Dive In the Pool

Dive In The Pool

[Tony’s note 5/29/12:  While I considered this probably my most “lightweight” column, it got more responses than any other that was published.]

Inspired by our fabulous swimsuit issue, I thought I’d focus this week on summer music.  Great summer songs can be irreverent, simple, energetic – like “Good Vibrations” by Marky Mark featuring the late Loleatta Holloway, “It Takes Two” by Rob Base & DJ EZ-Rock, or “Don’t Give Up” by Chicane featuring Bryan Adams (gotta do what you wanna do…)

They can be obvious like “The Boys of Summer” by Don Henley, “Summergirls” by Dino, and “Summertime” by DJ Jazzy Jeff and The Fresh Prince – or almost anything by Donna, um, Summer.

And I realized some are just random memories triggered when I sat down and thought, “What are some great summer songs?”

The first that popped into my head were “Magic” by Pilot (that’s from the 70’s, twinks) which made me think of riding in the back seat of mom’s sky blue Maverick as we headed to the Jersey Shore.  “Don’t Go Breakin’ My Heart” by Elton John & Kiki Dee reminded me of the big pool at the hotel as I floated on a Donald Duck inflatable tube and mom watched from the lounge chair.   And a few years later, “Stand Back”   by Stevie Nicks was my summer jam.  I took my clunky tape recorder with a homemade recording of it and rode my bike around the neighborhood, basking in that song as much as the warm sun on my little 11-year old shoulders.

Then I thought of the time I went to the beach at Wildwood, NJ and my cousin Maria (who was a few years older and already going to teen clubs) put a mixtape in the boom box. The first song on it was the original “Point Of No Return” by Expose.  Something about that synth riff  drove me nuts, and still does to this day.  As soon as I hear it, it brings me back to that moment in Jersey (pre-Snooki.)

As I got older, I remember driving to Sandy Hook’s beaches as often as I could (but never often enough) and without fail, “Strike It Up” by Black Box featuring Martha Wash would come on the radio during the drive down every single time. Those big, powerful vocals combined with a gorgeous sunny day and the knowledge that I would soon be flat on my back, er, my beach towel with toes in the sand – made me high.

A few years later, a new dance radio station emerged out of NYC.  I remember arriving at Belmar beach one day, and as I searched for the perfect spot to set up camp, I noticed every single radio I passed had that new station on, all playing “Fantasy” by Mariah Carey. (Surprise – it was the gay beach.)

So you can see a lot of my “summer song memories” are tied to the Jersey Shore where I grew up.  These songs and this season together created some of the happiest feelings in my life.  It was a fix I wanted to capture more often than just weekends in July and   August.  And that was the reason I moved to Fort Lauderdale over 13 years ago.  It’s almost always summer here, at least to me.  And it makes all the great songs sound better.

I’d love to hear some of your favorite summer songs and the memories attached to them.  Write me at wegotthebeats@aol.com, or post them on our facebook page, we-got-the-beats.


American Idol vs. The Voice

I knew I was going to do an American Idol column, but I thought it would have been closer to the finale.  Since the top 3 mostly suck, I may as well do it now.  Warning: this may turn out to be a rant.

Here is my issue:  “The Voice” matters.  No, not the other singing competition reality show starring Christina Aguilera, but the actual vocal ability of each contestant.

People were blowing up facebook crying about James Durbin going home because they liked him.  I politely (as ever) pointed out the boy’s routine trouble hitting the proper notes.  Some folks seem to think notes don’t matter because he can go through the motions on stage.  That’s like saying spelling doesn’t matter when you write a novel.

There are those artists I would call “vocalists:”  Aretha Franklin, Mariah Carey, George Michael, Whitney Houston (until Bobby Brown got a hold of her) and of course, Barbra Streisand, to name several.  (Don’t be offended if I skipped your pet diva.)

Then there are those I would call “performers,” people who can sing well enough to cut a record (but may require a smidge of studio enhancement) and are carried more by their music, writing, personality, style, videos, or some other je ne sais quoi: Britney Spears, Madonna, Janet Jackson, etc.

As I mentioned last week, there is plenty of room for the Britneys of the world, and I still get all into it when I hear “Circus” on the radio.  (It’s better than anything on her latest CD.)  But would Britney have won American Idol?  Maybe…perhaps more for being cute and likeable (when she was) than for her singing ability.  Should she or someone with comparable vocal ability win it?  I guess that depends on how you interpret the intent of the show.

