This week, “I Kissed a Girl” by Katy Perry knocked Coldplay’s “Viva La Vida” out of the top spot on the Billboard Hot 100 singles chart, thus becoming the 1,000th Number One single of the rock era. As the majority of music buyers (I didn’t say music *lovers* mind you, but music buyers) view music as a song-by-song medium, having a #1 single is a pretty big deal, so to have been one of those 1,000 songs means that, for better or for worse, your song has struck a chord with someone.
However, that’s not to say that the folks that put songs at the top of the charts always exhibit good taste. Of course, some of the most iconic songs in music history have made it all the way to the apex of Billboard’s charts- a look at the amount of chart-toppers by Elvis, The Beatles, Michael Jackson and Stevie Wonder, to name a few, bears that theory out. But there are a pretty good amount of legendary artists who have never hit the top of the singles charts. Bruce Springsteen has never had a #1. Neither has James Brown. Or Led Zeppelin. Or The Who. Luther Vandross? Nope. The Clash? Elvis Costello? Run-DMC? Public Enemy? The Beastie Boys? 3 top ten singles between them.
…and I couldn’t think of anything to post today (I’m holding onto my Amy Winehouse emphysema report until I really need it), so I decided to post this video from a song that always makes me crack up. I remember this song from back in my Tower Records days, but I’ve never heard anything else by King Missile. If there are any fans out there who can tell me if everything else is as good as this, hook your boy up.
Chances are, if you were anywhere near a radio station from roughly 1980-1987, within thirty minutes you’d hear something from either James Ingram or Michael McDonald. The two Midwestern guys (Ingram was from Akron, OH while McDonald repped St. Louis) were very fond of the duet and/or the background support vocal, and their list of collaborators reads like a laundry list of Eighties hitmakers: Michael Jackson, Shalamar, Kenny Loggins, Donna Summer, Kenny Rogers, Kim Carnes, Nicolette Larson, Linda Ronstadt, Patti Austin, Anita Baker and Toto, just to name a few. It was inevitable that the two would eventually collaborate.
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Actually, it wasn’t that eventual. “Yah Mo B There” was the second single from Ingram’s debut solo album “It’s Your Night”. Of course, Ingram was already a Grammy winning success story at that point, due to “Just Once” and “One Hundred Ways”, his featured spots on Quincy Jones’ “The Dude” album. McDonald was only a year or so removed from his lead singer’s spot in the Doobie Brothers and had only released his own debut solo album a few months before. The result was a smash: “Yah Mo B There” reached the Top 15 on the pop charts, Top 5 R&B, and won the pair a Grammy for “Best R&B Vocal Performance by a Duo or Group”. It was Ingram’s third Grammy as a solo artist, McDonald’s second.
The song itself screams “Eighties”, with a hypnotic, synthesized beat. Rod Temperton, the former Heatwave member who wrote many of The King of Pop’s biggest hits, co-penned this track, while the legendary Quincy Jones produced. Both men were at this time riding high off the success of “Thriller” (in which Ingram was also a participant, having co-written “P.Y.T”. Thematically, it comes thisclose to being gospel. “Yah”, of course, being shorthand for “Yahweh”. Ingram purposefully fudged with the spelling of the title phrase so as not to scare off pop listeners from it’s fairly explicity spiritual message.
One person they definitely didn’t scare off was me. Ingram and McDonald both give phenomenal performances, full of passion. They’ve not always given themselves the best material, but they scored here. Over twenty years later, this song still moves me. Not to sermonize at all, but even as an occasionally lapsed Catholic (maybe even more because of that) this song’s message resonates with me especially when I’m going through dark patches. Both the song and it’s video make clear that there is some light at the end of the tunnel.
Although this video version is of a slightly inferior remix (what’s up with the percussion tracks?), the power of the song’s message rings as clear as the voices that sing it. Well, maybe those voices aren’t so clear. I can never figure out what the men are singing after they vocalize the title (folks say it’s “up and over”, but it sure doesn’t sound like it)