Friday, October 29, 1982

Pat Benatar’s Get Nervous released

First posted 9/20/2020.

Get Nervous

Pat Benatar


Released: October 29, 1982


Peak: 4 US, 73 UK, 16 CN, 15 AU


Sales (in millions): 1.0 US, -- UK, 1.2 world (includes US and UK)


Genre: classic rock


Tracks:

Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. Shadows of the Night (D.L. Byron) [4:20] (9/21/82, 13 US, 3 AR, 50 UK, 12 CN, 32 AU)
  2. Looking for a Stranger (Franne Golde, Peter McIan) [3:24] (4/23/83, 39 US, 4 AR)
  3. Anxiety (Get Nervous) (Neil Giraldo, Billy Steinberg) [3:42]
  4. Fight It Out (Giraldo, Steinberg) [3:56]
  5. The Victim (Giraldo, Steinberg) [4:43]
  6. Little Too Late (Alex Call) [4:06] (1/19/83, 20 US, 38 AR)
  7. I’ll Do It (Giraldo, Benatar) [4:09]
  8. I Want Out (Giraldo, Steinberg) [3:43]
  9. Tell It to Her (Roger Bruno, Ellen Schwartz) [3:44]
  10. Silent Partner (Giraldo, Myron Grombacher) [3:45]


Total Running Time: 39:07

Rating:

3.966 out of 5.00 (average of 5 ratings)


Awards:

About the Album:

Benatar’s fourth album was her third to reach the top 5 of the Billboard album chart. Like its predecessors, it was supported by two top-40 singles and sold a million copies. Something was different, however.

Benatar was tired of being stereotyped as a hard rocker, often saying interviews that she “preferred new wave's melodic keyboards over hard rock and metal's crunching guitars.” AMG It didn’t mean she abandoned rock. Indeed, “songs like like Anxiety (Get Nervous), The Victim, and Silent Partners are intense, forceful jewels that rock aggressively.” AMG

However, Get Nervous was overall “the most melodic album she’d done since In the Heat of the Night.” AMG “The album’s pop elements and strong emphasis on melody leave no doubt that the last thing on Benatar’s mind was recording another Crimes of Passion.” AMG

To that end, lead single Shadows of the Night showcased a more pop-oriented, new wave sound than previous guitar-driven songs. The song was written by D.L. Byron for the 1980 film Times Square, but rejected for lack of commercialism. Helen Schneider released it as a single in 1981 and Rachel Sweet recorded it that same year for her …And Then He Kissed Me album. Benatar’s version was a top 20 hit which won her a third Grammy for Best Female Rock Vocal Performance.

The album’s second single, Little Too Late, was also a top-20 hit with a more new-wave feel. The song was penned by Alex Call, who’d previously co-written Tommy Tutone’s 1981 top-5 hit “867-5309/Jenny.” He also wrote the 1988 song “Perfect World,” a #3 song for Huey Lewis & the News.

Resources and Related Links:

Wednesday, October 27, 1982

Prince 1999 released

1999

Prince


Released: October 27, 1982


Peak: 7 US, 4 RB, 28 UK, 23 CN, 35 AU


Sales (in millions): 4.32 US, 0.3 UK, 6.08 world (includes US and UK)


Genre: R&B/funk/pop


Tracks:

Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. 1999 (9/24/82, 12 US, 14 CB, 12 RR, 33 A40, 4 RB, 15 CO, 2 UK, 6 CN, 2 AU)
  2. Little Red Corvette (2/9/83, 6 US, 6 CB, 5 RR, 11 RB, 17 AR, 2 UK, 5 CN, 8 AU)
  3. Delirious (8/7/83, 8 US, 9 CB, 7 RR, 18 RB, 27 CN)
  4. Let’s Pretend We’re Married (11/23/83, 52 US, 46 CB, 55 RB)
  5. D.M.S.R.
  6. Automatic
  7. Something in the Water Does Not Compute
  8. Free
  9. Lady Cab Driver
  10. All the Critics Love U in New York
  11. International Lover


Total Running Time: 70:33

Rating:

4.368 out of 5.00 (average of 22 ratings)


Awards: (Click on award to learn more).

About the Album:

“With Dirty Mind, Prince had established a wild fusion of funk, rock, new wave, and soul that signaled he was an original, maverick talent, but it failed to win him a large audience. After delivering the sound-alike album, Controversy, Prince revamped his sound and delivered the double album 1999. Where his earlier albums had been a fusion of organic and electronic sounds, 1999 was constructed almost entirely on synthesizers by Prince himself. Naturally, the effect was slightly more mechanical and robotic than his previous work and strongly recalled the electro-funk experiments of several underground funk and hip-hop artists at the time. Prince had also constructed an album dominated by computer funk, but he didn’t simply rely on the extended instrumental grooves to carry the album – he didn’t have to when his songwriting was improving by leaps and bounds.” AMG

“The first side of the record contained all of the hit singles, and, unsurprisingly, they were the ones that contained the least amount of electronics. 1999 parties to the apocalypse with a P-Funk groove much tighter than anything George Clinton ever did, Little Red Corvette is pure pop, and Delirious takes rockabilly riffs into the computer age.” AMG

“After that opening salvo, all the rules go out the window – Let’s Pretend We’re Married is a salacious extended lust letter, Free is an elegiac anthem, All the Critics Love U in New York is a vicious attack at hipsters, and Lady Cab Driver, with its notorious bridge, is the culmination of all of his sexual fantasies. Sure, Prince stretches out a bit too much over the course of 1999, but the result is a stunning display of raw talent, not wallowing indulgence.” AMG


Notes: The album was reissued in 2019. A 5-CD set included previously unreleased tracks, single edits and remixes, and a live 1982 show from Detroit.