Simon Cowell always used to remind fellow judges, “This is a singing commm-petition.”  Simon is gone (although returning via “The X-Factor” with Idol alum Paula Abdul in September) and apparently his mantra has been forgotten.  The judges on Idol this year have been overly gushy, and very short on constructive criticism by comparison.  This has not served the contestants or the show well.  By not placing enough emphasis on the voice, better contestants have gone home before their time, and the top 3 are lackluster at best, left to get by on their personal appeal or their barely-honed showmanship.

I have great respect for Steven Tyler as the frontman for Aerosmith.  But more often than not, his “advice” is 100% pure fluff, a la the aforementioned Abdul’s first few years on Idol.

J-Lo, while I like her, is not a “vocalist.”  She is a “performer.”  So when she hears someone like Pia Toscano (who many thought was wronged when she got the boot) on some level she has to think, “Wow, I can’t even sing like that.”  But here is where the less-focused-on-proper-notes crowd have a point: it’s not JUST about the voice.  The delivery is equally important.  That means stage presence and emotion – which does not mean dancing or growling or raising your eyebrows while holding the microphone like a flute.  Pia was technically good.  She would be great to lay down demo tracks or sing backup for someone with more personality who puts BALLS into a song; since she doesn’t do that herself.

On the other hand, people who are pitchy all over the place but deliver with conviction do not carry equal validity as “singers.”  You have to have more than just the voice, but you have to have at least the voice.  James acted more like a teenager jumping around his bedroom and mimicking his favorite bands than an actual artist.  He did have at least one solid performance: during Carole King week, his take on “Will You Love Me Tomorrow” was uncharacteristically error-free.  But most of his songs were very uneven.  He and the recently discarded Jacob Lusk (who I wanted to like and reminded me of Sylvester) seemed to have the same formula: pick a great song, sing it all pitchy throughout, hit a big (but off-key) note really loudly and hold it (to inexplicable applause) and then take the lack of correction by the judges as a sign to do it again next time.

Even Seth Rogen – I mean, Casey Abrams with the big fat bass (hi, Britney!) – who I liked and appreciated for his musicianship, risk-taking and odd charm, was overrated in my opinion.  He was not vocally consistent.  When he was off on a riff, he could tear it up.  But when he was trying to nail a particular note, it was hit-or-miss.  A baseball player can’t just keep hitting foul balls, he (or she) has to really connect to be considered “good.”  (Whoa, did butchie just make a sports reference?  Happy anniversary, Sidelines!)  I did enjoy many of Casey’s performances, and especially his few duets with Haley.  Haley has emerged as the one I would find least offensive as the winner.  She, like Casey, needs to stop the stupid growling, or at least minimize it.  She is the most consistent of the finalists (oh come on, I don’t even count the country people anymore.  But that’s a whole other column.  However I will predict, if the two country singers make the finale, it will be the lowest rated finale ever.)

Aretha Franklin doesn’t dance.  She doesn’t have a gimmick.  She doesn’t need either.  When you can really sing, when you convey emotion with your voice, when you possess natural stage presence, you don’t need enhancements.  You don’t even need backup dancers.

No matter who wins, American Idol has lost “The Voice” this year.

If you agree, or if this pisses you off, all feedback is welcome at wegotthebeats@aol.com, and we may even quote you in a future column.

New music review: Stevie Nicks – In Your dreams


For the record, I am very fond of Stevie Nicks.  I’m a big fan of just about everything she’s ever put on the radio, be it solo or with Fleetwood Mac.  But thus far it has pretty much ended there.  I have never purchased one of her solo CD’s until this one.  Up to now, we’ve had a strictly “radio relationship.”

With that established, my first impression of In Your Dreams was that it is a little bit monotonous.  The songs and the singing are pretty similar throughout (especially on the first few tracks.)  They’re nice songs, so that’s not so bad, but I was waiting for her voice to soar here and there like on some of my favorite Stevie tracks such as “Edge Of Seventeen” or “If You Ever Did Believe.”

