Belinda Carlisle decided not to do any more pop songs until a song written by a friend of her son changed her mind. Released as a single in 2013.
I've always loved this, great lyrics from the prolific Graham Gouldman, superb harmonies and singing and jangly guitar!.... a perfect 60s pop song.
Her Wiki says that she was born in Paignton just a few miles from where I was born and raised in Teignmouth which incidentally where is Muse hail from, must be something in the scrumpy down there!
SA I messing around with the radio in my car a couple of nights ago and a Whitney Houston track came on. She is not my bag although I think she had a terrific voice. What caught my attention was the musicians behind her and the overall production values which masked the fact that there was not a lot going on musically. If you like, the 1980s are probably the apogee of pop whilst also sowing the seeds of it's ultimate demise. I can therefore understand your statement. In a nutshell, I think pop production methods really took off in the 1980s and producers relied on devices such as Linn drum programming to overcome the issues with pop musicians with limited technique taking too long to deliver the goods or the alternative of employing expensive studio musicians. Unfortunately, it tends to make sound a bit impersonal and artificial. As technology has progressed, it has opened the field to non-musicians to make pop music with the consequence that the production values have increased exponentially but the amount of "music2 that is really happening is diminishing. By the time people started using sampling in the 1990s, the writing was well and truly on the wall that originality had largely gone out of the window. The only "pop" acts I bother with now are genuine musicians like Laura Mvula and Michael Kawinuka. The production of pop production also tainted jazz. One musician I love is the late Arthur Blythe who was the "enfant terrible" of jazz when I was getting in to the music in the early 1980s. He was feted by the jazz press of the time. This was broadly before the likes of the Marsalis brothers made jazz more popular. His late 70's and early 80's music still has a bite about it. At the time he was signed to Columbia who had picked him up from an independent label and were taking a massive risk with a musician then associated with the avant garde who had limited commercial appeal. He recorded an album in 1984 called "Put sunshine in it" was caused a massive amount of controversy at the time because it was very much a nod to the commercial stuff of the time produced by the likes of Dave Sanborn and Grover Washington. It is effectively a 1980's pop disc record with an alto instead of a singer. I can still remember the bad press this record got and the genuine shock that Blythe had made this record. It subsequently emerged that George Butler at Columbia had pressurized him to make a more "contemporary" record. Ironically, this record seems more dated than a episode of "Miami Vice" and the acoustic music he otherwise produced has stood the test of time.
RIP Fred Hibbert, who many believe started the Rock Steady/Ska/Reggae movement which Bob Marley later perfected. Here are Toots and the Maytals doing “Sweet and Dandy” from Jimmy Cliff’s seminal work “The Harder They Come”: Thanks for the music Fred! RIP
For some reason , i have never heard this song all the way through . Honestly brought a lump to my throat . Mrs J says it’s possibly her favourite song ever . as always 2 versions