"
Richard Steven Valenzuela is a normal teenage boy who becomes a rock 'n' roll superstar under the stage name Ritchie Valens. He meets and falls in love with high school classmate Donna Ludwig, for whom he writes a song that becomes a number two hit, ("Donna"). However, Donna's father has issues with his daughter dating a Mexican-American, which causes friction between Ritchie and Donna. Ritchie's relationship with his mother Connie and half-brother Bob Morales, and the jealousy Bob feels toward Ritchie's success, are also depicted.
Bob wins an important art contest that helps promising cartoonists, only to throw away his prize because, in his mind, his mother does not care enough. Bob resorts to drinking heavily and, at one point, yells in a drunken rage in front of his mother's door, "I want to see my daughter!" in reference to the child he sired with Ritchie's first girlfriend Rosie. However, when they get an opportunity, Ritchie and Bob sneak out for a good time. On one occasion, they take a road trip to Tijuana, visiting one of the local clubs where Ritchie discovers what will become his signature song, "La Bamba".
Ritchie has a fear of flying, triggered by a recurring dream resulting from a midair collision between two planes over Ritchie's school which killed his best friend. Ritchie initially manages to avoid flying to his concerts and appearances, but has to conquer his fear when invited to perform "Donna" on American Bandstand. Ritchie's record producer and manager, Bob Keane, helps him by giving him a little vodka to calm his nerves during the flight to Philadelphia.
As Ritchie becomes more famous, his responsibilities change, and he eventually joins the ill-fated Winter Dance Party tour with Buddy Holly and "The Big Bopper" after "La Bamba" and "Donna" reach the top of the Billboard charts. Ritchie, Holly, and Bopper take off in an airplane during a snowstorm for their fateful flight on February 3, 1959. Before the flight, Ritchie makes a call to his brother, wherein they patch up their differences. He even invites Bob to fly out to Chicago to join the tour for family support.
The next day, while Bob is fixing his mother's car, he hears the news bulletin on the radio that his brother's plane crashed without any survivors. Bob darts out of his driveway in an attempt to get to his mother before she hears the news, only to find her standing immobile. The news of Ritchie's death hits the Valenzuela family, Bob, Rosie, and Donna very hard. After Ritchie's funeral at San Fernando Mission Cemetery, Bob walks across a bridge and screams out Ritchie's name, remembering the good times they had together, accompanied by the Santo & Johnny instrumental "Sleep Walk".
During the end credits, Lou Diamond Phillips, as Ritchie, is shown in footage from an earlier scene performing Valens's version of "La Bamba".
Because the movie is a celebration of 1950s rock and roller Ritchie Valens, his music and the music of his contemporaries play a central part in the film.
An original motion picture soundtrack album was released on June 30, 1987 on Warner Bros. Records. The album contained 12 tracks. The first six songs consist of Los Lobos covers of Ritchie Valens's songs: "La Bamba", "Come On Let's Go", "Ooh My Head", "We Belong Together", "Framed", and "Donna".
Other performers include: Howard Huntsberry, Marshall Crenshaw, Brian Setzer, and Bo Diddley performing a new version of his blues classic "Who Do You Love?".
Some songs like The Big Bopper's "Chantilly Lace" were omitted from the release. Other omitted songs were "Oh Boy", "Rip It Up", "The Paddi Wack Song" (written by Valens), and "Sleep Walk" by Santo & Johnny (used in the final and initial scenes).
La Bamba was filmed almost entirely on location in Los Angeles, California. Portions were also filmed in Fillmore, California. Director Luis Valdez and the film's location manager, Richard Davis, wanted to include as many spaces from the San Fernando Valley as possible where Ritchie Valens and his family lived. In an interview with Richard Davis, he describes Luis Valdez wanting "as many places that were actually in the story" to be included in the film so as to preserve the location's historical significance." For example, the film's opening sequence is filmed at Pacoima Junior High School where Ritchie Valens attended with his best friend. The sequence is a dramatization of the events on January 31, 1957, when two airplanes collided over Pacoima and the falling debris killed three students at Pacoima Junior High School, including Ritchie Valens's best friend. The death of his friend would influence Ritchie Valens's fear of flying in airplanes. Towards the end of the film, shots of the funeral procession pulling into the cemetery was filmed at the San Fernando Mission Cemetery at 1160 Stranwood Ave in Mission Hills, the real resting place of Ritchie Valens. Louis Valdez insisted on filming at Valens's final resting place, although Richard Davis stated the cemetery wasn't a very scenic place to shoot. The crew also ran into obstacles with the Catholic Church who was opposed to filming on location.
