Forever No. 1
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Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer â a Billboard Hot 100 No. 1 single â by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor the late April Stevens (birth name: Caroline LoTempio) with a look back at her and younger brother Nino Tempoâs (Antonino LoTempio) lone No. 1 together or apart: their slightly offbeat and altogether winning rendition of pop standard âDeep Purple.â
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If you were trying to guess the lone Grammy taken home by Nino Tempo & April Stevensâ âDeep Purpleâ at the 1964 awards six decades later, best rock and roll recording would probably not be the first category to come to mind. After all, the song â a No. 1 Billboard Hot 100 hit for the brother-sister duo in November 1963 â was a cover of a 25-year-old pop standard recorded by the likes of Bing Crosby and Guy Lombardo, based around sweet harmonies and jazzy piano and not a ton of guitar. More importantly, the song hit its commercial peak two months before the British Invasion, heralded by The Beatlesâ January â64 arrival on the Hot 100, forever transformed the sound and role of rock music in pop culture.
But while rock and roll might not have been the best-fitting box for Tempoâs and Stevensâ version of âDeep Purple,â itâs not immediately clear 60 years later where the song really does belong. Itâs an off-kilter arrangement of a truly curious performance, one that so confounded Ahmet Ertegun â the storied co-founder and president of the duoâs Atlantic parent label, as well as the âPurpleâ producer â that he resisted releasing it as a single until Tempo and Stevens demanded that they be released from the label if it continued to lay on the shelf. But itâs that gentle inscrutability that makes the 100th No. 1 in Hot 100 history (and the final before President John F. Kennedyâs assassination) one of the most rewarding pop records of its era â an era that would already seem worlds away just six months later.
The sibling duo began their careers as separate solo artists, with Tempo a musical prodigy and successful child actor (and later an in-demand session musician) and Stevens â who died on April 17 at age 93 â a star pop vocalist, scoring most of her solo hits in the pre-Hot 100 era. (Their shared family name was actually LoTempio.) Ertegun signed the pair to Atlanticâs Atco imprint as a duo vocal act, but their first few singles failed to make a major impact. Stevens had the idea to do âDeep Purple,â and Tempo came up with an arrangement for it, but the duo were already scheduled to record the pop standard âParadise,â and had to tuck their âPurpleâ version into the very end of their allotted studio time. But the duo and their session backing band (including eventual country and pop icon Glen Campbell on guitar) were on their game: âIn 14 minutes, we got two takes,â Tempo told Fred Bronson in The Billboard Book of Number One Hits.
That off-the-cuff, slightly rushed quality gives âDeep Purpleâ a good deal of its charm. The mix feels a little off â the bass disruptively high in the mix, the vocals a tad unpolished â and Tempo admits that some of the arrangementâs chords were straight-up incorrect in terms of replicating the standardâs melody. If there is anything particularly rock and roll about the recording, itâs in this breezy looseness â thereâs a real energy to it, helped by its slightly amped-up pacing. And while calling the production ârawâ would probably be a bit of an exaggeration, it feels messy enough for 1963 to at least not sound like something made to pander to young folksâ parents.
But the real joy of the recording is found in the siblingsâ dueting, their harmonies entwining both satisfyingly and unpredictably. The way their respective voices glide up and down the octave, never totally settling into a traceable melody but never sounding out of place either within the arrangement or alongside one another, is somewhat stunning. And the real masterstroke comes with their second run-through the refrain, where a foregrounded Stevens intones the lyrics in deeply felt spoken-word as a backgrounded Tempo casually sings along â a striking and sticky creative choice, inspired by Stevens recording her ânarrationâ simply to help Tempo remember the songâs words, and a friend noting that it sounded cool. Not easy to make a standard that had been around so long that Babe Ruth considered it a personal favorite sound fresh, but Stevens and Tempo managed it.
However, Eretgun didnât see the commercial potential in the duoâs quirky rendition. He called it the most embarrassing thing that the duo had recorded, and released âParadiseâ as their next single instead. But that single flopped, and Tempo asked out of the duoâs Atco contract so he and Stevens could sign with a friend of his who did believe in the song: legendary producer Phil Spector, of Philles Records. Ertegun agreed to meet them halfway â âIâll release one more record, and if it flops, youâve got your contract back,â Tempo quotes the Atlantic titan as saying in Number One Hits â but released âDeep Purpleâ with a B-side of the duoâs âIâve Been Carrying a Torch for You So Long That I Burned a Great Big Hole in My Heart,â a zippy country-rock hybrid which he believed would become their actual breakout hit.
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The public proved him wrong: âDeep Purpleâ debuted at No. 94 on the Hot 100 on the chart dated Sept. 14, 1963, and quickly bound its way into the top 40. On the Nov. 16 chart, it replaced Jimmy Gilmer & The Fireballsâ âSugar Shackâ at the apex â staying there for a single week before being replaced by another duo, Dale and Grace, with the much more conventionally arranged and produced maybe-breakup ballad âIâm Leaving It All Up to You.â (Coincidentally, Donny & Marie Osmond would score top 20 hits on the Hot 100 in the 1970s with remakes of both of these songs, with their version of âIâm Leaving It All Up to Youâ hitting No. 4 in 1974 and their version of âDeep Purpleâ hitting No. 14 in 1976.) Tempo and Stevens would have more hits the following year with renditions of standards like âWhisperingâ (No. 11) and âStardustâ (No. 32), and eventually did go the Spector route with 1966âs All Strung Out â albeit not with Spector himself â and scored a final top 40 hit with the albumâs Wall of Sound-aping title track (No. 26). But the British Invasion quickly made relics of the duo, as it also did Dale and Grace, Jimmy Gilmer, and countless other acts on top of the pop world in 1963.
