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        <title><![CDATA[Backbeat]]></title>
        <link><![CDATA[http://www.metronews.ca/blog/244159]]></link>
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                      <title><![CDATA[We Will Always Love You]]></title>
                      <description><![CDATA[By now everyone knows that an American icon left us on February 11th, 2012. At the risk of sounding really old, I was in high school when Whitney Houston first hit the scene with a song called You Give Good Love . This was during the early-ish days of MTV and the very beginning of Much Music, so it didn't hurt that she was the prettiest black singer I had seen at the time. She followed up with Saving All My Love For You , and it was obvious that she was going to be around for a long time. It seemed that she became a household name almost overnight, but she had been around music,&nbsp;watching her mother Cissy, and cousin Dionne Warwick, since she could talk. Her godmother also had some singing experience. Some of you may have heard of her. Her name is Aretha Franklin. By the time Whitney was 15, she was singing background for Chaka Khan on I'm Every Woman , a song she would make her own 2 decades later. Even before that, she sang background for the Michael Zager Band, the leader of which was in the position to get her a recording deal. Cissy firmly nixed that idea, wanting her to finish her education first. By the time she graduated from high school, it became obvious that that was all the formal education she was going to need. Her self-titled debut album came out in 1985, and paved the way for Houston to own the next decade, and then some. She peaked in 1992 when The Bodyguard turned her into that perfect combo of film star and chart-topping singer. Her cover of Dolly Parton's I Will Always Love You went to number 1, and prevented anyone else from taking her place for more than 3 months. That was also the same year that she married Bobby Brown, a union some referred to as &quot;explosive&quot;. The 90s belonged to her as she made movies, continued to release successful albums, and won every award imaginable. By the time the millenium rolled around, there was talk of trouble in paradise, and a visible change in Whitney's demeanour. She and Bobby were arrested at the airport in Hawaii for possession of marijuana, but she might have been fine if it had stopped there. It did not. Whitney began demonstrating an unstable disposition. She would arrive late, unprepared, and often not show up at all. Those who saw her were shocked, both by her demeanour, as well as her appearance. In 2002, she made headlines for all the wrong reasons. In an interview with Diane Sawyer, Whitney wanted us to know that she did cocaine, but made too much money to smoke crack. She was alienating her fans, and not making any new ones. Never the less, she was our soul sweetheart, and questionable decisions could not extinguish our nostalgia. We wished to have the old Whitney back, and we hoped with every album, and every public appearance that she would be better than the last. In 2009, I wrote a piece about her newest album, and stated that while her voice was no longer what it once was, she still knew how to deliver a heartfelt performance. That was true. I also said, &quot;So rather than discuss her vocal shortcomings now, I choose to remember the Whitney I was introduced to in the 80s who was gorgeous and could sing like no other.&quot; I stand by that. Simply put, she was loved, she was missed, and she always will be. Rest in peace, Whitney.&nbsp;]]></description>
                      
                      <link>http://www.metronews.ca/edmonton/blog/post/1095305</link>
                      <author><![CDATA[]]></author>
                      <category><![CDATA[/Blog]]></category>
                      <keywords><![CDATA[Whitney Houston, Cissy Houston, Dionne Warwick]]></keywords>
                      <pubDate>Sun, 12 Feb 2012 10:57:33 -0400</pubDate>
                      <author>Mike Benhaim</author>
                      <guid isPermaLink="true">http://www.metronews.ca/edmonton/blog/post/1095305</guid>
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                      <title><![CDATA[Jazz Be Nimble]]></title>
                      <description><![CDATA[In the music &quot;business&quot;, art is often eclipsed by commercialism, and these days, I find myself growing partial to songs that showcase vocals and instrumentation over electronic enhancements. I recently touched upon artists who present a retro sound that appeals to my nostalgia and longing for a modicum of purity. This type of player is perhaps not exposed as readily as Lady Avril Cyrus Bieber, but hey, if ye seeketh, ye shall find. One of the most flexible and enduring genres of music is Jazz. Probably because it is more an element of DNA than species unto itself. &nbsp;Jazz can serve as condiment, single course, or an entire meal. (I checked, and the use of 2 separate metaphors to illustrate a point is perfectly acceptable when exercised with caution. I promise not to abuse the priviliege.) Jazz evolved from elements of African and European music, and distinguished itself with the use of blue notes, improvisation, and what I call &quot;creative timing&quot;. Broadly put, Jazz marked the beginning of every modern musical style we hear today, because it's free-flowing style shattered aristocratic barriers, &nbsp;allowing music to be played, and appreciated by the working-class. The fact that its origins coincided with the advent of the record player is perhaps a book unto itself. For now, I direct my focus to the singer. Early Jazz singers were musical desperados who bent the rules to express longing, angst or even elation to which everyday people could relate. This is no small historical footnote. The style mirrored society's yearning for equality, inclusion and change, but most importantly, freedom. It was this opening of Pandora's musical box that would ultimately unleash the raw sounds of dirty blues, country twang, raspy soul, and even shrieking rock. The most important element for a vocalist then became emotion: the ones they felt, and the ones their music evoked. We all recognize the names of Billie Holiday and Ella Fitzgerald, as well as Louis Armstrong and Tony Bennett, but by the time I was growing up, these names were hardly synonymous with &quot;cool&quot;. So I quote from Ecclesiastes 1:9 &quot;What has been will be again, what has been done will be done again; there is nothing new under the sun.&quot; (And the good book don't never lie! Can I get a &quot;Amen&quot;?) The fact remains that these crooners were the hippest of the hip. I submit into evidence the success of artists like Harry Connick Jr., Michael Bublé, and Amy Winehouse, but there are artists all over the world injecting their own brand of Jazziness into their sound, not just &quot;en homage&quot; to the old, but in order to create an ever-evolving hybrid of &quot;mojo music&quot;. &nbsp;So while Jazz itself may not be new, it can give way to something fresh, and even sexy. Allow me to unite you with some current and future stars. Some took the time to speak with me, and others require little introduction. Check them out, and support them by buying their music on-line or (gasp!) on CD. Corinne Bailey Rae: It smells like soul to me, but it's her innate &quot;Jazzification&quot; that puts the hot-sauce on the burger. Her 2007 work with Herbie Hancock won her a Grammy for Best Contemporary Jazz album , and her vocal style can't escape comparisons to the likes of Billie Holiday or even Nina Simone. Still, I don't believe she sees herself as a Jazz singer. In the early 90s, this