La Bamba was one of several films to be released during the "Hispanic Hollywood" period in the American film industry in the late 1980s, alongside films like Stand and Deliver, Born in East L.A. and The Milagro Beanfield War, which are films made by Hispanic filmmakers containing Hispanic themes. These films were made in part of Hollywood's attempt to target a highly profitable Spanish-speaking film audience after the notable box-office success of La Bamba. After the film's release, Victor Valle from The New York Times predicted that La Bamba "may have marked a turning point in the marketing of mainstream films to the Latino community."
Director Luis Valdez was an active member of the Chicano movement who served as one of the four authors of the Plan Espiritual de Atzlán, a Chicano ideology manifesto. He also contributed to the Chicano movement by creating the El Teatro Campesino (The Farm Worker's Theatre) in 1965. Valdez's involvement in the Chicano movement and his study of Chicano nationalism are present in La Bamba. The opening dream sequence that foreshadows Ritchie Valens's death at the end of the film, for example, signifies Louis Valdez's study of neo-Mayan and Aztec philosophy and the Chicano folk practice of psychic readings of the future.
La Bamba also reveals themes related to Chicano cultural nationalism and their identification with Mexican history and the transformation of Mexican culture. For example, when Ritchie Valens travels across the border to Tijuana and first hears "La Bamba," he becomes inspired by the Mexican folk song and adapts it into a rock n roll version upon his return to California.
La Bamba appealed to Chicano activist audiences, as it was one of the first commercially successful films to feature a Chicano activist as the main protagonist. Prior to La Bamba, audiences had mostly experienced stereotypical representations of male, Mexican gangsters. The film also experienced complaints about the Filipino actor Lou Diamond Phillips playing the role of real life Chicano, to which Luis Valdez responded: "Why not? The Filipinos are the Hispanics of Asia, what’s the problem?"
In 2017, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant"
Richard Steven Valenzuela is a normal teenage boy who becomes a rock 'n' roll superstar under the stage name Ritchie Valens. He meets and falls in love with high school classmate Donna Ludwig, for whom he writes a song that becomes a number two hit, ("Donna"). However, Donna's father has issues with his daughter dating a Mexican-American, which causes friction between Ritchie and Donna. Ritchie's relationship with his mother Connie and half-brother Bob Morales, and the jealousy Bob feels toward Ritchie's success, are also depicted.
Bob wins an important art contest that helps promising cartoonists, only to throw away his prize because, in his mind, his mother does not care enough. Bob resorts to drinking heavily and, at one point, yells in a drunken rage in front of his mother's door, "I want to see my daughter!" in reference to the child he sired with Ritchie's first girlfriend Rosie. However, when they get an opportunity, Ritchie and Bob sneak out for a good time. On one occasion, they take a road trip to Tijuana, visiting one of the local clubs where Ritchie discovers what will become his signature song, "La Bamba".
Ritchie has a fear of flying, triggered by a recurring dream resulting from a midair collision between two planes over Ritchie's school which killed his best friend. Ritchie initially manages to avoid flying to his concerts and appearances, but has to conquer his fear when invited to perform "Donna" on American Bandstand. Ritchie's record producer and manager, Bob Keane, helps him by giving him a little vodka to calm his nerves during the flight to Philadelphia.
As Ritchie becomes more famous, his responsibilities change, and he eventually joins the ill-fated Winter Dance Party tour with Buddy Holly and "The Big Bopper" after "La Bamba" and "Donna" reach the top of the Billboard charts. Ritchie, Holly, and Bopper take off in an airplane during a snowstorm for their fateful flight on February 3, 1959. Before the flight, Ritchie makes a call to his brother, wherein they patch up their differences. He even invites Bob to fly out to Chicago to join the tour for family support.
The next day, while Bob is fixing his mother's car, he hears the news bulletin on the radio that his brother's plane crashed without any survivors. Bob darts out of his driveway in an attempt to get to his mother before she hears the news, only to find her standing immobile. The news of Ritchie's death hits the Valenzuela family, Bob, Rosie, and Donna very hard. After Ritchie's funeral at San Fernando Mission Cemetery, Bob walks across a bridge and screams out Ritchie's name, remembering the good times they had together, accompanied by the Santo & Johnny instrumental "Sleep Walk".
During the end credits, Lou Diamond Phillips, as Ritchie, is shown in footage from an earlier scene performing Valens's version of "La Bamba".