She also makes a ton of references to vampires, angels, ghosts, witches, and magic.  I guess that makes sense – if you think of her outfits going back forever, you could call Stevie the original “goth chick.”  Long before it was a fad and every third show on TV was about vampires, she more or less dressed the part.  Still, I couldn’t help wondering if she isn’t trying to shop any of these little ditties with titles like “Moonlight (A Vampire’s Dream)” for the soundtrack of the next “Twilight” movie.

I would be remiss to not mention the contribution of Dave Stewart, best known for his work with Annie Lennox as half of The Eurythmics.  He produced and wrote the music for most of the album, while Stevie wrote most of the lyrics.  (No, this is not Eurythmics featuring Stevie Nicks.  Don’t expect synthesizers.)

The highlight of the album, and something obviously very important to Stevie, is a track called “Soldier’s Angel.”  First, there is the “music history” feel of it – Stevie invited her ex-lover and bandmate Lindsey Buckingham at the last minute to come and sing and play guitar on the track.  He only comes in on the chorus, but his vocal adds an even more haunting quality to an already haunting song.

This song was inspired by the Walter Reed Army Medical Center, where our wounded soldiers recover when they come home from war.  Stevie has visited there a lot, and started a program in the mid 2000’s where she would personally load ipods with songs of her choosing to leave with each soldier, to make them feel better.  Other artists have gotten on board and contributed as well.  I find that exceptionally commendable and amazing.  How do you not love a woman like that?

Those experiences inspired these words:  “I am a soldier’s angel – through the eyes of a soldier – I am a soldier’s mother – through the eyes of an angel – I am a soldier myself – and no one walks away from this battle”

“I am a soldier’s memory – as I write down these words – I try to write their stories – and explain them to the world – I float through the halls of the hospitals…”

If you don’t buy the whole CD, get on youtube right now and listen to “Soldier’s Angel.”

The track immediately following that one is an interesting contrast.  In the same way Lindsey Buckingham came in on the chorus and brought a more haunting quality to “Soldier’s Angel,” Dave Stewart comes in only on the chorus of “Everybody Loves You” and adds a level of cold detachment to a song about the same, in defiance of its title.  “Everybody loves you – but you’re so alone.”

Another favorite that I find fascinating is “Wide Sargasso Sea.”  It’s about a volatile relationship that eventually burns itself out – literally.  “She burned his house down saying – You may have forgotten me – but you’ll remember this.”  Wow.  I didn’t know Stevie had that in her.  I love it.

“New Orleans” is a nice tribute to the city, and pretty catchy once you get to the chorus.  You know she’s telling the truth (and channeling her inner drag queen?) when she says, “I wanna dress up – I wanna wear beads – I wanna wear feathers and lace.”  And “Annabel Lee” is an adaptation of the famous poem by Edgar Allen Poe, and it works.

“Ghosts Are Gone” is the only real rock-ish track, but I don’t understand what it means.  If anybody knows, by all means shoot me an email.  And “You May Be The One” is a poetic rebuke of a doomed relationship, almost as she’s realizing it’s doomed.  “You think you’ll understand – but you don’t understand – you may be my love – but you’ll never be my love…You broke my heart…I used to love you…”

Not a lot of sappy love songs here.  That’s fine; these songs exploring two people unable to reconcile are deeper and more intricate than the average love song.  I wondered as I listened if they were about her famously tumultuous relationship with Buckingham, or some other affair.  (She also was with Don Henley of The Eagles for awhile, and had a brief marriage to the husband of a friend of hers after the friend died of leukemia.)

The bottom line: is this a CD I’m going to take in the car with me and listen straight through, singing along?  I doubt it.  I just don’t relate to a good chunk of it.  On the day it was released, glee aired their “Fleetwood Mac – Rumours” episode, which only amplified what I felt were weak spots on this album.  But I appreciate it musically, and I’d love to hear “Soldier’s Angel” on the radio.

If any of this rings true, or pisses you off, all feedback is welcome at wegotthebeats@aol.com!

Lady Gaga – Crucify Her(?)

Lady Gaga’s new single sparks controversy (shocker!)

Some douche who must not be named, the President of the Catholic League for Religious and Civil Rights, is flapping his yap about “Judas,” Lady Gaga’s new single.  “This is a stunt…I find Gaga to be increasingly irrelevant,” he states, among allegations of blasphemy and other things.

Whenever people call something blasphemous or claim it sounds like a Madonna rip-off (same difference?) two things happen:  sales increase (duh!) and I have to examine the subject of the ire so as to not make a snap judgement, as this douche has done.

