In July 1982, "Valley Girl" was stunted over Philadelphia's "Hot Hits" formatted station WCAU-FM for a short period of time during Terry "Motor Mouth" Young's evening shift on the station (7:00-8:00 PM Eastern). the B-side was "You Are What You Is", but in other territories it was "Teen-Age Prostitute." Promotional copies contained the album and single versions of the song. The song was also included on the 1995 compilation album Strictly Commercial. The song was Zappa's only Top 40 single in the United States, peaking at #32 on the Billboard Hot 100 during September 1982, although he had charted hits in other parts of the world. There was an immediate response from the public, and the song began receiving regular airplay. Zappa praised the station's original programming but feared it would lead to others copying it, adding, "I would hate for it to become another service, freeze-dried to other stations." Moon was a regular KROQ listener and persuaded the station to play the track during an interview.
"Valley Girl" was picked up by KROQ-FM, who obtained an acetate disc before release. Musically, the song is atypical for Zappa because of its conventional structure compared to his other compositions, and is played entirely in 4Ĥ time signature with the exception of the 7Ĥ groove at the very end. Zappa stressed that it was not a happy song, and that he hated the San Fernando Valley, calling it "a most depressing place." Moon supplied Frank with much of the content, speaking typical "valley girl" or " Valspeak" phrases she heard at "parties, bar mitzvahs, and the Galleria." The lyrics were a deliberate attack on the slang and behavior of stereotypical valley girls. According to Zappa biographer Kelly Fisher Lowe, Frank woke Moon in the middle of the night and took her to a studio to recreate conversations that she had had with friends. The track resulted from the combination of a guitar riff that Frank had composed and Moon's desire to work with her father. 2.1 Terry "Motor Mouth" Young's suspension.(The teens’ note to the assistant principal reads, “What we found out is that each one of us is a brain, and an athlete, and a basket case, a princess, and a criminal. In the context of the movie, “Don’t You (Forget About Me)” plays as a lover’s forget-me-not-but equally as plea to those newly discovered selves. We watched the kids transform before our eyes, but we simply didn’t know if any of these newfound identities would stick for longer than a weekend.
“Don’t You (Forget About Me)” was the perfect match for John Hughes’s gorgeous teen study The Breakfast Club. Can you honestly say you’ve never air-guitar-ed along to those opening two chords? Or yelped along to Jim Kerr’s outrageous “Hey! Hey! Hey! Heeeey!” chant that immediately follows? Yet part of the song’s tremendous power is the way it keeps pulling away just as its excitement peaks: “Will you walk away?” murmurs Kerr as the song faux-fades, before its final climax. There are some truly great songs on this list, but none that strike at your emotional jugular quite the way “Don’t You (Forget About Me)” does-right from the get-go. Written by Michael Chen, Brent DiCrescenzo, Andrew Frisicano, Sophie Harris, Oliver Keens, James Manning, Tristan Parker, Amy Plitt, Joshua Rothkopf, Hank Shteamer, Matthew Singer, Steve Smith, Sarah Theeboom and Kate Wertheimer. And in order to keep it strictly ’80s, we limited the list only to songs actually made in the decade – so no ‘Stand By Me’ or ‘Day-O’, as much as we’d want to include them. Here, though, we present the ultimate, canonical, indisputable ranking of the most radical songs from ’80s movies. But what are the absolute best songs from ’80s movies? Everyone has their personal favorites: the ones that instantly conjure memories (or at least fantasies) of spraying on Aquanet, throwing on some spandex and heading to the multiplex in your Delorean.
Suffice to say, an ’80s movie can’t be considered a true ’80s movie if the soundtrack isn’t banging. And shoot, don’t even get us started on Purple Rain.
Or Michael J Fox skating through Hill Valley without Huey Lewis crooning about ‘The Power of Love’. Or Ghostbusters without Ray Parker Jr.’s theme song. But try to imagine any John Hughes film without the new wave hits that accompanied them. Sure, the 1960s has a handful of songs still used to signal ‘ the ’60s, maaaan ’, and the 1990s produced some classic soundtracks. No decade combined music and movies quite like the ’80s.
0 kommentar(er)