pre-teen, classical violinist discovered Rock guitar. By 15, her all-girl band in hometown Leeds was almost signed to Heavy Metal label, Roadrunner Records. It was during a college job at a local bar where she met Jason, the saxophonist who put the &quot;Rae&quot; in her name, and the Jazz in her heart. When your ears are in need of a treat, her latest EP contains some iconic covers including Marley's Is This Love , and the only version (except for Sly Stone's) of Que Sera Sera that I could ever listen to. Sophie Berkal-Sarbit: I first wrote about this girl 2 years ago when she was a precocious 19 year-old with a 40s throwback sound. Now, she's 21 and singing Halleluyah! I mean, she literally just recorded a cover of Leonard Cohen's Halleluyah . The most refreshing thing about such a talented young woman whose name should be bigger, is that despite a decent national following, she remains unaffected by the attention. She genuinely enjoys the journey of growth to which she recently added songwriting. She seems to love the process, so we can eventually expect more than just the old jazz standards she does so well. I see the makings of a female Michael Bublé, only (and I can say this now that she's 21), just a little bit sexier. Click here to see her vid. &nbsp; http://www.youtube.com/watch?v=1YaLcliEnPw Tia Brazda: Her talent, style, and attitude are all befitting of stardom, but Canada is sometimes like a bar by the airport on a Monday night. Sadly, heavy rotation on the CBC hardly guarantees fame and fortune. Now, this is not your grandma's sleepy Jazz. This girl is effervescent. Seeing Tia perform is like watching a rainbow come alive. All this girl needs is a microphone and a few beating hearts to captivate. She has no self-imposed musical boundaries, but watch her get sassy to a boogie-woogie, big band groove, and your enthusiasm cannot be contained. While Brazda's music is decidedly Jazzy, she has, and will again color outside the lines. Her new EP, Cabin Fever celebrates its release at Toronto's Cadillac Lounge on February 11th, so check out her video, and follow up with the live experience, which in her own words, is a &quot;Swingin' riot&quot;! &nbsp;&nbsp; http://www.youtube.com/watch? v=n_cLj2FKz6A Peter Cincotti: This musical prodigy was discovered by Harry Connick Jr., who had him join his Atlantic City show when he (Cincotti) was just 7 years old. Cincotti is a classically-trained pianist who is also an impressive singer and songwriter. Now in his late 20s, his looks and sharp fashion-sense have put him in an elite group of desirable males in the Jazz community. That said, his music is more of a jazz-tinged classic rock, but in the end, it's just really good music.&nbsp; http://www.youtube.com/watch?v=4P3rYn4YdWY&amp;ob=av2e Alexia Coley: I just have the feeling that this girl is on the cusp of breakout stardom. In fact, she won last summer's Big Chill Bar Competition , a 6 week festival in Bristol, England. The first time I heard her sing, I felt the 70s soul vibe of a Gladys Knight or maybe a female Al Green. The jazzy ingredient is really in her phrasing, and the way she takes her time to ride a note as if she's deciding how she feels about the story she's telling, and how it's going to end. Like a woman who knows she's beautiful, but whose heart can still be broken, her songs are slick, yet with a translucent vulnerability. She has paid her dues and performed with some major names. The only thing left is for the right label to snatch her up and make her one of them.&nbsp; http://www.youtube.com/watch?v=qkhtAY5mwGY Tamela D'Amico: They call her &quot;Sinatra in Heels&quot;, and just like &quot;Ol' Blue Eyes&quot;, this renaissance woman of the arts also acts and directs, but her voice is the juicy fruit beneath the peel. The tiresome trend of gratuitous vocal gymnastics makes it so refreshing to observe Tamela's respect for melody. Her vocal placement is Streisand-esque at times, but her style evokes the strong feminine mystique of a Peggy Lee. She says, &quot;I only know how to sing from the center of my soul. I want to wrap my voice around you like an embrace, and give it to you as a genuine gift.&quot; And it is that very sentiment that emanates from every lyric she sings. D'Amico is almost a purist compared to others on this list. She unabashedly performs old school Jazz, and it works for her both in personal style, and in musical appeal. Her album, Got A Little Story is available now, but keep your ears poised for her upcoming duet with the great Billy Vera, and all that will soon follow. http://www.youtube.com/watch?v=txzJIqIAack Imelda May: This wild and crazy Irish chick provides the perfect example of using jazz to create a unique and personal sound. Her hair and clothes are right out of the 50s, but her blues and rockabilly edge conjure the image of Big Mama Thornton, LaVern Baker and Joan Jett all getting drunk together and deciding to jam. A story on the web describes the night her father drove her to a gig after breaking up with her boyfriend. She was crying. Her father asks, &quot;Is your heart broken?&quot;. She nods, and he says &quot;Excellent. Now you can sing the blues.&quot; Now, that's a dad who knows how encourage art. To better understand this musical rarity, check out Johnny Got a Boom Boom , and take a break from the mundane.&nbsp; http://www.youtube.com/watch?v=ZucJAkzCNq8 John Pizzarelli: The son of guitar legend Bucky Pizzarelli first picked up his own at age 6. It didn't hurt that as a teen, he was able to jam with guys like Benny Goodman, Les Paul, and Zoot Sims. (It doesn't matter if you know him. His name is Zoot. That's gotta count for something.) His pedigree also granted him an inherent musicality and a stage presence reminiscent of vintage Vegas Rat-Pack, probably because, as the oldest member of this list, he still remembers them. Esperanza Spalding: Simply the best of the best. She is the rebirth of cool. Everything about her is natural. She's sexy without trying, writes original jazz, which many thought to be an oxymoron, and sings like a fallen angel, capable of just enough mischief to keep her interesting. That, coupled with her prodigious musical talent and tireless work ethic keeps her at the top of her game. Sure, it's easier when you spend every minute of your life doing the thing you love the most, but she doesn't take it for granted, she won't pander, and still earned the Grammy for &quot;Best New Artist&quot; whilst all eyes seemed pointed at Justin Beiber. You go, girl! Sachal Vasandani: This guy is a versatile composer and arranger who has established himself as one of the top male vocalists in modern jazz. His ability to infuse just enough to make a pop song interesting has garnered high praise for his new release, Hi-Fly . The fact that his looks have been compared to yours truly can't hurt sales or hinder the large female presence at his shows. (I'm kidding, of course. I look a little younger.) &nbsp; http://www.youtube.com/watch?v=RLTLDaKJDro So you see, Jazz is not dead. It can never die. It's like the proverbial soul that passes from one living form to the other. Sometimes, you will catch just a glimpse, and other times you'll be blinded by the light, but don't ever be fooled into thinking it's gone. Join me on Facebook&nbsp; http://www.facebook.com/mikebenhaimsays or on Twitter&nbsp; https://twitter.com/mikebenhaim Peace.]]></description>
                      
                      <link>http://www.metronews.ca/edmonton/blog/post/1075440</link>
                      <author><![CDATA[]]></author>
                      <category><![CDATA[/Blog]]></category>
                      <keywords><![CDATA[Modern Jazz, Tamela D'Amico, Imelda May, Tia Brazda]]></keywords>