Because the movie is a celebration of 1950s rock and roller Ritchie Valens, his music and the music of his contemporaries play a central part in the film.
An original motion picture soundtrack album was released on June 30, 1987 on Warner Bros. Records. The album contained 12 tracks. The first six songs consist of Los Lobos covers of Ritchie Valens's songs: "La Bamba", "Come On Let's Go", "Ooh My Head", "We Belong Together", "Framed", and "Donna".
Other performers include: Howard Huntsberry, Marshall Crenshaw, Brian Setzer, and Bo Diddley performing a new version of his blues classic "Who Do You Love?".
Some songs like The Big Bopper's "Chantilly Lace" were omitted from the release. Other omitted songs were "Oh Boy", "Rip It Up", "The Paddi Wack Song" (written by Valens), and "Sleep Walk" by Santo & Johnny (used in the final and initial scenes).
La Bamba was filmed almost entirely on location in Los Angeles, California. Portions were also filmed in Fillmore, California. Director Luis Valdez and the film's location manager, Richard Davis, wanted to include as many spaces from the San Fernando Valley as possible where Ritchie Valens and his family lived. In an interview with Richard Davis, he describes Luis Valdez wanting "as many places that were actually in the story" to be included in the film so as to preserve the location's historical significance." For example, the film's opening sequence is filmed at Pacoima Junior High School where Ritchie Valens attended with his best friend. The sequence is a dramatization of the events on January 31, 1957, when two airplanes collided over Pacoima and the falling debris killed three students at Pacoima Junior High School, including Ritchie Valens's best friend. The death of his friend would influence Ritchie Valens's fear of flying in airplanes. Towards the end of the film, shots of the funeral procession pulling into the cemetery was filmed at the San Fernando Mission Cemetery at 1160 Stranwood Ave in Mission Hills, the real resting place of Ritchie Valens. Louis Valdez insisted on filming at Valens's final resting place, although Richard Davis stated the cemetery wasn't a very scenic place to shoot. The crew also ran into obstacles with the Catholic Church who was opposed to filming on location.
La Bamba was one of several films to be released during the "Hispanic Hollywood" period in the American film industry in the late 1980s, alongside films like Stand and Deliver, Born in East L.A. and The Milagro Beanfield War, which are films made by Hispanic filmmakers containing Hispanic themes. These films were made in part of Hollywood's attempt to target a highly profitable Spanish-speaking film audience after the notable box-office success of La Bamba. After the film's release, Victor Valle from The New York Times predicted that La Bamba "may have marked a turning point in the marketing of mainstream films to the Latino community."
Director Luis Valdez was an active member of the Chicano movement who served as one of the four authors of the Plan Espiritual de Atzlán, a Chicano ideology manifesto. He also contributed to the Chicano movement by creating the El Teatro Campesino (The Farm Worker's Theatre) in 1965. Valdez's involvement in the Chicano movement and his study of Chicano nationalism are present in La Bamba. The opening dream sequence that foreshadows Ritchie Valens's death at the end of the film, for example, signifies Louis Valdez's study of neo-Mayan and Aztec philosophy and the Chicano folk practice of psychic readings of the future.
La Bamba also reveals themes related to Chicano cultural nationalism and their identification with Mexican history and the transformation of Mexican culture. For example, when Ritchie Valens travels across the border to Tijuana and first hears "La Bamba," he becomes inspired by the Mexican folk song and adapts it into a rock n roll version upon his return to California.
La Bamba appealed to Chicano activist audiences, as it was one of the first commercially successful films to feature a Chicano activist as the main protagonist. Prior to La Bamba, audiences had mostly experienced stereotypical representations of male, Mexican gangsters. The film also experienced complaints about the Filipino actor Lou Diamond Phillips playing the role of real life Chicano, to which Luis Valdez responded: "Why not? The Filipinos are the Hispanics of Asia, what’s the problem?"
Los Lobos - La Bamba
"Believe" is a song recorded by American singer Cher for her twenty-second album, Believe (1998), released by Warner Bros. Records. It was released as the lead single from the album on October 19, 1998. It was written by Brian Higgins, Stuart McLennen, Paul Barry, Steven Torch, Matthew Gray and Timothy Powell, with Cher also contributing, and was produced by Mark Taylor and Brian Rawling.
"Believe" departed from Cher's pop rock style of the time for an upbeat dance-pop style. It featured a pioneering use of the audio processing software Auto-Tune to create a deliberate vocal distortion, which became known as the "Cher effect". The lyrics describe empowerment and self-sufficiency after a painful breakup.
