The place for great and not-so-great nearly forgotten videos from the decade of Miami Vice, mullets, and acid wash jeans. All praise to the bands, YouTube, and the original posters of these videos.
"Love Ain't No Stranger" was the first Whitesnake song to make a dent in the U.S. market, reaching #34 on the Mainstream Rock charts. However, this was soon overshadowed by "Slow An' Easy" (posted on ERV in August 2011), which reached #17 on the same charts.
Both songs were off the poorly titled 1984 LP Slide It In, which turned out to be Whitesnake's breakthrough album in the important U.S. market; the album reached #42 in the U.S. and eventually went double platinum. As we have previously mentioned on ERV, it was around this time that lead singer David Coverdale began to focus more intently on commercial success, which resulted in significant turnover among the other members of the band. This also led to an increased focus on videos.
The video for "Love Ain't No Stranger" intercuts the band playing with Coverdale watching girls on trucks at an army base. No, it doesn't make much sense to me, either. The video is quite rare though, and the song is a solid, somewhat forgotten power ballad.
Whitesnake would go on to have huge success on their eponymous next album in 1987, and Coverdale continues to use the Whitesnake name to record and perform as of this writing.
Cool trivia fact: Whitesnake's first charting single on the U.S. pop charts (the Billboard 200), "Here I Go Again '87" went to #1.
"The Walls Came Down" was one of two charting songs by The Call, though the group never had a top 40 hit. ["Let the Day Begin," which was featured on ERV back in August 2012 was The Call's other charting single.] In spite of this lack of mainstream success, the band became a favorite of critics and musicians including Peter Gabriel, Jim Kerr, Bono, and Bruce Cockburn.
Led by Michael Been, The Call were known for their strong lyrics and updated roots rock sound. The band released their first album in 1982, but it was 1983's Modern Romans that became their first hit. Helped by MTV, "The Walls Came Down" reached #74 on the charts while the LP peaked at #84.
However, the band followed up Modern Romans with the more ethereal Scene Beyond Dreams in 1984 (which did not break the top 200), and then became embroiled in a legal dispute with Mercury Records that delayed the release of their next album (Reconciled) until 1986. Needless to say, this damaged the group's momentum.
In spite of these issues, The Call continued to release strong albums through 1990, when Michael Been left to try his hand at a solo career. The band later re-formed in 1997, but broke up again in 2000. Been eventually became involved with his son's group (Black Rebel Motorcycle Club) until his untimely death from a heart attack in 2010.
In 1987, Martha Davis broke up the Motels in order to go solo. Later that year, she released the Policy LP, which unsurprisingly sounded a lot like a Motels record. However the hard-fought success that the Motels had captured eluded Davis as a solo artist.
In retrospect, the album was likely hurt by the name change and perhaps by the evolving tastes in the music industry. Davis' brand of melancholy-tinged new wave pop likely seemed out of place by 1987, especially as pop metal took over the charts (and MTV). The album peaked at #127, while "Don't Tell Me the Time" only reached #80.
In the aftermath of Policy, Davis asked to be released from her contract (with Capitol Records) and did not release another solo album until ...So the Story Goes in 2004.
While the song didn't break any new ground, "Don't Tell Me the Time" is a solid Motels-ish pop song that could have been a hit with a bit of luck.
Although they were a one hit wonder in the U.S., Scritti Politti were more successful in the U.K., where they had 5 top 40 hits (and 15 charting singles). The band's origins date back to 1977, but the group (named after the Italian phrase for political writings) was essentially the musical vehicle for Welsh singer-songwriter Green Gartside (born as Paul Strohmeyer).
Scritti Politti's pop sound (with new wave and blue-eyed soul influences) contrasted nicely with Gartside's complex and interesting lyrics. The result was music that can be enjoyed on several levels, and unsurprisingly made the band something of a critical darling. This was no doubt enhanced by the well-crafted studio productions.
"Perfect Way" comes off Scritti's 1985 studio LP, Cupid & Psyche 85. While this was the band's second album, it was their first major label recording, which allowed Gartside access to the money and equipment that he desired. As a result, it was a lush sounding, lyrically dense pop record that did surprisingly well on the charts.
While Scritti did not dent the U.S. charts after "Perfect Way," the group did continue to have mainstream success in the U.K. through the end of the 1980s. Green Gartside remains active in the industry, and continues to release the occasional album (he rarely performs, due to stagefright).