                      <pubDate>Thu, 19 Jan 2012 12:17:39 -0400</pubDate>
                      <author>Mike Benhaim</author>
                      <guid isPermaLink="true">http://www.metronews.ca/edmonton/blog/post/1075440</guid>
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                      <title><![CDATA[Mistress of Music]]></title>
                      <description><![CDATA[I am always amused by topics that have the ability to ignite passionate and effusive debate. One would think it would be politics, religion, or personal philosophies on child-rearing, but no. Gather 10 men with a little bit of alcohol, and nothing rouses enthusiasm quicker than a discussion about which bond-girl was the hottest. Who's the sexiest actress? Which celebrity would you put on your "if I ever got the chance" list? In fact, pageants have survived purely on the basis of such intrigue. Viewers tune in to claim their favourites. We spout clich&eacute;s like "To each his own", or "Different strokes...", but we all believe our opinions to be the most correct, do we not? I do, and have a dwindling group of friends to prove it. I have compiled a list of my favorite songbirds, not solely on the basis of physical beauty (although that remains a highly influential ingredient), as vocal style has always been a decidedly seductive feature.&nbsp; Talent, of course, is an intangible variable, but so is the nature of womanly allure. A performer who understands the implications and strength of her femininity, and embraces it with vigor, will always garner fan appreciation. I made a willful decision to omit some obvious choices in favor of some lesser known selections, but some are still pretty obvious. With that foundation laid, I jump right in and pour gasoline on the flames of contentious dispute with my (alphabetical) list of hottest female singers of the day: Aleesia: This Toronto girl can sing and dance, and though she is hardly a household name yet, her videos' improving production value, tell me she's on track. Her songwriting could use a little more substance, but she may just be keeping something up her sleeve for later. Right now, she's producing good clean pop, but she is a quadruple threat, the 4th being that she's mesmerizingly stunning. See for yourself, and tell me if I lie. http://youtu.be/DYtGtZwnovM Alexia Coley: Most of you don't know this indie singer/songwriter from the U.K., but sometime over the next year or two, the right label will sign her, and you'll be hearing her name. I have declared her as neo-retro-soul, and posted on my Facebook page that if Otis Redding had a child with Sade, Amy Winehouse, and Etta James, she might sound something like this. Her looks, voice, and confident stage presence are a seductive combination. See her live in London. http://youtu.be/qdy5dXlvB00 Aliz&eacute;e&nbsp;Jacotey: &nbsp;Aliz&eacute;e&nbsp;is so beautiful that immediately after watching her, I cannot recall how she sings. She is France's "Idol"-type winner from 10 years ago, and is now a big star in France, Belgium, Switzerland and wherever there is eyesight. She is an amalgum of every male and lesbian fantasy, and her handlers seem to have exploited a different one in every video. To be fair, I have included a live performance so you can just see her as she is. It's not her newest, but you will probably be searching for more to view anyway, volume on or off. Oh, you're welcome. http://youtu.be/jjUVStwNt3k Carrie Underwood: I have referred to her before in terms that invoke the archetypal "farmer's daughter", but Ellie-May has come a long way. She did not disappoint the "Idol" viewers who voted her to prominence. She has honed all of her...things, to perfection. Most of the time, she comes off as president of the abstinence club, but every now and then, she flashes a hint of the potential indecency she might fully reveal if you were to meet her behind closed doors. Or maybe it's just my imagination. Christina Milian: Another quadruple threat who also writes, and has been at it since she was a kid. As a result, she seems to have maintained a cutesy demeanor that belies her overall foxiness. Then came this scene in the movie, Be Cool, where she sits down at a piano, sings a soulful ballad, and releases a fountain of sexual chocolate temptation (Yeah, I said it!). The rest of her music, if not for the visual, is somewhat forgettable. If she could just release the Soul a little more, and the Pop a little less, she would be unstoppable. Christina Perri: If not for all the tattoos, you'd think she was the good girl next door. Perri plays piano and guitar masterfully. She exudes a mysterious coalescence of ruggedness and sensitivity in both her personal style and vocal tone. For instance, her Jar of Hearts video shows her wearing a lacy gown, and combat boots. It is by this very virtue that she elevates herself from "plain Jane" to desirable diva. Her new hit, A Thousand Years from the movie, Breaking Dawn has around 6,000,000 hits on YouTube. See it for yourself. http://youtu.be/rtOvBOTyX00 &nbsp; Esperanza Spalding: Winner of the "Best New Artist" Grammy last year, and a delightful young thing whose brains, looks and talent are a god-given combination. The best thing is that we never see her with much make-up, and she always sports the natural 'fro in all it's outrageous splendor. This woman will struggle to find a man capable of stimulating her artistically and intellectually in the long-term. Hopefully, Bob Marley has another son we don't know about. Janelle Monae: I am a fan of her funk. Her style just rubs me the right way. She's eccentric, as geniuses will be, but I don't want to marry her, I just want to bathe in the sea of her sound. It helps to know that she is lovely, but matters little as she never reveals even the slightest bit of skin. Maybe she's a Mormon. I don't know, but I can live with that little bit of mystery. Jennifer Lopez: Probably approaching the twilight of her music career because actual vocals have never been her strongest suit, but she reigns supreme in the visual here-and-now. She also connects herself with the right people to keep her current, and possesses the latin pride and work ethic that should keep her aging gracefully. Joss Stone: Like a young Christina Aguilera, this charming chanteuse's voice is far from what her looks convey. She was 16 when she emerged sounding like a large black lady in a gospel choir. Now a full-blown woman, she is hotter than ever, and I don't think we've even seen the best of her yet. Katy Perry: It didn't hurt the male-fantasy factor that she burst on the scene with the words, "I kissed a girl, and I liked it." She recently became the 1st woman to achieve 5 #1 hits from 1 album, so regardless of her unabashed commercialism, her appeal cannot be denied. As a woman, she has captured the coquettish qualities of a Marilyn Monroe without the ditziness. She also married Russel Brand so you know she has a sense of humour. Kelly Rowland: Beyonc&eacute;'s Mary Wilson has never demonstrated anything but soft-spoken grace toward her friend. Nominated at this year's American Music Awards for Best Female R&B Artist, she was once again overlooked in favor of her former band mate, and I for one, thought it was her time. Can't everyone see how exquisite this woman is? She has a sweet face and some fabulous physical qualities. Just as importantly, she can sing and she can dance. "Can I get a wha- whaaa?" Natasha Bedingfield: While I can do without some of her music, the girl can sing and she's stylish in a natural kind of way. She actually looks as if she would smell great. I like that in a woman, and I could really use a "Pocket full of sunshine" (oh come on, it was right there). Nicole Scherzinger: With