"Believe" reached number one in the United States, the United Kingdom, France, Germany, Australia, Canada, Ireland, Scotland, New Zealand, Spain, Italy, Greece, Norway, Sweden, Denmark, Belgium, Hungary, Switzerland, Poland and the Netherlands. It earned Cher a place in the Guinness Book of World Records as the oldest female solo artist to top the Billboard Hot 100 chart, and became the highest-selling single by a solo female artist in the United Kingdom. It is one of the bestselling singles, with sales of over 11 million copies worldwide. Reviewers praised its production and catchiness and named it one of Cher's most important releases. It was nominated for the Grammy Award for Record of the Year and won Best Dance Recording.
The music video, directed by Nigel Dick, has Cher performing in a nightclub. Cher has performed the song a number of times, including four of her concert tours, most recently the Here We Go Again Tour in 2018. It has been covered by a number of artists, and has been featured in several elements of popular culture. Scholars and academics noted the way in which Cher was able to re-invent herself and remain fresh and contemporary amidst the more teen pop-based music of the period. They also credited "Believe" for restoring Cher's popularity and cementing her position as a pop culture icon.
"Believe" departed from Cher's pop rock style of the time for an upbeat dance-pop style. It featured a pioneering use of the audio processing software Auto-Tune to create a deliberate vocal distortion, which became known as the "Cher effect". The lyrics describe empowerment and self-sufficiency after a painful breakup.
"Believe" reached number one in the United States, the United Kingdom, France, Germany, Australia, Canada, Ireland, Scotland, New Zealand, Spain, Italy, Greece, Norway, Sweden, Denmark, Belgium, Hungary, Switzerland, Poland and the Netherlands. It earned Cher a place in the Guinness Book of World Records as the oldest female solo artist to top the Billboard Hot 100 chart, and became the highest-selling single by a solo female artist in the United Kingdom. It is one of the bestselling singles, with sales of over 11 million copies worldwide. Reviewers praised its production and catchiness and named it one of Cher's most important releases. It was nominated for the Grammy Award for Record of the Year and won Best Dance Recording.
The music video, directed by Nigel Dick, has Cher performing in a nightclub. Cher has performed the song a number of times, including four of her concert tours, most recently the Here We Go Again Tour in 2018. It has been covered by a number of artists, and has been featured in several elements of popular culture. Scholars and academics noted the way in which Cher was able to re-invent herself and remain fresh and contemporary amidst the more teen pop-based music of the period. They also credited "Believe" for restoring Cher's popularity and cementing her position as a pop culture icon.
Cher - Believe
"Summer Breeze" is a song written and recorded by Seals and Crofts. Released in 1972, reached No. 6 on the Billboard Hot 100 chart in the US. In 2013, it was ranked No. 13 in Rolling Stone′s "Best Summer Songs of All Time"
Released on their 1972 Summer Breeze album, Seals and Crofts' original version reached No. 6 on the Billboard Pop Singles chart in the US that same year. Bruce Eder of AllMusic referred to it as "one of those relentlessly appealing 1970s harmony-rock anthems ... appropriately ubiquitous on the radio and in the memory"
Released on their 1972 Summer Breeze album, Seals and Crofts' original version reached No. 6 on the Billboard Pop Singles chart in the US that same year. Bruce Eder of AllMusic referred to it as "one of those relentlessly appealing 1970s harmony-rock anthems ... appropriately ubiquitous on the radio and in the memory"
Seals and Crofts - Summer Breeze
"Hasta Mañana" (Spanish for "Until tomorrow"), which originally was titled "Who's Gonna Love You?", is the fourth track on Swedish pop group ABBA's second studio album, Waterloo.
Initially fearing that "Waterloo" might be too risky to enter for the 1974 Eurovision Song Contest, the group considered performing the ballad "Hasta Mañana" instead, as they thought that it was more in style with previous Eurovision winners. Eventually, they decided on "Waterloo", primarily because it featured Agnetha Fältskog and Anni-Frid Lyngstad sharing lead vocals, whereas "Hasta Mañana" had Fältskog as the sole lead vocalist. ABBA believed that this would give the wrong impression of them to the world.
While the song was being recorded, they decided to give up on it at one point because none of them could sing it properly. Agnetha alone was in the studio and decided to play around with it. She felt if she could sing it in a Connie Francis style it would work — and it did.
In Australia, "Hasta Mañana" was later used as a B-side on the "So Long" single (which never charted). After being featured in the immensely popular The Best of ABBA TV Special, broadcast in March 1976, the song became a Top 20 hit in Australia and Top 10 hit in New Zealand.
