Saturday, October 27, 1990

The Righteous Brothers hit #1 with “Unchained Melody” 25 years after it first charted

Unchained Melody

The Righteous Brothers

Writer(s): Alex North/Hy Zaret (see lyrics here)

First Charted: July 10, 1965

Peak: 4 US, 5 CB, 4 HR, 3 RR, 12 AC, 6 RB, 14 UK, 9 CN, 17 AU (Click for codes to singles charts.)

Sales (in millions): 2.0 US, 1.17 UK, 3.24 world (includes US + UK)

Airplay/Streaming (in millions): -- radio, 135.26 video, 235.61 streaming

Awards: (Click on award for more details).

About the Song:

Thanks to Patrick Swayze, Demi Moore, and a pottery wheel, a bonafide classic was re-introduced to the hearts of radio listeners and record buyers. When Bobby Hatfield belted out “Unchained Melody” in that famous scene from the 1990 movie Ghost, it wasn’t the first time the public heard the song. It wasn’t even the first time they’d heard that version.

By some counts, the song has been recorded over 500 times, making it one of the most recorded of the 20th century. WK However, the one that has become the best known is the 1965 recording by the Righteous Brothers (although technically a solo performance by Bobby Hatfield). WK

The song first surfaced under the Righteous Brothers moniker in 1965 as a B-side to their single “Hung on You.” When DJs took to “Melody” instead, the song climbed to #4 on the U.S. pop charts and #14 in the U.K. A quarter century later, it re-gained airplay thanks to Ghost, but was only commercially available as a single in a newly recorded version. In an unsual occurrence, both versions charted and hit the U.S. top 20. On the AC charts, the 1990 version went #1, while the 1965 version scaled to the top of the U.K. charts.

The song originated in an obscure prison film called Unchained in 1955. Todd Duncan sang it for the film, WK but three other renditions charted on the U.S. pop charts, most notably a chart-topper by Les Baxter. Al Hibbler’s top 10 version also reached the summit of the R&B chart. Both were million sellers. TY In the U.K., Jimmy Young took it to #1. All told, the song can make the unique claim of topping four different charts with five different versions in three different decades.

Resources and Related Links:

  • DMDB Encyclopedia entry for The Righteous Brothers
  • TY Don Tyler (1985). Hit Parade 1920-1955. New York, NY: Quill. Page 164.
  • PM Joel Whitburn (1986). Pop Memories 1890-1954. Menomonee Falls, WI; Record Research, Inc.
  • WK

First posted 10/27/2011; last updated 4/24/2021.

Thursday, October 25, 1990

Duke Ellington Blanton-Webster Band box set released

The Blanton-Webster Band

Duke Ellington

Released: October 25, 1990

Recorded: 1939-1942

Peak: -- US, -- UK, -- CN, -- AU

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

Genre: jazz


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

Disc 1:

  1. You, You Darlin’ (5/11/40, 28 US
  2. Jack the Bear
  3. Ko-Ko (6/1/40, 25 US
  4. Morning Glory
  5. So Far, So Good
  6. Congo Brava
  7. Concerto for Cootie (aka “Do Nothin’ Till You Hear from Me”) (1/8/44, 10 US, #1 RB)
  8. Me and You
  9. Cottontail
  10. Never No Lament (aka “Don’t Get Around Much Anymore”) * (5/1/43, 8 US, #1 RB)
  11. Dusk
  12. Bojangles (A Portrait of Bill Robinson) (8/14/43, 19 US)
  13. A Portrait of Bert Williams
  14. Blue Goose
  15. Harlem Air Shaft
  16. At a Dixie Roadside Diner (9/21/40, 27 US)
  17. All Too Soon
  18. Rumpus in Richmond
  19. My Greatest Mistake
  20. Sepia Panorama (11/2/40, 24 US)
  21. There Shall Be No Night
  22. In a Mellotone

Disc 2:

  1. Five O’Clock Whistle
  2. Warm Valley
  3. The Flaming Sword
  4. Across the Track Blues
  5. Chloe (Song of the Swamp)
  6. I Never Felt This Way Before
  7. The Sidewalks of New York
  8. Flamingo (6/14/41, 11 US)
  9. The Girl in My Dreams Tries to Look Like You
  10. Take the ‘A’ Train (7/26/41, 11 US)
  11. Jumpin’ Punkins
  12. John Hardy’s Wife
  13. Blue Serge
  14. After All
  15. Bakiff
  16. Are You Sticking?
  17. Just A-Settin’ and A-Rockin’
  18. The Giddybug Gallop
  19. Chocolate Shake
  20. I Got It Band and That Ain’t Good (10/11/41, 13 US)
  21. Clementine
  22. The Brown-Skin Gal in the Calico Gown