her, it's simple. She is sublime, exotic, has a smoking hot bod (if you're into that kind of thing), and she can sing as well as dance. The best thing about her is that she doesn't become any less attractive when she opens her mouth (to speak). She is eloquent and always seems to have something positive to say. Not the first thing that comes to mind when you think of Pussycat Dolls. Nicole baby, call me. Pink: I know this is a risky choice, but her package as a whole is saucy and provocative. Her voice is raw, but her ability ample. She is prolific, and her repertoire is wide-ranging. She is a bad-ass chick whose lyrics display a delicate introspection, and that fortitude to defiantly declare her vulnerability is just what I dig. Also, I had the opportunity to meet her before I knew who she would become, and she is surprisingly natural and attractive in person with a playful quality that says, "You think you can handle this?" (At least I think it was playful) Pixie Lott: I only include her because she seems to be the "waif du jour". I rarely comment on people's weight, but I find her frighteningly skinny. Her music, for what it is, is not all bad. I can see some of the appeal if I were still 16, but only time will tell if she can evolve beyond bubble-gum popstar. Selena Gomez: I am not her demographic, and would be more apt to pinch her cheeks and take her to Disneyland than to consider her sexually, but I see in her an exotic flower in bloom. I feel the day will come when she will be one of Hollywood's top beauties. She displays much talent that has yet to fully develop, and if she continues to grow artistically, and maintains the humility and elegance she has demonstrated so far, she will be the worthy object of desire for decades to come. Shakira: With this Colombian enchantress, it's all about composure, suggestive movement, vocal originality, and a raw erotic quality of which she seems only partially aware. Watching her perform elicits feelings in me of which I am not always proud. She's a lioness in my jungle, baby. Tia Brazda: Former lead singer of Eve and the Ocean, she may never be mentioned among such company, because in addition to being a Canadian indie artist, she also sings Jazz. It's more of a modern, pop-infused, bluesy Jazz, but still Jazz. The good news is that this is not your old school jazz singer. This girl has a very special quality to her voice and her absolute adorability doesn't hurt a bit. She's young, and may, in the right hands one day be a big star, but even if she remains a local treat, she's worth a look and a listen.&nbsp; Vanessa Hudgens: I know. I feel dirty admitting this, but the little girl from High School Musical is all growed up now, and in the most splendid of ways. Girlfriend looks good, and has musical abilities that she has yet to really show. Look for her to evolve into a different kind of artist, if she can shake the typecasting. Check YouTube for her version of Bread's Everything I Own from the movie Bandslam . As for the nude pictures posted without her permission, I refuse to look at them, again. Others that were on the grid, but of whom I feel enough has already been said, are: Beyonce,&nbsp;Rihanna,&nbsp;Taylor Swift, Ke$ha,&nbsp;Ciara... Hey, these are all lovely females, and none devoid of talent, but I keep searching, and this I do benevolently, for you....my readers. Join me on Facebook&nbsp; http://www.facebook.com/mikebenhaimsays And on Twitter&nbsp; http://twitter.com/mikebenhaim]]></description>
                      
                      <link>http://www.metronews.ca/edmonton/blog/post/1042385</link>
                      <author><![CDATA[]]></author>
                      <category><![CDATA[/Blog]]></category>
                      <keywords><![CDATA[Aleesia, Alizée Jacotey, Tia Brazda, Alexia Coley]]></keywords>
                      <pubDate>Mon, 05 Dec 2011 18:04:32 -0400</pubDate>
                      <author>Mike Benhaim</author>
                      <guid isPermaLink="true">http://www.metronews.ca/edmonton/blog/post/1042385</guid>
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                      <title><![CDATA[Reservoir Hits]]></title>
                      <description><![CDATA[Some songs get under your skin the very first time you hear them. It can be a result of a catchy hook, or a lyric that may just speak to you in a personal way. At times, a song is just so magnificent that it cannot be denied. There are also songs that need time to grow on you because they may differ from the norm of the era or culture, but it really comes down to whether you ever hear it in the first place. So if a great song is not released as a single because some genius in a suit didn't &quot;get it&quot;, or worse, it never makes the album, then it may as well be the proverbial &quot;fallen tree&quot; in the forest. There are also instances when a song doesn't fit readily into a particular genre so radio stations don't know what to do with it. A country station might say it sounds too R&amp;B, or a rock station might say it sounds too much like disco. Oh, and sometimes a song just sucks. The hardest part though, is for a good song just to make its way to your ears. There have been many cases where a song is released and fails, only to be discovered at a later date. Rather than speculate endlessly as to the reasons for this, I have compiled a list of 10 songs that became successful long after they were written off as commercial duds. I have uncovered some fascinating stories which I have attempted to recount as succinctly as possible. You may prefer to print this out. I take no offense to being read in any room of the house. Here are just some of those inspirational tales: At This Moment &nbsp;- Billy Vera and the Beaters: &nbsp;Vera had written songs for artists from Fats Domino to Ricky Nelson to Dolly Parton, but he and pal, Chuck Fiore just wanted to jam. They were playing clubs in Cali when their slick horn section and billy's soulful vocals earned them a recording contract. In 1981, At This Moment was released but never cracked the top 40. In 1985, a producer from the TV show, Family Ties , heard them play it live at a club, and used it as the backdrop for the break-up of Alex and Ellen (Michael J. Fox and Tracy Pollan who eventually married in real life). Viewers, including myself (Yes, I am that old) liked the song, and when Rhino Records released the 1986 album, By Request: The Best of Billy Vera &amp; the Beaters , it hit #1 right away. It lingered on the charts for another 15 weeks and is now considered by some to be a classic. There are 2 versions, but the live recording with the extended improvised riff on the last line, &quot;If I could just hold you again&quot;, is the definitive one in my opinion. Check it out for yourself. Baby Come To Me &nbsp;- Patti Austin: &nbsp;Every aging R&amp;B fan knows this duet with James Ingram, but do they know she was Quincy Jones' goddaughter? Do they know it was written by Rod Temperton, with Michael McDonald (Doobie Bros.) singing background vocals? They do now. The song was on her 1981 album, Every Home Should Have One . It made the Hot 100, but just barely. Then in late '82, General Hospital , the hottest soap of the day, decided to make it Luke's post-Laura song (Forgive me for not delving into the whole &quot;Luke and Laura&quot; reference. If you don't know, you probably don't care.) ABC's phones exploded, and their mailman had a heart-attack, so Warner Brothers re-released it and it went to #1. Interestingly, it was not hers, but James Ingrams' career that took off. The song however, has been covered by singers the world over including; Dalida, Daryl Hall, Laura Fygi, Stephanie Winslow and more. Bad Boys &nbsp;- Inner Circle: &nbsp;This song was recorded first on Inner Circle's 1987 album&nbsp; One Way . They re-recorded it in 1989 for their album&nbsp; Identified , but before it was released, FOX chose it as the theme for the reality TV show&nbsp; 'Cops' . By the time the album was released in '91, the song was already #1 in Sweden. The rest of &quot;avant-garde&quot; Europe followed, but the single wasn't released in America until 1993. As a result of its success in the U.S., the band released another album in '94 with this as the title track and won a Grammy. It only seems fair considering that anytime you hear it, you spend the next few days singing, &nbsp;&quot;Bad boys, bad boys, what you gonna do? What you gonna do when they come for you?