So, “Just the facts, ma’am.”  But facts are difficult to procure when you are talking about art.  An artist puts out a song and it may mean different things to everyone.  People read their own experiences into it.  At some point the artist may or may not clarify their intent, but that still does not prevent people from hearing what they want to hear.

“I wanna love you – but something’s pulling me away from you – Jesus is my virtue – Judas is the demon I cling to.”

Is this what has people all up in arms – the basic struggle within oneself between virtue and temptation?  Gaga is not singing this from the perspective of Jesus.  She’s not saying Jesus is in love with Judas.  She’s not saying she’ll take Jesus down. This is one Catholic woman’s interpretation of her own struggles.  If you fear that, if reading your own truth into it scares you to the point you have to bash her, then perhaps a review of your own faith is in order.

Maybe the objection is she seems to be leaning more towards Judas than Jesus in her struggle?  Haven’t we all been there at times?

This song is an analogy – probably not as perfect an analogy as she thought (Judas didn’t betray anyone three times; Peter did.)  It’s essentially the same age-old Jesus vs. the devil, “my good side vs. my bad side” idea, except she used Judas as the representative of evil or temptation rather than the typical Satan.  Points for being different!

Now, the chorus may be a little too upbeat and bouncy for my taste: “I’m just a Holy fool – oh baby he’s so cruel – but I’m still in love with Judas, baby.”  It sounds like it could be a number from “The Book of Mormon” on Broadway, with a bunch of nuns and priests waving their jazz-hands to the beat.  Eh, I’m sure I’ll get used to it.  I got used to “Alejandro.”  (omg the Skrillex remix was amazing.)

One thing you cannot deny about Gaga is her talent.  You may or may not like her music, but when someone can write, play, sing, and reinterpret live on the spot, you hurt your own credibility when you say things like, “She is trying to rip off Christian idolatry to shore up her talentless, mundane and boring performances” (as the douche went on to say.)  Seriously?  Talentless, mundane and boring?  If you have a valid critique on religious or other grounds, then by all means spell it out.  But if all you can do is lash out and make things up like a fourth grader on the playground – you’ve already lost.  Big time.

“Judas” is an OK song.  It’s something of a return to form after “Born This Way.”  If you want to hear an explanation from her own mouth, there is a video interview on Youtube on “The Skorpio Show” from a few weeks before the controversy ignited, where she explains what the song means to her.  I’ll take the word of the writer vs. that of some douche.  My guess is he is the one who is “increasingly irrelevant.”

If you have a question, if this has touched you or pissed you off, all feedback is welcome at wegotthebeats@aol.com

Jessie J – So not another Ke$ha (thank gawd)


I did not expect to like Jessie J’s CD as much as I did.  I had heard a song or two in passing, and I had seen her first number as the musical guest on Saturday Night Live back in March (not impressed.)  She performed “Price Tag” (“It’s not about the money, money, money”) and dressed funky.  I thought: “What is this, the next studio produced Rihanna/Gaga hybrid?  I caught this slight Jamaican accent from this white chick and thought it had to be put on.  That annoys the hell out of me.  Just sing!  I forwarded my DVR right past her second performance.

A few days ago, I received an advance copy of her debut album, “Who You Are,” from the record label and groaned.  In the middle of a 5-hour flight to Vegas, I was just bored enough to pop it into my CD player as I did my crossword puzzles.  The first song was “Price Tag,” and I skipped past it once I got through the first half – though I have to say I like the message of it.  In a world with so many shallow songs about bling (“I Want To Be A Billionaire” etc.) as if money can really make your life fulfilling, the sentiment was appealing. So if I didn’t like the song so much, I started to like her a little bit.  This 23 year old already knows what’s up – she must have gone through something.

Bring on track two: “Nobody’s Perfect.”  Again, the twinge of Rihanna’s accent here and there.  What the heck is going on here?  I had to look up her bio on Wikipedia to see if the Brit was born in the Carribbean or something…nope.  On this track, again I like the idea better than the song.  It’s about screwing up in a relationship and standing up and taking your lumps for it.

OK track three:  “Abracadabra.” If this had been the first track, I would have had a completely different impression of Jessie J.  It was clean, catchy, not gimmicky, no accent (so I guess that proves it’s put on?)