Toni Basil's "Mickey" may seem like an odd choice for a rare videos blog, but loyal readers will recall that we love our covers at ERV ... especially if most listeners don't realize that the song is a cover. This fits "Mickey" to a T. [For other songs of the same ilk, check out the Cover label to the right.]
While the path to success is rarely a straight line, Toni Basil's journey was particularly circuitous. Born as Antonia Basilotta in Philadelphia, Toni grew up as the daughter of entertainers and began her professional career as a dancer. She quickly became interested in choreography and was an assistant choreographer (and dancer) on the Shindig! TV show. Basil also sang and acted throughout the 1960s and 1970s.
Later, Basil became interested in the new wave movement; in fact, she choreographed, and co-directed with David Byrne, "Once in a Lifetime" by Talking Heads in 1980. Soon afterwards, she recorded and released her debut LP, Word of Mouth, which came out in 1981 (U.K.) and 1982 (U.S.).
"Mickey" slowly gained traction, helped by the striking music video. Legend has it that Basil came up with the idea for the video first, and then looked for a song to act as the soundtrack. The video is considered to be the first formally choreographed clip to appear on MTV and was an early example of the power of the new video music channel. The song would go on to become a #1 hit in the U.S. (#2 in the U.K.), while the Word of Mouth album went gold and reached #22 in the U.S. However, Basil never had another top 40 hit, making her a rare (#1) one hit wonder.
In the years since "Mickey," Basil has remained active in the industry, mostly as a choreographer.
"Mickey" was a cover the a song originally called "Kitty" by the U.K. band Racey. The song was written by the songwriting team of Mike Chapman and Nicky Chinn, but was not originally released as a single. It was on Racey's 1979 album Smash and Grab.
Cool trivia fact: The cheerleaders in the video were part of a squad from Carson High School in LA.
Cool trivia fact #2: Devo was heavily involved in the writing and recording of Word of Mouth. At the time, Basil was involved with Devo member Gerald Casale and the group co-wrote several songs and acted as the studio band for the LP.
"Stomp" is a real toe-tapper and a somewhat forgotten classic by the Brothers Johnson -- who really were brothers. The song is also an excellent example of early 1980s dance/funk, sometimes called sophistifunk, for sophisticated funk.
The Brothers Johnson were centered around George and Louis Johnson and began as a backing band before signing with A&M Records in 1975. The group immediately became successful, and had four consecutive platinum LPs between 1976 - 1980. They also scored four top 40 hits (and had eleven top 40 singles in the R&B charts).
Part of their success was likely due to having the smarts or good fortune to work with Quincy Jones. Mr. Jones produced the band's first four albums, co-wrote a few songs, and helped the group collaborate with songwriters such as Rod Temperton and Michael Jackson. We should all be so lucky.
The video for "Stomp" is pretty standard pre-MTV stuff, and shows the brothers playing and driving in their car while people dance. The song seems to be channeling old Kool & the Gang; we particularly dig the bass solo at 2:30. "Stomp" ended up being the band's last big hit at #7, while the album Light Up the Night reached #5. After a less successful album in 1981, the brothers split up, although they have reunited several times through the years.
Drivin' n' Cryin' is an eclectic alt southern rock band who became local heroes in Atlanta and environs, but never quite found their national audience. The group was formed in Atlanta in the mid-1980s by Kevn Kinney (guitar, vocals) and Tim Nielsen (bass), who remain as the group's constant members. And no, Kevn does not spell his name with an 'i'.
After becoming a big club act, Drivin' n' Cryin' signed with 688 Records in 1986; their first LP soon followed. Island Records then picked them up which led to some rock and college radio airtime. However, although they developed a loyal following, they never quite crossed over to mainstream rock audiences. Not only was southern rock out of favor in the late 1980s, but the shifting scene (from hair metal to grunge) made the late 1980s and early 1990s particularly treacherous for rock acts.
"Honeysuckle Blue" is off the 1989 LP Mystery Road. We don't recall ever seeing the video on MTV, although the song did pick up some radio play. However, neither the song nor the album charted.
Drivin' n' Cryin' would continue to have modest success through the early 1990s, and remain together as of this writing as a working band.