&quot; Hanky Panky &nbsp;- Tommy James and The Shondells:&nbsp; You all know Tommy James, even if you think you don't.&nbsp; Mony Mony &nbsp;was not a Billy Idol tune first, just as&nbsp; Crimson and Clover was not originally Joan Jett. Some remember Tiffany's&nbsp; I Think We're Alone Now , and any music lover knows&nbsp; Crystal Blue Persuasion . Well, it all started with&nbsp; Hanky Panky . Tommy James was still in high school in 1964 when the Shondells got together in Ohio. A local radio DJ trying to start a label recorded the song, which he would promote by playing it on his station. It caught on locally, but he didn't have the resources to push it past the range of the airwaves, so that's where it stayed. In 1965, a Pittsburgh dance promoter found it in a used record bin, and began playing it at parties. A local bootlegger copied it, and apparently sold 80,000 records in 10 days. It became a hit in Pittsburgh, and local radio DJ, &quot;Mad Mike&quot; Metro called Tommy who's band had all dispersed by then. He walked into a night club, and asked the house band if they wanted to be &quot;The Shondells&quot; for the purpose of touring and TV performances. They agreed, and after a few appearances, James sold the original master to Roulette Records who re-released it. It hit #1 on the Billboard charts in July of '66, and kicked off an illustrious career for Tommy who ranks among the pioneers of the &quot;Garage Rock&quot; genre, which paved the way for the emergence of Punk and Alt-Rock. So remember his name. Here I go Again &nbsp;- Whitesnake:&nbsp; The song was written in 1981 by David Coverdale in the aftermath of his previous little project known as&nbsp; Deep Purple &nbsp;(maybe you've heard of them). It was included on the 1982 album&nbsp; Saints 'N' Sinners , and became a moderate hit in the U.K., where it seems they have better musical taste (and were big fans of D.P.). In 1987, a remixed version with new backing vocals was added to the album cleverly entitled,&nbsp; Whitesnake . While touring with&nbsp; Motley Crue , it became a hit in America, and the English bought it all over again, calling it the &quot;U.S. Mix.&quot; It ultimately became an anthem for the &quot;You can do it!&quot; movement that led thousands of men to continue growing their hair and wearing leopard-print spandex pants long enough to discover they were 45 and still getting stoned in their mom's basement. I'm Gonna Be (500 Miles)&nbsp; - The Proclaimers : &nbsp;This track was released in 1988. In 1989, twin brothers Craig and Charlie Reid were touring with the&nbsp; Housemartins&nbsp; when the song hit #1 in Australia. &nbsp;Later in the U.S., they had a small following among the hipster set, one of whom was actress Mary Stuart Masterson, co-star of Johnny Depp in the 1993 movie&nbsp; Benny And Joon . Apparently, Masterson kept playing the song during time-outs on the set, and it got under everyone's skin, especially director Jeremiah Chechik. At some point, they just decided it should be in the film, and&nbsp; The Proclaimers&nbsp; were the last to know, but when it became a huge hit in America, they decided not to file a lawsuit. Go figure. Never Been To Me &nbsp;- Charlene:&nbsp; Admitting I like this song is tantamount to painting my toenails, but I am man enough to confess at least some of my guilty pleasures. In 1977, Motown released this song, and it barely cracked the Hot 100. Sometimes when you don't succeed, you try again. Other times, you fail so badly, that you pack your stuff, sell your house, and try to get a spot on Dancing With The Stars. Alas, this was not an option in those days, so Charlene ended up wearing an apron behind the counter of a confectionery shop in England. Then in 1982, some radio DJ in Florida (whose toenails I suspect may have been a little jazzy) started playing the song, and ignited enough popular demand for the label to re-release it. Next thing you know, the apron's in the fireplace, and she's on the next episode of&nbsp; Solid Gold . Unfortunately, the extra 15 minutes of fame gave Motown Prez Berry Gordy the ridiculous notion that he could squeeze another hit out of her. On her next album, she recorded a duet with Stevie Wonder, and even that didn't work. Bless his soul though, Berry gave her one more album and tried to promote her with a sexy video in the movie, The Last Dragon. When that failed, he simply took her out behind the building and pummelled her to death with a coconut stuffed into an old tube sock. Alright, I can't prove that, but no one has seen her since. The Twist &nbsp;- Chubby Checker:&nbsp; The song was originally released in 1959 by Hank Ballard as a B-side to&nbsp; Teardrops on Your Letter , but the tune was catchy. Dick Clark heard it and tested it on the&nbsp; American Bandstand &nbsp;audience, who reacted favourably. Unfortunately, Ballard couldn't perform it on the show for several different reasons. Dick had so much clout that he was able to get the record company to agree to let Earnest Evans cover it. Earnest was a local boy who would mimic Fats Domino, Elvis, and other artists of the day. When asked to come up with a stage name, he chose &quot;Chubby Checker&quot; as a parody of the name &quot;Fats Domino&quot; (think about it). In 1960, Checker's version was recorded and started a craze. It made Billboard's #1 in September of 1960. Ballard was not bitter when he heard the &quot;cloned&quot; version of his song, saying &quot;I thought I was listening to myself&quot;. Also, he earned enough royalty money from the cover to wash away any prideful sting. Then, while Checker capitalized on the craze by releasing Let's Twist Again and Slow Twistin', other artist like Joey Dee released Peppermint Twist, and others of the &quot;Twist-y&quot; sort. This made the original Twist resurface in January of 1962 and it went to #1 again, a feat that had never been achieved. Is that all? Heck no! The song eventually made it's way to the UK and hit #1 there in 1962 as well. Crazy! Oh, and in 1988, The Fat Boys recorded a rap version with Chubby Checker singing the chorus, and it became a hit again! It even reached #1 in Germany. I guess it takes a heavyweight. Time in a Bottle &nbsp;- Jim Croce: &nbsp;Jim wrote this song for his unborn son Adrian (later to be known as singer A.J. Croce), and it was on his 1st major label album,&nbsp; You Don't Mess Around With Jim &nbsp;in 1972, but not released as a single. His 2nd LP,&nbsp; Life And Times&nbsp; yielded a #1 hit with&nbsp; Bad Bad Leroy Brown &nbsp;in early '73. Then in September, ABC aired a TV movie called 'She Lives' , about a young woman with cancer (who apparently lives). The film features Dezi Arnaz Jr. holding Croce's record and listening to the tear-jerking tune. It caught fire the next day, reviving the album (because again, there was no single). This happened just as he had completed his 3rd project,&nbsp; I Got a Name . On September 21, 1973, 8 days after the show aired (stay with me), the very same day they pre-released