And now the meat of the album: “Big White Room.”  This appears to be a recording of a live performance.  It’s a slow, tortured song, beautifully and powerfully sung.  I wondered why she hadn’t been doing   this for the whole album?  This stuff is good!  She can sing.  There are some gorgeous, rich, long held and pain-colored notes in here.  “I don’t wanna be here anymore – I wanna be somewhere else normal and free like I used to be – but I have to stay in this big white room…I’m going crazy in this big white room…”  I loved it right off the bat.  As with any song, you can make it mean anything (insane asylum? coke addiction?) So back to the bio:

As it turns out, she wrote this song when she was 17 years old about something that happened when she was only eleven.  Jessie was diagnosed with irregular heartbeat and hospitalized for some time as doctors tried to correct it.  If that wasn’t bad enough, the younger boy who shared her hospital room died.  Can you imagine the effect of that on an 11 year old?  And her irregular heartbeat is nothing to brush off – it caused her to have a minor stroke at just 18 years of age.  Ah…now I see why she has some more mature ideas about money, relationships, and life in general than many in her age group.  Brushes with death (our own, or others close to us) tend to bring us the gift of perspective.  I know it sure did for me when my father suddenly passed away when I was 20 and still forming my own opinions about what is important in life.  This song touched me.  I’ve felt like this.  And I really appreciated the solid vocal performance.  She toys with the audience at parts almost the way I’ve seen Patti LaBelle do in concert (not comparing the voice, just the style.)  If I were still in my early 20’s,  I’d probably be outright nuts over this track.  Thankfully, I don’t live in that world anymore. I relate in retrospect, if you will.

After that, I listened to the rest of the album with a little more anticipation.  Her best stuff is definitely the more stripped down, straight-sung stuff like “White Room” and “Mamma Knows Best.”  Then   there’s “L.O.V.E.” where she states, “See love doesn’t choose a boy or a girl…so you can stare, I don’t care…”  (Yes, Miss Thing has come out as bisexual.)  She puts heart into it.  She doesn’t take herself too seriously. She at least co-writes all of it.  It’s all in key (and that’s saying a lot for music these days – the endless off-key runs – omg!  Hello, you don’t just throw your voice all over the place.  Every note on that run should be in key, Beyonce.) (Did I say that out loud?)  This once teased little girl who got kicked out of school choir for being “too loud” has come forth with a solid initial effort.  “Who You Are” is worth a listen.

Singles Corner

Rihanna’s “S&M” (I hear it’s big at the Ramrod) has been released as a two-track single in Europe.  While I’d rather wait for a nice 8-track   maxi single, it doesn’t look like that’s going to happen.  But at least   this one includes the Sidney Sampson radio mix as the second track (instead of a boring instrumental!)  The mix is not just a slightly different version of the original, it’s a more club-oriented version – more beats behind it, and this rubber-band bouncy thing going on in the background.  I actually like it better than the original – her voice is more highlighted in parts.  Totally worth it just for the remix, or if you are collecting all things Rihanna.

On tour:  Britney Spears tickets go on sale April 30 for her July 22nd performance at the American Airlines Arena in Miami.

Under the radar:  Ellie Goulding “Lights” – initially released a year ago, recently re-released with bonus tracks, and garnering some attention.
Out soon:  April 26th – Michael Jackson’s new single: “Hollywood Tonight” (with  remix)

Record Store Day April 16th 2011

Yes, there are still “record stores.”  Some sell only vinyl, some sell CD’s, books, DVD’s.  Even if they don’t carry any vinyl, old music nuts like me still refer to them as “record stores” because that’s just what they’ve always been called.

They may appear to be a dying breed, what with all the downloading and file-swapping going on, both legal and illegal.  But plenty of people still want the original, official disc with the liner notes and so forth, and there will always be collectors.  Not to mention, burning something on your home computer doesn’t make the cutest birthday present (with the possible exception of your own “mixtape” style compilation.  Come on, you know you love getting those.)

The record labels (another anachronistic but persistent term) are aware of this, and that’s why you see so many CD’s coming with extras these days – not only bonus tracks, but non-music items.  Adam Lambert re-released his “For Your Entertainment” CD not only with a DVD and a remix single of “If I Had You,” but also with a mouse pad.  The package was called “The Glam Box.”  Some people will see this as a rip-off.  Some see it as a nicer gift than the plain CD.  Many fans see it as a great collectors item with exclusive extras they must have.  Typically they are limited edition (the Glam Box is already out of print.)

