Saturday, February 25, 1984

Van Halen hit #1 with “Jump”

First posted 11/13/2019.

Jump

Van Halen

Writer(s): Eddie Van Halen/Alex Van Halen/Michael Anthony/David Lee Roth (see lyrics here)


Released: December 21, 1983


First Charted: January 13, 1984


Peak: 15 US, 12 CB, 15 RR, 18 AR, 7 UK, 12 (Click for codes to singles charts.)


Sales *: 3.0 US, 0.4 UK, 3.4 world (includes US + UK)


Radio Airplay *: --


Video Airplay *: 73.2


Streaming *: --


* in millions

Review:

Eddie Van Halen crafted the instrumental for “Jump” on synthesizer in 1981. WK It wasn’t as much a stretch for the guitarist as some thought, however. He’d grown up being trained in classical piano and didn’t take up the guitar until his teen years. SF Daryl Hall says Eddie told him he copied the synth part from Hall & Oates’ “Kiss on My List.” Hall said, “I don’t have a problem with that at all.” WK

The band initially rejected the song for being too much of a departure from the band’s harder-edged, guitar-based sound. WK Lead singer David Lee Roth thought it would look like the band was selling out for radio airplay. SF However, when the band’s producer, Ted Templeman, heard the song two years later, he said, “It just killed me. It was perfect.” BR1 He said everyone at Warner Brothers, the band’s record company, “flipped out.” BR1 He convinced Roth to take a stab at writing some lyrics.

According to Roth, he wrote the lyrics in the back of 1951 Mercury low rider while band roadie Larry Hostler drove through the Hollywood Hills, up the Coast Highway, and through the San Fernando Valley. BR1 Roth had seen a TV news report the night before about a man threatening to jump off a building. He imagined an onlooker shouting “go ahead and jump.” WK Roth opted to turn the phrase into an invitation for love instead of a song about suicide, WK although he’s also said the song is about a stripper. SF He dedicated the song to Benny “The Jet” Urquidez, a martial artist who trained Roth. WK

The song was released as the lead single for their sixth studio album, 1984. The band had charted top 40 hits before, but never even hit the top ten. A cheap, but ground-breaking performance video showcased the band’s charisma and playfulness. After the album, Roth went solo, but the band soldiered on with Sammy Hagar at the helm, continuing to be commercially successful.


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Wednesday, February 1, 1984

Feb. 1, 1934: Charlie Patton, Father of the Delta Blues, has last recording session

First posted February 26, 2010. Last updated September 10, 2018.

Founder of the Delta Blues

Charlie Patton

Recorded: June 14, 1929 – February 1, 1934

Released: March 1, 1969


Sales (in millions):
US: --
UK: --
IFPI: --
World (estimated): --


Peak:
US: --
UK: --
Canada: --
Australia: --

Quotable: “A cornerstone of any blues collection.” – Cub Koda, All Music Guide


Genre: blues


Album Tracks:

  1. Down the Dirt Road Blues (6/14/29)
  2. Mississippi Boweavil Blues (6/14/29)
  3. Screamin’ and Hollerin’ the Blues (6/14/29)
  4. Stone Pony Blues (1/30/34)
  5. It Won’t Be Long (6/14/29)
  6. Shake It and Break It But Don’t Let It Fall, Mama (6/14/29)
  7. Magnolia Blues (11/29)
  8. Dry Well Blues (5/28/30)
  9. High Water Everywhere, Pt. 1 (12/29)
  10. High Water Everywhere, Pt. 2 (12/29)
  11. Green River Blues (12/29)
  12. Bird Nest Bound (5/28/30)
  13. High Sheriff Blues (1/30/34)
  14. A Spoonful Blues (6/14/29)
  15. Moon Going Down (5/28/30)
  16. Pony Blues (6/14/29)
  17. Elder Green Blues (11/29)
  18. Banty Rooster Blues (6/14/29)
  19. Some of These Days (11/29)
  20. Tom Rushen Blues (6/14/29)
  21. 34 Blues (1/31/34)
  22. Going to Move to Alabama (12/29)
  23. Hammer Blues (11/29)
  24. Poor Me (2/1/34)
  25. When Your Way Gets Dark (11/29)
  26. Devil Sent the Rain Blues (11/29)

Numbers in parentheses reflect date of recording.


Singles/Hit Songs:

Click here for the chart codes for singles/hit songs.

Review:

“A mean, hard-hearted man, Patton’s blues inscribed all the experiences of a Mississippi man into the rough and sometimes barely audible sounds he made for Paramount. He was one of the oldest of the major bluesmen – born in 1887, he bridges the gap between the blues and songster generations – and he sounds like a gruff, irritable figure, a self-taught musician but someone who knows he’s damn good, even if he has his own manners.” MF

MF but he “was the key figure in the transition between traditional folk and what came to be known as the Mississippi Delta blues.” FH The genre has “had an enormous impact on American music, influencing everyone from The Rolling Stones to Cassandra Wilson.” NM

“Although the title of founder might not be exactly accurate,” LG since “blues didn’t start with Patton,” MF he “was one of the true greats” LG in that “he personified its expressionism.” MF Also significant in building his impact was that “he was one of the first to be recorded. He was also immensely gifted, amazingly prolific and served as a major influence for other musicians in the delta, including Robert Johnson, Howlin’ Wolf and John Lee Hooker.” NM Johnson “probably picked up his trademark descending bass run from Patton.” LG As such, Founder of the Delta Blues is “a cornerstone of any blues collection” CK and “required listening for Delta blues fans.” LG

“A flamboyant, popular performer,” FH his “background as a medicine show entertainer made him more than the typical brooding bluesman. Much of his repertoire was upbeat and just plain fun.” LG “Take, for instance, his rendition of Shake It and Break It: the gravelly voiced Patton snaps his strings and taps out the rhythm on his guitar while not missing a beat. His slide numbers like High Sheriff and When Your Way Gets Dark are beautiful melodic pieces seldom matched by his peers.” LG

“While most musicians might be quite content to sing about love or the lack thereof, Patton would sing about whatever caught his interest, from social issues to insects.” NM Patton “sang tales of hardship, freedom, topical events, and other matters in a rough voice that stormed with turmoil. His guitar picking was of a piece: skillfully nuanced in expression and, above all, rhythmically imperative.” FH He lived his songs “with an intensity which still strikes through these ancient records.” MF

This compilation “originally started life as a double-record set featuring all of Patton’s best-known titles, and soundwise was miles above all previous versions.” CK “Yazoo’s typically conscientious mastering makes the sound of primitively recorded 78s acceptable.” FH “Its compact disc incarnation here trims the tune list to 24 tracks, but includes all the seminal tracks: Pony Blues, High Water Everywhere, Screamin’ and Hollerin’ the Blues, A Spoonful Blues, …and the wistful Poor Me, which was recorded at his final session in 1934, a scant two months before he died.” CK


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