Disc 3:

  1. Jump for Joy
  2. Moon Over Cuba
  3. Five O’Clock Drag
  4. Rocks in My Bed
  5. Bli-Blip
  6. Chelsea Bridge
  7. Raincheck
  8. What Good Would It Do?
  9. I Don’t Know What Kind of Blues I Got
  10. Perdido (5/22/43, 21 US)
  11. The ‘C’ Jam Blues
  12. Moon Mist
  13. What Am I Here For?
  14. I Don’t Mind (12/23/44, 9 RB)
  15. Someone (6/10/44, 7 RB)
  16. My Little Brown Book (6/3/44, 4 RB)
  17. Main Stem (3/4/44, 23 US, #1 RB)
  18. Johnny Come Lately
  19. Hayfoot, Strawfoot (11/21/42, 10 RB)
  20. Sentimental Lady (9/4/43, 19 US, #1 RB)
  21. A Slip of the Lip Can Sink a Ship (8/28/43, 19 US, #1 RB)
  22. Sherman Shuffle

Total Running Time: 204:07


4.761 out of 5.00 (average of 8 ratings)

Quotable: “Perhaps…the greatest creative period by any single artist in jazz history.” – Marc Greilsamer,

Awards: (Click on award to learn more).

About the Album:

All Music Guide calls Duke Ellington “the most important composer in the history of jazz.” WR Joel Whitburn goes even farther, saying Ellington is “perhaps the single most important creative talent in American popular music history.” JW He scored 70 hits, including three #1 songs, on the pop charts from 1927 to 1953. Ellington also racked up a dozen top 10 R&B hits in the 1940s, including five consective #1 songs, all of which are featured here (Never No Lament, A Slip of the Lip (Can Sink a Ship), Sentimental Lady, Concerto for Cootie, and Main Stem). Also included is the Grammy Hall of Fame song Take the ‘A’ Train, which became Ellington’s theme song.

“This music is essential for all jazz collections.” SY “This attractive three-CD set” SY “not only represent[s] Ellington’s artistic apex, but perhaps reflect the greatest creative period by any single artist in jazz history.” MG “Several factors combine make these recordings great, not least the 78rpm format which restricted playing time to around three minutes. A lot happens in a very short time span. Often there are several themes in one arrangement and remarkably, in view of the limited time, there are transitional and developmental passages as well.” SN

This collection “contains the master takes of all 66 selections recorded by Duke Ellington’s Orchestra during what many historians consider its peak period. Left out are the many alternate takes, last released by European labels, and the Duke Ellington-Jimmy Blanton duets, which are available on a different CD.” SY

“Ellington had already made a lasting impression on jazz by 1940, but adding writer/arranger Billy Strayhorn, young bassist Jimmy Blanton, and tenor great Ben Webster brought the band to extraordinary new heights.” MG “The arrangements and originals of Ellington and Billy Strayhorn are full of surprises, and even the lesser-known pieces are generally gems.” SY Meanwhile, Blanton, who died of tuberculosis at age 23, changed the role of the double bass in jazz by moving it from the background to the forefront of the rhythm section. “Then there’s the unique tonal quality of Ellington’s orchestra, setting it apart from any ensemble in jazz.” SN

Rounding out the band are Johnny Hodges (alto), Cootie Williams and Wallace Jones (trumpets), Rex Stewart and Ray Nance (cornets), Juan Tizol (valve trombone), Barney Bigard (clarinet), Tricky Sam Nanton and Lawrence Brown (trombones), Harry Carney (baritone/alto sax), Otto Hardwick (alto sax), Fred Guy (guitar), Sonny Greer (drums), and Ivie Anderson and Herb Jeffries (vocals).

“The set list reveals masterpiece after masterpiece.” MG “These recordings are neither landmarks of jazz improvisation or the Big Band dance music popular at the time they were recorded. Simply because neither categories seem adequate to embrace one of the finest bodies of music created this century.” SN

Resources and Related Links:

Other Related DMDB Pages:

Last updated 1/29/2022.

Monday, October 22, 1990

Aha released East of the Sun, West of the Moon

First posted 1/18/2009; updated 9/12/2020.

