We Don't Need Another Hero

I'm not quite sure how I got to Tina Turner's "We Don't Need Another Hero" on YouTube, but it may have been the result of my browsing through Songfacts, looking at titles by year.  This song is the theme to the 1985 movie Mad Max: Beyond Thunderdome -- which, by the way, I never saw.  It's okay, because I was young enough in 1985 that the movie would have scared the daylights out of me.  In fact, the video did at the time, which is why it is so ironic that 28 years later, I can't stop watching it!  Anyway, Tina Turner starred in the movie with Mel Gibson, and wouldn't you know, I never realized that until now.  I just thought the song was all Tina, singing about the movie's plot.  And, might I add, that Ms. Tuner looks fierce in this video.  That's right.  With all due respect, she was fierce long before Beyoncé... 

Taking a closer look at the video and song, they are a perfect match.  The song begins with what sounds like pan flute, accompanied by simple drum and bass guitar lines.  That is really all you need.  It's quite subdued, and as the video begins, we catch a glimpse of Tina Tuner.  I should say THE Tina Tuner.  Her legendary voice begins -- so controlled, focused, and mesmerizingly soulful.  We get through the first verse and onto a chorus which explodes with the power of Ms. Tuner's voice -- but this is only the beginning.  I was sure I heard timpani between her vocal lines in the chorus, too.  The musical fireball builds, and we get to the bridge, where Tina's voice could power an entire village.  "So what do we do with our lives?  We leave only -- a mark.  Will our story shine like a light? Or end in the dark?  Give it all or nothing!"  And boom!  Our of the ruins, a tenor saxophone!!!!!  Tina brings him in, matching his first line - "Doot-do, doot-do, doot-do, doooooo-dooooooo."  One more round of the chorus, and "All the children say -- We don't need another heee-ro."  Harken, there is a chorus of angels.  I mean, it's really the King's House School Choir from South London, but WOW!  Now that is one vocal supernova between the kids and Tina.  And then, the song ends with one last word from Tina, "Thunderdome..."  Well, we don't need another hero.  Nope, it IS Tina Turner!

I Can't Go for That

 
Well, once again I have come to a tune with a debatable release date.  "I Can't Go for That (No Can Do)" by Daryl Hall and John Oates was released in 1982 according to the Songfacts website, but it was on the album Private Eyes, which was released in 1981.  So, I am going with 1981.  That seems correct to me.  I was pretty young, so I don't remember this song too well from back when it was released.  I think I probably became familiar with it later in the '80s.  It is supposedly one of the top 100 tunes of the 1980s, and I can believe it.

So, this song is pretty much about a man and a woman in a relationship.  She uses her body tand now she wants his soul, but he won't think about it -- say no go.  I'm sitting here wondering what "that" is that he can't go for.  I am thinking it might be cheating and coming back.  That seems to be a hot topic in many '80s songs.  Some people take the cheater back, and some can't go for that, no can do.  I can't be 100% sure that he is talking about cheating, but it seems from the song that she might be the type of woman to go out and cheat and then come back and still want to have a relationship.  Not sure.  In fact, I wasn't even sure that there was an alto sax solo in this, because when I listened to it, it sure sounded like tenor to me.  In the video, there is an alto, but in many live performances, it's tenor.  I, personally, prefer tenor because it has a richer, darker tone.  Meanwhile, this song is supposedly the first to use a drum machine, which I think really gives it it's groove.  I also happen to like the mystical, tinkly synthesized part in the beginning.  You can hear that throughout the song as well.  In fact, this tune has so many musical layers -- it is amazing.  Now, I can go for that!

Take Your Time (Do It Right)

I can't believe I haven't written about this tune yet, because it is one of my absolute favorites.  It was also released in 1980 -- which means it just sneaks in as an "80s" tune.  You may argue this point since it doesn't really sound very "80s," but 1980 was just the turning point of the new decade.  So, there may have been some residual disco and funk in the early songs of the decade, and this is probably a good example.  But you know, whenever there is a good tune, it really doesn't matter when it was written or how it is classified.  I would certainly agree that this S.O.S. band tune qualifies as a classic for any decade.

There are just so many elements that make this song a hit.  There are also many different layers going on at the same time from an instrumental standpoint.  It's truly amazing.  I must say, the glockenspiel really does it for me.  I mean, how cool is it to have a glockenspiel in a pop/disco/funk/dance song?  It really works!  Then, there is this awesome guitar riff that is like a '70s funk motor, and it just cranks along all the way through -- keeping your body moving to the beat.  If you zone in on that riff, it could leave you in the most excellent funky daze.  There's also a terrific horn section with trumpet and sax -- very typical of the 70s.  They don't make wind sections like that in bands anymore.  I tell you -- those were some great gigs for brass and sax players, and those guys knew how to play.  I'm still jealous!  Anyway, the video is a classic, and I guess I didn't really hear the hand clapping until I watched the video.  The band is really happening, and they do so many things -- clap, play glockenspiel and sax, and just generally keep the groove going.  Mary Davis's voice is pure and smooth with depth and a wonderful soulful sound.  She sings about taking time when you get home to relax and, well, you know, have some couple's time -- "take the time to be alone...lock the door, pull out the phone."  Couldn't agree more.  I always thought in the chorus that she was singing, "Baby we can do it, take your time, do it right...we can do it baby...do it tonight."  In actuality, it's "Baby we can do it, take the time, do it right..."  Yeah, I guess I got confused from the title or just took it for granted.  Makes just a slight shade of difference between "take your time" and "take the time."  Whatever the case, this tune is the best!  I still have that guitar riff in my head...

Talk to Me

I am in big, big trouble here...  Yeah, I know.  I had been blogging just about everyday, and then it seemed as though I fell into a black hole.  I apologize and agreeably put myself in the doghouse as my parents used to say.  Couple of things have happened since my last post -- including a nice, much-needed vacation.  In fact, as I was driving home for vacation, I heard "Talk to Me" by Stevie Nicks on the radio.  I hadn't heard this song in ages, and I really enjoyed listening to it again.  My favorite part is when she sings "you can set your secrets free, baby."  Yeah, how cool is that?  I can imagine someone holding a bird, maybe a dove, and just letting it go.  Or, perhaps opening a window and letting those pesky old secrets out.  Set them free, baby!  I just think that has to be another one of the absolute coolest lyrics ever in the history of pop/rock music.  I listened to the rest of the lyrics, and it's pretty clear what the song is about.  I like the angle of having Stevie sing to a man, because he is the one with the secrets for a change.  Seems like women are always the secret keepers.  Anyway, the song paints the picture of a couple, and they are having an awkward time because of his secrets.  Yeah, I think he's probably got another girlfriend that he's hiding, and it sounds like he may be doing this out of spite because he was hurt for some reason.

The video for this tune is also pretty neat.  Can't remember seeing it much back in 1985 when it was released, but I guess it was up against a lot of competition.  Cyndi Lauper, Madonna, etc...  You can see the fashion influence of the time, because Stevie is wearing red lace gloves at one point in the video.  I think it's terrific, and I love when she kind of "melts into a puddle."  I am thinking she did some of her own choreography, although other parts also seem very typical of the day (like when Stevie is joined by four other dancers in that "V" type figure).  And, alas, there is a saxophone solo in this tune.  I hadn't noticed it until I watched the video again.  No offense, saxes, but it was pretty nice when I was driving along and hadn't noticed that part...  However, a good ol' sax solo was also pretty standard for the '80s.  Come to find out the tune was written by Chas Sanford, who co-wrote John Waite's "Mising You."  Lots of similarities, but I think Stevie really makes this her own.  Kudos, Ms. Nicks!