the single of the title-track,&nbsp; I Got a Name , Croce was killed in a plane crash. That album was released on December 1st, and while it was climbing up the charts,&nbsp; Time in a Bottle &nbsp;came from behind and became the last #1 hit of the year on December 29th, 1973. That sums up Croce's prolific 2-year career and leaves us wondering what he could have given us in a longer lifetime. Who Will Save Your Soul &nbsp;- Jewel: &nbsp;She wrote this song around 1990, when she was just 16. Her producers made her re-record the song for the album which was released in 1995 while the original version played on the radio. It did okay, but wasn't selling big. However, 1996 became the breakout year for female singer/songwriters like Sheryl Crow, Sara McLachlan, Joan Osbourne, and Alanis, and guess who fit right in? Radio stations started playing it, and the demand made them burn more copies. The album was a hit, but more importantly the song she had written when the dream was still a dream had earned validation from the fans. Amateur guitar players will also be happy to know that the whole song is 4 simple chords: Am, C, G, D. Those same people will hate her when they try to figure out the cadence. Sorry. Now I know you all just learned something new and interesting. Don't mention it. It's my pleasure. Share this with your fellow music lovers and join me on Facebook&nbsp; http://www.facebook.com/mikebenhaimsays as well as Twitter&nbsp; http://twitter.com/mikebenhaim]]></description>
                      
                      <link>http://www.metronews.ca/edmonton/blog/post/1031559</link>
                      <author><![CDATA[]]></author>
                      <category><![CDATA[/Blog]]></category>
                      <keywords><![CDATA[Jim Croce, Whitesnake, Tommy James, Billy Vera]]></keywords>
                      <pubDate>Tue, 22 Nov 2011 16:01:28 -0400</pubDate>
                      <author>Mike Benhaim</author>
                      <guid isPermaLink="true">http://www.metronews.ca/edmonton/blog/post/1031559</guid>
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                  <item>
                      <title><![CDATA[Retro Groovin']]></title>
                      <description><![CDATA[The term &quot;Retro&quot; with reference to art or fashion has in recent years, infiltrated our vocabulary. To hipsters, and anyone trying to sell you something old, retro is cool. Like your granddaddy's tweed blazer from an age when tailors took pride in every garment they created, and things were not yet mass-produced by robots in China, retro is ostensibly superior. So what does that say about retro music? Are we talking about &quot;oldies&quot;, or a new genre unto itself? My research led me to the consummate funnel of all modern verity and wisdom: Wikipedia. To paraphrase the &quot;pedia&quot;, Retro is &quot;a culturally aged style or trend from the overall postmodern past, that has since become the norm once again.&quot; It goes on to say, &quot;It generally implies a vintage of at least 15 or 20 years.&quot; Not so much about music, but luckily I have a gift for metaphoric translation, so please allow me to elucidate, and if you pay attention, you might find common musical ground between the generations. Everything is interesting when it's new; Art, fashion, cars, puppies...all eventually lose their lustre when familiarity rears it's tedious little head. We move on to newer things, scoffing at the overexposed banality we left behind, until we discover one day, that we've been scoffing for 15-20 years. Then a torrent of nostalgia motivates us to proudly profess our &quot;guilty&quot; pleasures. We say, &quot;Damn it, I like Boy George, and I don't care who knows it!&quot;, and begin belting out the chorus of Karma Chameleon . I caution readers to avoid having this epiphany at a biker bar. A gay bar is fine. In any case, a good song is an eternal gift. It can eventually seem dated, but just as a fashionable person can integrate vintage clothing into their modern style, so can an artful musician breathe new life into a classic, or take a previously unsuccessful song, and give it wings. Moreover, a good song-smith can create original music employing a retro mode of expression.&nbsp; Since the 90s, we have seen an influx of artists who pay hommage to the greats gone-by with elements of their vintage style fused with original modern music. Harry Connick Jr. swooped in with Sinatra-like vocals, while Brian Setzer, Cherry Poppin' Daddies, and Squirrel Nut Zippers saved Swing music from extinction. The artists below are those that have risen to prominence through a style that appeals to the listener for its hybrid of familiarity and originality. The penultimate compliment to the long-forgotten innovators of any genre, is not to mimic, but to perpetuate by turning their legacy into something new.&nbsp; Here are some that do it well: Adele: Everybody knows her now and she is barely 23 years old, but the force is strong in this one. While extraordinarily unique, her tone conjures images of old songstresses like Nina Simone and Etta James. Her music is fresh, and her style is timeless. She will be around long enough to become the comparative standard for the next generation. Aloe Blacc: A rapper and musician in several groups for the better part of a decade, he finally shed his anonymity this year with his solo debut, Good Things . You've probably heard I Need A Dollar , and thought you were listening to Bill Withers or Billy Preston. Aloe could easily be mistaken for a one-hit wonder if not for his artistry, vocal prowess, and commanding presence. For further proof, I recommend Loving You is Killing Me (Seriously, you will thank me), and for kicks, his Spanish rendition of John Legend's Ordinary people .&nbsp; Amy Winehouse: Long love-line, short lifeline. Her presence was brief, but her legacy ample. Despite calling to mind jazz and R&amp;B legends of yesteryear, both male and female, her sound was never dated. In fact, the traces of hip-hop and funk in her music distinguished her from others who seem to counterfeit the genre. Hers was never disingenuous, and always massively appealing. Cee-lo Green: Green possesses an old-school R&amp;B flavor in his voice, and alludes to a similar influence in his music. During a recent guest spot on the NBC series, Parenthood , Cee-lo records his interpretation of Erma Franklin's original version of the Janis Joplin hit, Piece of My Heart ... and it smoked. He has an organic soulfulness to his vocals that I liken to Stevie Wonder or Sly (of the family) Stone, and that is some lofty praise. I refer listeners to his 2004 album entitled Cee-Lo Green... Is the Soul Machine , or his 2007 Gnarles Barkley album, St. Elsewhere . Erykah Badu: Badu pioneered the &quot;Neo-soul&quot; genre, and earned the monniker &quot;First Lady of Neo-Soul&quot; with her Baduizm CD in 1997 (Not just anyone is granted their own &quot;izm&quot;). This hot-lipped babe burst onto the scene so fiercely with her Billie holiday-meets-Foxy Brown style, that we forgave her for wearing those garish head-wraps. We may even forgive her for the 3 children she bore to Andre Benjamin (of Outkast), Common, and D.O.C. respectively. Not because each has a different father, but because she named them Seven Sirius, Puma Sabti Curry, and Mars Merkaba Thedford. As Ms. Holiday once said, &quot;G-d bless the child&quot;. Janelle Monáe: Discovered by Big Boi (of Outkast), this phenomenal 26 year-old somehow managed to fly under the radar for 5 years until 2010's hit, Tightrope . If scientists were to clone and blend the rhythmic DNA of Michael Jackson, James Brown, Lauryn Hill, Prince and Lady Gaga, we might end up with something resembling