Jackson Browne’s 1986 single “In the Shape of a Heart” was a big hit in certain circles. It went to No. 10 on the adult contemporary chart, but rose to only No. 70 on the Billboard Hot 100.
The shocking and tragic death of actor Philip Seymour Hoffman has put a spotlight on a growing heroin epidemic in America.
Hard to believe that last week Journey’s Infinity had become thirty-six years old; I can still remember how fresh and exciting the album sounded when I first heard it.
Canadian pop crooner Gino Vannelli’s big era was from the mid-70s to the turn of the 1980s. However, like Yes — and this might be the only similarity to Yes — he put out an album in the middle of the ’80s that was not a return to form, but instead a sort of rebirth
Hailing from Los Angeles, California, the Music Machine included lead singer and rhythm guitarist Sean Bonniwell, lead guitarist Mark Landon, bassist Keith Olsen, organist Doug Rhodes and drummer Ron Edgar.
Here’s the answer to that question, “what to do for an encore after such a note-perfect quiet storm groove tune as ‘What You Won’t Do For Love’?”
It’s not always easy to find an unfiltered moment like this from Hall and Oates — a pairing that has become so closely associated with genre-jumping mixtures of street-corner soul with modern new-wave verve.
“It’s Good To Be King,” which somehow only crept up to No. 68 on the charts, doesn’t sound like any side Tom Petty had ever put out — and, at the same time, like all of them.
Long before Danny Hutton gained universal fame with Three Dog Night, who racked up 21 great Top 40 hit singles between the years 1969 and 1975, he was busy getting his feet wet in a variety of capacities.
An eight minute song with alien (for the time) sounds wasn’t a recipe for a major hit, but just reaching 33 on the Hot 100 in 1972 qualifies as a notable achievement for “Superwoman (Where Were You When I Needed You).”