The record stores, especially the “mom & pop” style record stores, are great places to find these kinds of collectibles, but there is certainly plenty of competition on the internet, especially ebay and Amazon.  Sure, you can find most things online (although you will typically pay a premium, plus shipping and handling charges) but for people like me, it is much more fun to visit the local store every week and dig through the new releases, the old boxes, and the bins.  Knowing this, and with reverence for that experience, a few people started “Record Store Day” in 2007; and it now takes place every year on the third Saturday in April.

What’s the point?  Well, the record labels make special collectors items available only to local record stores.  You will not find these items at Target or Wal-Mart.  You will not find these items on the internet.  (If authorized dealers are caught selling them on the internet, they will not be allowed to participate again.)  It’s a genuine nod to your local independent record store.  To be sure, the focus (as is often the case with these kinds of stores) tends to follow the usual “classic rock” genre.  But there are some other goodies that might be more exciting to readers of this magazine.  For example, this year there will be an exclusive Lady Gaga vinyl picture disc of “Born This Way.”  You can read more about record store day and find participating stores at www.recordstoreday.com

Gone Country?

Tony’s note May 2012:  This was meant to be my first column, but it was never published.  There was a mix-up with the editor.  So it was the first one I ever wrote, but no one ever read it – until now.  (You may notice a line here or there that was recycled into a later column.)
Coincidentally, my first music column will be published while many are in town for the gay rodeo.  It would seem appropriate to write something about country music…but I’m the dance music guy.  I own a dance music store.  I love dance music, soul, R&B, pop, divas.  I don’t like country music.

I’ve uttered that statement plenty of times in my life, typically followed by a mocking “Twang, twang, twang – my baby done left me and married a trucker, took my dawg…”  Gee, could I have been stereotyping?  Maybe it’s time to take a closer, (slightly) more serious, more respectful look.

I love soul music.  Lionel Richie, who grew up in Alabama, said there isn’t much difference between country music and soul music.  In fact, he wrote the hit “Lady” for Kenny Rogers.  And when you think about some of his hit songs with The Commodores like “Oh No” and “Sail on,” you can hear the country connection.

When I was a kid in NJ, flipping back and forth between the two AM radio stations (ask your daddy) I was always happy to hear “Through The Years” by Kenny Rogers, “Don’t It Make My Brown Eyes Blue” by Crystal Gayle, and “I Love A Rainy Night” by Eddie Rabbitt via my baseball-player shaped transistor radio (Mom hadn’t figured it out yet).  I didn’t know they were “country music.”  I just enjoyed them right alongside Barbra Streisand & Donna Summer’s “Enough Is Enough,” the Manhattan Transfer’s “Boy From New York City,” and anything by Barry Manilow, as I roller skated down the street.  (How had Mom not figured it out yet??)

In recent years, I thought Shania Twain’s “That Don’t Impress Me Much” was fun while I was tending bar at Alibi.  Keith Urban’s “You’ll Think of Me” was a dedication to someone(s) who broke my heart; and Lee Ann Womack’s “I Hope You Dance” was comforting as I thought of a good friend I’d lost now dancing in Heaven.

Speaking of dancing, there’s been no shortage of country music remixed for the clubs.  LeAnn Rimes’ “Can’t Fight The Moonlight” comes to mind.  And in a somewhat odd twist, Lady Gaga has just come out with a “Country Road Version” of her hit “Born This Way.”  (You can find it on youtube.)  She re-recorded her vocals, adding the line, “If I wanna make it country, baby, it’s OK,” and added some guitar and harmonica.  In doing so, she took a song that stands up for gay people and against prejudice, and kind of held up a mirror to my own bias against country music.

Lionel Richie is back, recording a country duets album.  He is redoing his old hits with the likes of Tim McGraw, Willie Nelson, and even a duet of “Lady” with the aforementioned Kenny Rogers.  I’m looking forward to it.  So maybe it’s not fair to make the blanket statement, “I don’t like country music.”  Just don’t make me listen to the George W Bush/Alfred E Neuman look-a-like on American Idol.  Enjoy the rodeo!

This week in music history:  1979: Kenny Rogers “She Believes In Me” was climbing the charts on the way to number one.