Janelle. Like most geniuses, she is eccentric, and has created an alter ego named Cindi Mayweather. Cindi is a messianic female android in some neo-orwellian version of earth's future, a concept that Monáe plans to turn into a movie and graphic novel. And I'm exhausted just from writing this blog. John Legend/The Roots: They should be 2 separate items, but I would inevitably have to mention their collaboration album, Wake Up . The Roots have been regaling us with their funk-infused brand of Hip-Hop since the early '90s, and Legend materialized in 2004 with the Donny Hathaway-esque ballad, Ordinary People . The offspring of this alliance is a CD rife with vintage Philly and Motown R&amp;B, even covering the likes of Marvin Gaye and Teddy Pendergrass. The Roots, who are now the house band on Late Night with Jimmy Fallon, have gained respect by merging '70s soul to Rap without compromising the urban sensibility of the music. John Legend is a talented star with a throwback vibe that belies his years. I simply saw this album as a peanut butter cup. Both are great alone, but together... downright decadent. Michael Buble: Some say he's a white-washed version of the real deal because he rose to stardom on the coattails of the artists he covered. Okay, I was the one that said it but that was before he showed that he could write his own music, and creatively re-invigorate obscure classics for a new audience. Furthermore, as much as I loves me some down-home, rough-edged, dirty rhythm &amp; blues, I'm also a sucker for a well-produced, mid-tempo, finger-snapping, Vegas lounge love song.&nbsp; Norah Jones: No doubt the daughter of Ravi Shankar was granted both the genetics and the exposure of musicality from her embryonic beginnings, but damned if she isn't the subtle kind of sexy that keeps me interested long after her contemporaries have been muted. The fact that she debuted on the Blue Note Record label seems fitting given her retro-jazzy influence. She invokes the spirit of greats like Dinah Washington and Ella Fitzgerald, but is an accomplished artist in her own right who need not (and does not) &nbsp;live off covers alone. Easy to enjoy for the casual listener and music afficionado alike. Raphael Saadiq: This multi-faceted musician was 1 of 2 Wiggins brothers in the 90s R&amp;B group Tony! Toni! Toné!, but he changed his name to Raphael Saadiq so that he could never be confused with anyone else (He and Englebert Humperdinck). The best story I found was of his audition to play bass in Sheila E's band. He got the gig, and went on tour... with Prince... just before his 18th birthday! Saadiq's devotion to the vintage soul of Motown and Staxx records is so strong that the release of his 2008 album, The Way I See It , included in addition to the traditional CD, a collector's edition box-set of 45s (I just lost everyone under 35). This album honors those styles so authentically, that my cousin refused to believe the songs were not remakes, even though every single one was an original Saadiq production. There's a lot more where that came from in Saadiq's past and future. I can go on to praise singers like Joss Stone, or go further back to Sade, but my mission is only to provide the spark. If you appreciate vintage jazz like Sarah Vaughan and Louis Armstrong, or classic soul singers like Sam Cooke, Otis Redding, and Al Green, &nbsp;but you think those days are gone, think again. The spirit lives on, and the music is being handed down to your children.&nbsp; Follow me at&nbsp; http://www.facebook.com/mikebenhaimsays or on Twitter http://twitter.com/mikebenhaim]]></description>
                      
                      <link>http://www.metronews.ca/edmonton/blog/post/1008947</link>
                      <author><![CDATA[]]></author>
                      <category><![CDATA[/Blog]]></category>
                      <keywords><![CDATA[The Roots, Raphael Saadiq, Aloe Blacc, Norah Jones]]></keywords>
                      <pubDate>Thu, 27 Oct 2011 21:54:58 -0400</pubDate>
                      <author>Mike Benhaim</author>
                      <guid isPermaLink="true">http://www.metronews.ca/edmonton/blog/post/1008947</guid>
                   </item>
             
                  <item>
                      <title><![CDATA[Which hit wonder?]]></title>
                      <description><![CDATA[Everybody loves those silly one-hit wonders. There are some good ones, and some really, really bad ones. Some are released expressly for stand-alone novelty successes, and some decent musicians stumble upon a hook by accident, while other commercial artists wisely produce them for money beneath the veil of a pseudonym. Here's the story of a man named Rostom Sipan Bagdasarian, who was a pianist, singer, songwriter, actor and record producer in desperate need of a better stage name. He chose David Seville, which barely even contains any of the same letters (and that's a considerable amount of letters). In 1958, he invested in a V-M tape recorder that allowed playback at different speeds (cutting-edge technology at the time). His hit song, &nbsp; Witch Doctor&nbsp; (ooh-ee, ooh-ah-ah, ting-tang, walla-walla, bing-bang) marked the first time the world had ever heard that squeaky, high-pitched sound (but apparently not the last). Who would have thought that stumbling upon that little nugget would forge the beginning of a prosperous career? That winter, he released the now &quot;classic&quot; Chipmunk Song (Christmas Don't Be Late) and a new sensation was born. He even won two Grammy Awards that year. Since then, as the owner/uncle of Alvin and the Chipmunks, he has earned a fortune from records, TV shows, and movies. Witch Doctor is still considered a 1-hit wonder. As far as I am concerned, a one-hit wonder is a song by a singer or group that did nothing else, like Rupaul or Los Del Rio who we can thank for the @#$%^&amp;* Macarena. If a group is popular among it's followers and releases records that sell, but just don't make the mainstream American charts, are in my humble opinion, not one-hit wonders. Otherwise, the Grateful Dead, Jimi Hendrix, and Janis Joplin would all be on the list. Most of their songs were never top 40 hits, but they sold outstandingly for decades, and are considered rock classics. So why is it that whenever it is the subject of an MTV, Much Music or VH1 special, I find myself yelling at the TV set, upsetting my wife and dog? For one thing, Americans (bless their hearts) are a little megalomaniacal, and oblivious to &quot;foreign acts&quot;. Now, I'm all for dismissing David Hasselhoff as an artist, but when Tom Cochrane makes the list for Life is a Highway, because it's his only song that made the U.S Billboard charts, it gets silly. There are other nutty examples like Layla, recorded under the name Derek and the Dominos, but who everyone knows is Eric Clapton. Some of the artists that occupy these lists gain international fame with some catchy earworm that is in no way indicative of their overall repertoire, and can come to define them&nbsp;unjustly. Stevie Wonder is obviously a prolific artist, but if one more person alludes to his body of work by the song, I Just Called to Say I Love You, I may end up in jail. Here are some of the songs I discovered on a number of lists with which I disagree. These acts stand accused as one-hit wonders, and sadly, they have only me to defend them. Baha Men - Who Let the Dogs Out : This addicitve hit eclipsed all of their other work, and while it may have been their highest charting hit, it's arguably not their best. This group of Bahamian men (hence the name) have been around for 20 years making music in their &quot;Junkanoo&quot; style. As a DJ, I used to play Best Years of Our Lives (featured in the