It reached number 2 on the charts in South Africa, where it remains immensely popular to this day
Initially fearing that "Waterloo" might be too risky to enter for the 1974 Eurovision Song Contest, the group considered performing the ballad "Hasta Mañana" instead, as they thought that it was more in style with previous Eurovision winners. Eventually, they decided on "Waterloo", primarily because it featured Agnetha Fältskog and Anni-Frid Lyngstad sharing lead vocals, whereas "Hasta Mañana" had Fältskog as the sole lead vocalist. ABBA believed that this would give the wrong impression of them to the world.
While the song was being recorded, they decided to give up on it at one point because none of them could sing it properly. Agnetha alone was in the studio and decided to play around with it. She felt if she could sing it in a Connie Francis style it would work — and it did.
In Australia, "Hasta Mañana" was later used as a B-side on the "So Long" single (which never charted). After being featured in the immensely popular The Best of ABBA TV Special, broadcast in March 1976, the song became a Top 20 hit in Australia and Top 10 hit in New Zealand.
It reached number 2 on the charts in South Africa, where it remains immensely popular to this day
Abba - Hasta Mañana
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"I Love to Love (But My Baby Loves to Dance)" was a popular single by Tina Charles, from her debut album, I Love to Love; the song was composed by Jack Robinson and James Bolden. The track was an international success both upon its original 1976 release and also when - remixed by The DMC (Disco Mix Club) - it was reissued ten years later (the DMC version features the instrumental "Sunburn" by the Biddu Orchestra as its B-side)
harles had already been recording for seven years and had sung lead on the international hit "I'm on Fire" by 5000 Volts (1975), but her contribution was unacknowledged, with Luan Peters cited as vocalist in promotion for the group. It was through a mutual friend, singer Lee Vanderbilt, that Charles met record producer Biddu who encouraged her to record "I Love to Love (But My Baby Loves to Dance)", utilizing Manchester musicians Richie Close (keyboard), Clive Allen (guitar), Des Browne (bass) and Tom Daley (percussion) to create a signature hit sound for Charles. Reaching number 1 on the UK Singles Chart in March 1976 and topping the chart for three weeks, "I Love to Love..." was followed by seven more chart records for Charles; only her Top Ten entries "Dance Little Lady Dance" and "Doctor Love" reached the Top 20.
"I Love to Love..." afforded Charles an international hit, reaching #1 in Ireland, #2 in France, the Netherlands, Norway, Portugal and Sweden while in Austria, Germany and Spain the single peaked at respectively #20, #6 and #3. The track was also a hit in Australia (#6) and New Zealand (#7). In Canada "I Love to Love..." won the Juno for bestselling international single for the year 1976 having sold over 200,000 copies in the province of Quebec: due to receiving virtually no radio airplay in the rest of Canada "I Love to Love" rose no higher than #17 on the national chart.
The track reached #2 on the U.S. Disco Singles Chart.
The British television series River used this song at the start of the first episode and at the end of the last episode.
harles had already been recording for seven years and had sung lead on the international hit "I'm on Fire" by 5000 Volts (1975), but her contribution was unacknowledged, with Luan Peters cited as vocalist in promotion for the group. It was through a mutual friend, singer Lee Vanderbilt, that Charles met record producer Biddu who encouraged her to record "I Love to Love (But My Baby Loves to Dance)", utilizing Manchester musicians Richie Close (keyboard), Clive Allen (guitar), Des Browne (bass) and Tom Daley (percussion) to create a signature hit sound for Charles. Reaching number 1 on the UK Singles Chart in March 1976 and topping the chart for three weeks, "I Love to Love..." was followed by seven more chart records for Charles; only her Top Ten entries "Dance Little Lady Dance" and "Doctor Love" reached the Top 20.
"I Love to Love..." afforded Charles an international hit, reaching #1 in Ireland, #2 in France, the Netherlands, Norway, Portugal and Sweden while in Austria, Germany and Spain the single peaked at respectively #20, #6 and #3. The track was also a hit in Australia (#6) and New Zealand (#7). In Canada "I Love to Love..." won the Juno for bestselling international single for the year 1976 having sold over 200,000 copies in the province of Quebec: due to receiving virtually no radio airplay in the rest of Canada "I Love to Love" rose no higher than #17 on the national chart.
The track reached #2 on the U.S. Disco Singles Chart.
The British television series River used this song at the start of the first episode and at the end of the last episode.
Tina Charles - I Love To Love
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