Resources and Related Links:


Other Related DMDB Pages:


First posted 3/23/2008; last updated 8/22/2021.

Saturday, October 16, 1982

Marvin Gaye charted with “Sexual Healing”

Sexual Healing

Marvin Gaye

Writer(s): Marvin Gaye, David Ritz, Odell Brown (see lyrics here)


First Charted: October 16, 1982


Peak: 3 US, 5 CB, 6 RR, 34 AC, 110 RB, 4 UK, 12 CN, 4 AU (Click for codes to singles charts.)


Sales (in millions): 2.5 US, 0.65 UK, 3.2 world (includes US + UK)


Airplay/Streaming (in millions): 1.0 radio, 190.5 video, 264.24 streaming

Awards:

Click on award for more details.

About the Song:

Marvin Gaye’s life was at a crossroads in 1982. He was coming off a second divorce, owed money to the IRS, was fighting depression, and dealing with a cocaine addiction. He’d also jumped ship from Motown, his label for more than two decades, after they released his In Our Lifetime album without his approval. He’d signed a lucrative recording contract with CBS Records, but was suffering from writer’s block. Gaye’s biographer, David Ritz, visited him while he was in exile in Brussels. After seeing the singer’s pornographic magazine collection and the shape Gaye was in, Ritz suggested Gaye needed sexual healing. SJ

The story has been disputed by some. Marvin’s brother, Frankie, says Ritz didn’t actually use that phrase, that Marvin came up with it. In 2012, Gordon Banks, another musician who worked on the song, told The Atlantic that Gaye and Ritz had actually been discussing Gaye’s intrigue with Amsterdam’s red light district. WK Ritz was eventually given a songwriting credit after suing Gaye for $15 million, although the case was dropped in 1983 because of insufficient evidence. WK

In any event, the phrase sparked something in Gaye. He’d been listening to a reggae-style beat which Odell Brown, one of his sidemen, had created. They’d recorded an instrumental in October 1981 WK and now Gaye he had a lyrical concept to go with it. Thanks to the“simply structured, gently erotic” RY song, Gaye’s career was “properly revived” RY when both it and parent album Midnight Love reached the top 10 on the Billboard charts.

Sadly, Gaye’s “undeniably grooving ode to getting down” TB would also be Gaye’s last taste of such widespread success and acclaim. On April 1, 1984, Gaye was staying at his parents’ house. He intervened in a fight between his parents and his father, with whom he’d always had a strained relationship, fatally shot him. Gaye died a day shy of his 45th birthday.


Resources:

  • RS500 Rolling Stone (12/04). “The 500 Greatest Songs of All Time
  • RY Thomas Ryan (1996). American Hit Radio: A History of Popular Singles From 1955 to the Present. Prima Publishing: Rocklin, CA. Pages 520-1.
  • SJ Bob Shannon and John Javna (1986). Behind the Hits: Inside Stories of Classic Pop and Rock and Roll. New York, NY; Warner Brothers, Inc. Page 126.
  • TB Thunder Bay Press (2006). Singles: Six Decades of Hot Hits & Classic Cuts. Outline Press Ltd.: San Diego, CA. Page 201.
  • WK Wikipedia


Related Links:


First posted 12/4/2021.

Saturday, October 2, 1982

John Cougar Mellencamp hit #1 with "Jack and Diane"

Jack and Diane

John Cougar

Writer(s): John Mellencamp (see lyrics here)


First Charted: June 26, 1982


Peak: 14 US, 13 CB, 13 RR, 3 AR, 25 UK, 12 CN, 7 AU (Click for codes to singles charts.)


Sales (in millions): 1.0 US, -- UK, 1.0 world (includes US + UK)


Airplay/Streaming (in millions): -- radio, 33.0 video, -- streaming

Awards: (Click on award for more details).

About the Song:

In 1981, John Mellencamp (then known as John Cougar) could only boast of modest chart success, having scored top 40 hits with “I Need a Lover”, “This Time”, and “Ain’t Even Done with the Night”. However, 1982’s American Fool thrust this Indiana heartland rocker into the limelight. The album hit #1 on the strength of the #2 single “Hurts So Good” and the chart-topping “Jack and Diane.”

The latter was a “ballad of an American couple, taking them from courtship through rocky marriage.” JA Mellencamp was inspired to write the nostalgic song after watching the 1961 movie Splendor in the Grass, starring Warren Beatty and Natalie Wood. WK It was a tribute to the rural working class of his hometown of Seymour, Indiana. SF For the video, Mellencamp even used some of his own high school photos and home movies. SF Initially, the song was supposed to be about an interracial couple, but Mellencamp realized it might provoke backlash. WK

The song wasn’t easy to make. As Mellencamp said, “The arrangement’s so weird. Stopping and starting, it’s not very musical.” WK As such, he included hand clapping in the song to help keep the tempo. It was supposed to be removed from the final version, but he realized the song didn’t work without it. WK

Mellencamp told Classic Rock magazine that the song wouldn’t exist if it weren’t for musician Mick Ronson, who’d worked primarily as a guitarist with David Bowie and Ian Hunter. He helped on several cuts for the American Fool album. Mellencamp had discarded “Jack and Diane” until Ronson suggested the baby-rattle-style percussion and the “let it rock, let it roll” chorus. WK


Resources and Related Links:

  • DMDB encyclopedia entry for John Mellencamp
  • DMDB page for parent album American Fool
  • JA David A. Jasen. (2002). A Century of American Popular Music: 2000 Best-Loved and Remembered Songs (1899-1999). Routledge: Taylor & Francis, Inc. Page 108.
  • SF Songfacts
  • WK Wikipedia

First posted 10/2/2011; updated 7/13/2021.