movie Shrek), and if you have kids, they will know many Baha Men songs from the popular Disney Mania albums. They won the Nickelodeon Kids Choice Award in 2 different years, and someone has the nerve to call them a 1 hit wonder? What's next, Sharon, Lois and Bram? Raffi? Will these people stop at nothing? Chris De Burgh - Lady in Red : Seeing this on a VH-1 show really offended me, and I am not even British. This guy had several classic albums, and was renowned as a brilliant musical storyteller in the 70s and 80s with songs like; Spanish Train, Patricia the Stripper, The Traveller, Don't Pay the Ferryman , and more. Now, this lyrical and orchestral wizard is to be pigeonholed for life because of one weak, sentimental moment during which he wrote this sappy ballad? Whoever that &quot;Lady&quot; is, she owes us all an apology. Cliff Richard - We Don't Talk Anymore : I found this one on-line, and gave the writer a (small) piece of my mind. This is categorically untrue. Cliff Richard hit the U.S. charts several times (including a forgettable duet with Olivia Newton-John in the 80s), but he was huge in Britain and Australia throughout the 60s. He was even known as the British Elvis. This alleged &quot;one hit&quot; is a corny, easy listening tune that represents neither his style nor his stature. He owns the definitive version of the oft-covered, Devil Woman , and he was known to me for other songs even as a child. He has had so many successful records over the decades that Wikipedia has a separate page just for his discography. Need I say more? Crash Test Dummies - Mmm Mmm Mmm Mmm : VH-1 named them for this, their only U.S. hit (which they almost deserve for not coming up with a better title), but here in Canada they had 7 or 8 hit songs in the 90s. While not a huge fan, I'll be damned if I am going to let VH-1 misrepresent our home-grown talent. Divinyls - I Touch Myself : A popular group with a hot female lead finds success in a song about her pleasuring herself? D'ya think they had a plan? What surprises me more is that North-Americans had already forgotten their 1985 hit, Pleasure and Pain . That detail notwithstanding, their fans from down-under showed their love with over a dozen hits in a 15 year span. Despite experiencing immeasurable turnover among musicians, founding members Christina Amphlett and Mark McEntee were around for all of them. If you're interested, check out I'm Jealous , and their cover of Roxy Music's Love is the Drug. Edie Brickell and the New Bohemians - What I Am : I can't make much of a fuss about this since her subsequent albums little commercial success, but there were some good tracks on that same Shooting Rubberbands album. Circle was one of my favorites and was also a moderate hit. On the other hand, this one album enabled her to meet, marry, and have a child with the legendary Paul Simon, so we award her points for that. Frankie Goes to Hollywood - Relax : Even if you disregard their 2nd album with hits Rage Hard and Warriors of the Wasteland , They are still not 1-hitters. That first record, Welcome to the Pleasuredome scored a hit with the title track, Two Tribes , and the eerie ballad, The Power of Love . If you ask me, the real culprits were those darned &quot;Frankie Say... Relax&quot; t-shirts that conditioned everyone to believe it was their only hit. Oh and yes, the original t-shirts read &quot;Frankie SAY...&quot; , not &quot;Frankie SAYS...&quot; , probably because the Frankie in question is the band, and therefore plural, but who knows? Gary Numan - Cars : Great song, but he also charted in 1979 with Are 'Friends' Electric?. Despite being really weird, Numan had a large and loyal following. He scored a handful of hits in the early 80s including We Are Glass and I Die, You Die (a real spirit-lifter). More importantly, to refer to him as a 1-hitter is to unjustly ignore his contributions to New Wave, Punk and Electronica. He experimented with different genres in the 90s, and while none were commercially succesful, those albums were well-received by critics and devotees. Inner Circle - Bad Boys &nbsp; (a.k.a. the theme from COPS) : VH-1 listed this, but the band has been around since the early 70s with hits in the Carribean and the U.K. Most of you are probably more familiar with their other hit, Sweat (A La La La La Long) which hit the top of the charts everywhere but the U.S., and I am not sure why. Either way, they don't belong on these lists. The Knack - My Sharona : Technically, they were a 1- album wonder, because Get the Knack &nbsp;was a good record. The project spawned another hit with the song Good Girls Don't , but few seem to remember that. Still, I admit that this one is not worth putting up much of a fight about, because despite their 2nd album selling marginally well, the only song anyone ever wants to hear is still... My Sharona . Lenny Kravitz - It Ain't Over Till It's Over: &nbsp; Lord have mercy!&nbsp;Wayne Jancik included this in his Billboard Book of One-Hit Wonders . Granted, the book was published in 1999, and Jancik's criteria was strictly cracking Billboard's Top 40, but that is neither an excuse nor does it disprove my point. Lenny Kravitz had already made a name for himself before this song, but convincingly more by the time the book was published. &nbsp;Even in 91, if that was the first you heard of Lenny, then you were in pre-school, and not a very cool one. Sir Mix-a-lot - Baby Got Back : His inclusion on a &quot;1-hit&quot; list implies that Sir Mix-a-lot only &quot;mixed-a-little&quot; , but that is not the case. Despite the success of his catchiest, but least serious tune, he was a legitimate rapper in the late 80s before the cruise ships got wind of diddy in 92. Then, in 1996, he released his 5th album, Return of the Bumpasaurus &nbsp; which featured the single Jump on It , a popular tune that is still played at parties and sporting events, but never really made it into the mainstream charts. Spandau Ballet - True : Now, I'm not saying I want to sit through a concert, but they were definitely not a one-hit wonder. I know this because my high-school girlfriend used to make-out to the song, Gold. I know I was at least one of those guys. That's right, Spandau Ballet made my &quot;sex soundtrack&quot;. I am not ashamed. Some of you have Lionel Richie, Barry Manilow, and 99 Luftballons in yours. The important point is, they had around 10 hits including Round and Round and Only When You Leave. Marky Mark and the Funky Bunch - Good Vibrations : Oh who are we kidding? This is the mother of all one-hit wonders. Even Mark Wahlberg is embarrassed by this sound-stain. I just threw it in there to see if you were still paying attention. This list could be much longer because many of the acts deemed to be one-hit wonders do not deserve the classification. In most cases, the song they’re most remembered for is not their best, but it's usually the one that gets in your head and stays there. Unfortunately, often, you really wish it wouldn't. Join me on Facebook&nbsp; http://www.facebook.com/mikebenhaimsays or on Twitter http://twitter.com/mikebenhaim&nbsp;]]></description>
                      
                      <link>http://www.metronews.ca/edmonton/blog/post/1001870</link>
                      <author><![CDATA[]]></author>
                      <category><![CDATA[/Blog]]></category>
                      <keywords><![CDATA[Chris de Burgh, Edie Brickell, Lenny Kravitz, Sir Mix-a-Lot]]></keywords>
                      <pubDate>Wed, 19 Oct 2011 23:03:12 -0400</pubDate>
                      <author>Mike Benhaim</author>
                      <guid isPermaLink="true">http://www.metronews.ca/edmonton/blog/post/1001870</guid>
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