East of the Sun, West of the Moon


Released: October 22, 1990

Peak: -- US, 12 UK, -- CN, 122 AU

Sales (in millions): -- US, 0.06 UK, 0.06 world (includes US and UK)

Genre: synth pop


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

  1. Crying in the Rain (10/1/90, 13 UK)
  2. Early Morning (2/25/91, 78 UK)
  3. I Call Your Name (12/3/90 44 UK)
  4. Slender Frame
  5. East of the Sun
  6. Sycamore Leaves
  7. Waiting for Her
  8. Cold River
  9. The Way We Talk
  10. Rolling Thunder
  11. Seemingly Nonstop July

Total Running Time: 42:46

The Players:

  • Morten Harket (vocals, guitar)
  • Magne Furuholmen (keyboards, guitar, bass)
  • Pål Waaktaar-Savoy (guitars, drums, percussion)


3.500 out of 5.00 (average of 3 ratings)

About the Album:

The synth-pop trio best known for the international 1985 hit “Take on Me,” showed they deserved to be taken more seriously. “This is a nicely crafted collection of songs, performed and sung beautifully, with lots of echoes and suggestions tucked into the music…It’s an album that's a pleasure to listen to and one that deserves a better reception than the one, unfortunately, that it seems to have gotten.” AMG

The album, with a title taken from a Norwegian fairy tale, was co-produced by Ian Stanley, formerly of Tears for Fears. than “the band’s earlier radio-friendly sound” WK on hits like the aforementioned “Take on Me” and “The Sun Always Shines on T.V.” and songs from the 1988 Stay on These Roads like “Touchy!” and “You Are the One.” Still, the “darker, moodier tone” WK of East of the Sun isn’t a complete surprise. The Norwegian trio had hinted at more serious work, especially on their sophomore album Scoundrel Days on songs like the title track and “Manhattan Skyline.”

In Norway, the album was a-ha’s fourth consecutive #1, led by their cover of the Everly Brothers’ Crying in the Rain. The song was the band’s sixth #1 song in Norway. In the UK, it was a top-20 hit. Follow-up singles I Call Your Name and Early Morning didn’t chart in Norway, but were minor hits in the UK.

The Way We Talk is an album highlight. At only a minute-and-a-half, it’s the shortest song in the trio’s catalog. It features a faraway sounding voice accompanied by a moody piano, an interesting departure from the band’s typically more synth-heavy sound.

Resources and Related Links:

Tuesday, October 9, 1990

Styx released Edge of the Century

Edge of the Century


Released: October 9, 1990

Peak: 63 US

Sales (in millions): 0.5 US

Genre: classic rock veteran


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

  1. Love Is the Ritual (Burtnik/ Pinky) (9/29/90, 80 US, 9 AR, 59 CN)
  2. Show Me the Way (DeYoung)(12/8/90, 3 US, 7 RR, 3 AC, 4 CN)
  3. Edge of the Century (Burtnik/ Burger)
  4. Love at First Sight (Burtnik/ DeYoung/ Young) (4/6/91, 25 US, 18 RR, 13 AC, 20 CN)
  5. All in a Day’s Work (DeYoung/ Burtnik)
  6. Not Dead Yet (Covert)
  7. World Tonite (Burtnik)
  8. Carrie Ann (DeYoung)
  9. Homewrecker (Young/ DeYoung)
  10. Back to Chicago (DeYoung)

Total Running Time: 42:35

The Players:

  • Dennis DeYoung (vocals, keyboards)
  • James “JY” Young (guitar, vocals)
  • Chuck Panozzo (bass)
  • John Panozzo (drums)
  • Glen Burtnik (guitar, vocals)


3.351 out of 5.00 (average of 19 ratings)

Awards: (Click on award to learn more).

About the Album:

If one looks at the chart performance of Styx in 1983, they looked like they’d maintained the same basic trajectory that lifted them to #1 with 1981’s Paradise Theater. Kilroy Was Here was yet another top-10, platinum-selling outing for the band and produced two top-10 hits with “Mr. Roboto” and “Don’t Let It End.” However, some fans found the more theatrical elements of the quasi-concept album to be cheesy and “Mr. Roboto” seemed to alienate as many fans as it satisfied.

That song and album even created division amongst the band. Guitarist and singer Tommy Shaw, who’d been with the band since 1975, abandoned the fold and the band went on hiatus for six years. When they returned with this effort, Shaw opted out but the other four – who’d helmed the band from its beginnings to superstar status – were on board. They brought in Glen Burtnik, who’d had a minor rock hit in the late ‘80s with “Follow You,” as Shaw’s replacement.