Hothouse Flowers' roots date back to 1985, when Liam Ó Maonlaà (lead vocals, keyboard) and Fiachna Ó Braonáin (guitar) began performing as street musicians in Dublin, under the name The Incomparable Benzini Brothers. The group soon added Peter O'Toole (bass), Leo Barnes (sax), and Jerry Fehily (drums) and renamed themselves Hothouse Flowers.
After U2's Bono saw the band on Irish television, he became a supporter of the group and helped them land a recording contract with Polygram. In 1988, the band released their debut album (People), which became a #1 LP in Ireland (and #2 in the U.K.). Unfortunately, Hothouse Flowers never broke out in the U.S. -- People peaked at #88 on the album charts, and the group's subsequent LPs did not break the top 100. In addition, the act never landed a top 40 hit in the U.S. (though "Don't Go" did reach #11 in the U.K.)
Later albums continued to do well in Britain and Ireland, without causing much of a stir in the U.S. After the band's 1993 album Songs From the Rain, Hothouse Flowers took a break (which lasted for several years) and the more recent releases have been less commercially successful. Nevertheless, the band remains active to the present day.
"Don't Go" represents the band well, as an upbeat, somewhat folk-oriented pop song. The song did receive a bit of airplay on college radio, so some U.S. listeners may remember it, but it never got a fair shake on this side of the Atlantic.
Some videos just cry out for inclusion on ERV; Tesla's cover of "Little Suzi" being one great case in point. The single was from Tesla's debut LP, 1986's Mechanical Resonance. Although the song picked up a bit of airplay on rock radio, it barely dented the charts at #91, though the album went platinum and peaked at #32.
Telsa is an interesting band -- they were positioned as a hair metal group, but never quite fit the bill, and were in fact more of a straight up hard rock act. They originally formed in Sacramento in 1982 and performed under the name City Kidd for several years, before changing their name (due to their manager's suggestion and during the recording of their first LP). The band's jeans and T-shirt image, along with more complex songs (often with somewhat unconventional lyrics) differentiated them from the run-of-the-mill pop metal act.
The group released four consecutive albums that broke the top 40, and even scored two top 40 singles ("Love Song" and "Signs") between 1986 and 1994. In 1994, guitarist Tommy Skeoch left Tesla due to drug problems, and the group broke up shortly afterward, before re-forming in 2000. They continue to perform as of this writing, though Skeoch left the band again in 2006.
The video for "Little Suzi" is a pretty standard staged performance clip, but it does fit the band and the song reasonably well.
"Little Suzi" is also noteworthy to us as is it a cover of a song by the British act Ph.D. The original version of the song was called "Little Suzi's on the Up" and was from that band's self-titled 1981 debut. By the by, Ph.D. got its name from the last names of the three members -- Simon Phillips, Tony Hymas, and Jim Diamond.
Neither the single nor the LP charted in the U.S., but the somewhat eccentric video for "Little Suzi's on the Up" was the fifth vid ever played on MTV. (Other first day videos featured on ERV can be located by using the MTV First Day label on the right.)
Although Kim Carnes has been featured on ERV twice before (for "More Love" and "Bette Davis Eyes"), those songs were both covers. As Carnes is a prolific songwriter, we thought that it would be appropriate to highlight a song that she wrote (co-wrote in this case), which leads us to "Voyeur."
Carnes co-wrote "Voyeur" with her husband Dave Ellingson and songwriter Duane Hitchings. The song was the lead single off the 1982 album of the same name, the follow up to the massively successful Mistaken Identity. As ERV readers know, the music industry can be a capricious place, and although Voyeur was a well-constructed new wave/pop album, it fell flat with the listening public.
It's not that Carnes had a terrible career -- she generated 5 top 100 LPs and 7 top 40 singles before moving to Nashville with her husband and repositioning herself as a songwriter. But it is a shame that she didn't stay at the top of the charts for longer. Her unique voice and solid songs, which bridged the gap between new wave, pop, jazz, and folk would have made her an interesting pop star.
"Voyeur" is a strong video of a really decent song. As was alluded to, the song only reached #29 on the charts, while the album stalled at #49. Carnes would continue to release solo albums through the early 1990s and continues to sporadically perform to the present day.
Cool trivia fact: Carnes only had one top 40 album in her career -- 1981's Mistaken Identity, a #1 LP.