Styx maintains their sensibility for “melodic hard pop…cut from the same cloth as Journey” AMG but also try updating their sound with a “nod to modern metal.” AMG The most obvious attempt is with the lead single, Love Is the Ritual. It’s an odd choice to reintroduce fans to the band since it doesn’t bear much similarity to Styx’s classic repertoire. Some marketing guru most have thought it would be better if people stumbled across the song not knowing it was Styx and thinking it was some new ‘90s band.

The video made it clear they weren’t trying to look like Styx either. Burtnik and his long, flowing dark locks are featured front and center while the original band members are almost cameos. The song’s poor chart performance suggested the rebranding effort was a flop.

Then someone who knew what they were doing with Styx must have taken over. The second single, Show Me the Way, fit right alongside other Dennis DeYoung helmed top-10 ballads like “Don’t Let It End” and the #1 song “Babe.” Still, the band hadn’t been a chart presence for six years. Why would this song be a hit? It somehow became an anthem for the Gulf War and became a top-5 hit on the Billboard Hot 100.

The follow up, Love at First Sight, might as well have been called “Show Me the Way Part II” as it followed the exact same formula. While it wasn’t quite as successful, it did reach #25 on the pop charts making Edge of the Century the sixth consecutive Styx album to feature at least two top-40 hits.

Unfortunately, DeYoung’s pair of hits aren’t enough to carry the album. Burtnik turns in a fine ballad with All in a Day’s Work, but there isn’t anything else particularly memorable. Shaw’s presence is sorely missed. On previous efforts, his rockers (“Renegade,” Blue Collar Man,” “Too Much Time on My Hands”) provided a nice counterpoint to DeYoung’s more sugary offerings. With supergroup Damn Yankees, who released their debut seven months before Edge of the Century, he proved he still had the goods. The album produced four top-10 mainstream rock tracks, including the #1 “Coming of Age” and “High Enough,” which reached #3 on the pop charts.

Resources and Related Links:

First posted 3/24/2008; last updated 5/17/2021.

Saturday, October 6, 1990

Garth Brooks topped country chart with “Friends in Low Places”

Friends in Low Places

Garth Brooks

Writer(s): DeWayne Blackwell, Earl “Bud” Lee (see lyrics here)

Released: August 6, 1990

First Charted: August 18, 1990

Peak: 14 CW, 36 UK (Click for codes to singles charts.)

Sales (in millions): --

Airplay/Streaming (in millions): 2.0 radio, 136.04 video, -- streaming


Click on award for more details.

About the Song:

This crowd-pleasing “ballad about a cowboy who turns up at the engagement party or wedding reception of an old flame” AC owes its birth to an embarrassing incident in which one of the song’s writers couldn’t play his restaurant bill. A group of songwriters, including Bud Lee and DeWayne Blackwell, met for lunch and at the end of the meal, Lee confessed that he’d forgotten his wallet. He assured the group there was nothing to worry about – “I have friends in low places. I know the cook.” AC

A few days later, the pair were shopping for boots. When the store clerk found out they were songwriters, he said he was trying to make it in Nashville and would love to record some demos for them. They agreed and Garth Brooks’ career was launched. AC

Months went by before Lee and Blackwell turned the phrase “friends in low places” into a song. When they asked Brooks to demo it, he had some exciting news – he had landed a deal with Capitol Records. He had finished his first album and its debut single was set for release in a few weeks.

It meant that “Friends in Low Places” marked Brooks’ last work as a demo singer. As he said, though, “for the next 2 weeks the chorus to this song kept running through my head. I knew it would be a year and a half before the release of No Fences because Garth Brooks was just getting ready to be released. I asked Bud Lee and Dewayne if I could hold onto it and, without a blink of an eye, they both said yes. Putting that kind of faith into an unknown artist is unheard of. Thanks Bud and Dewayne for believing in me.’” SF

In reality, almost a year before Brooks’ rendition of the song emerged, Mark Chesnutt recorded a more down-tempo version for his Too Cold at Home album, but it wasn’t released as a single. SF Brooks recorded the song for his second album, No Fences, and it was released as the first single. It took home Single of the Year honors from both the Academy of Country Music (ACM) and the Country Music Association (CMA).


  • DMDB page for parent album Album Title
  • AC Ace Collins (1996). The Stories Behind Country Music’s All-Time Greatest 100 Songs. New York, NY; The Berkley Publishing Group. Pages 276-8.
  • SF
  • WK

Related Links:

First posted 8/18/2011; last updated 10/27/2021.