While the rock and roll world mightâve ultimately left Nino Tempo and April Stevens far behind, the most enduring legacy of âDeep Purpleâ 60 years later is, ironically, a quintessentially rock one. The band Deep Purple, who took their name from guitarist Ritchie Blackmoreâs grandmotherâs love of the song, would become one of the biggest hard rock acts of the â70s, earning induction into the Rock and Roll Hall of Fame in 2016. But the highest that band ever got on the Hot 100 was the No. 4 peak of both âHushâ (1968) and âSmoke on the Waterâ (1973) â still three spots lower than Tempoâs and Stevensâ forever delightful pop oddity.
Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer â a Billboard Hot 100 No. 1 single â by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we remember the late Irene Cara with an extended look at her lone Hot 100-topper: the era-straddling soundtrack classic âFlashdanceâŚWhat a Feeling.âÂ
Flashdance didnât invent movie/music synergy, but it perfected the formula for the MTV generation. MTV, after all, wasnât even two years old when Flashdance premiered in the spring of 1983.Â
Footloose, Beverly Hills Cop, Top Gun, Dirty Dancing and other mega-successful music-driven movies of the 1980s all owe a debt to Flashdance, an unexpectedly huge movie with no established stars and a fairly thin â but as it turned out, very relatable â plot. The film told the story of Alex Owens, a young woman who works as a welder and dreams of becoming a ballerina, but first must overcome her fear of auditioning before a panel of judges.Â
Irene Caraâs propulsive âFlashdanceâŚWhat a Feelingâ was released in March 1983 to build anticipation for the film, which was released on April 15. The song was just right for both the movie and the moment â a time when Black pop music was reaching new commercial heights thanks to Michael Jackson, Lionel Richie, Prince and many more star artists.
The film debuted at No. 2 at the box-office in its opening week, and spent the next three weeks at No. 1. Caraâs single reached No. 1 on the Billboard Hot 100 in late May, the soundtrack album topped the Billboard 200 for two weeks starting June 25 â and a second song from the soundtrack, Michael Sembelloâs âManiac,â topped the Hot 100 for two weeks in September. That is what you call a movie/music grand-slam.
Cara, who died on Friday (Nov. 25) at age 63, had enjoyed a comparable success three years earlier, when she introduced the rousing title song from Fame. That smash reached No. 4 on the Hot 100 in September 1980. But she didnât co-write that song â Michael Gore and Dean Pitchford did, winning the Oscar for best original song for their efforts. As a co-writer of âFlashdanceâŚWhat a Feeling,â Cara shared in her second film smashâs Oscar glory.Â
Disco don Giorgio Moroder composed the melody for âFlashdanceâŚWhat a Feelingâ and produced Caraâs single. The instrumental backdrop has echoes of Moroderâs electronic film score work. But itâs warmer and more triumphant-sounding than Midnight Express, for which Moroder won an Oscar in 1979, or say, Donna Summerâs 1977 smash âI Feel Love,â which Moroder co-produced with his long-time creative partner, Pete Bellotte.
Cara co-wrote the lyric with Keith Forsey, Moroderâs frequent session drummer and a future star writer/producer in his own right, with No. 1 Hot 100 hits for Simple Minds and Billy Idol in the back half of the â80s to his credit. Caraâs warm vocal conveys yearning and humanity, which offsets the occasional chilliness of the synthesized backdrop. Â
Jerry Bruckheimer, who co-produced Flashdance with his late partner Don Simpson, contacted Moroder in 1982 to see if he would be interested in composing the music for Flashdance. The two had previously teamed on 1980âs American Gigolo, which spawned Blondieâs âCall Me,â also a No. 1 hit on the Hot 100.  Â
Cara had been somewhat reluctant to work with Moroder because she didnât want to trigger comparisons to Moroderâs star client, Summer. âGiorgio approached me right after âFame,ââ she told me in an interview for Billboard that ran in the March 10, 1984 issue. âThe only reason I didnât go with him at the time was all the comparisons. But with âFlashdance [âŚWhat a Feeling],’â we were thrown together by Paramount.â Â
Cara and Forsey were shown the last scene of the film, in which Alex auditions at the Pittsburgh Conservatory of Dance and Repertory, so they could get a sense of what the lyrics should be. They both felt that the dancerâs ambition to succeed would work as a metaphor for anyone hoping to achieve any dream.Â
âFlashdanceâŚWhat a Feelingâ wasnât the first or last motivational anthem to reach No. 1, but itâs one of the best. The lyric âTake your passion and make it happenâ is excellent career and life advice. Also, the line âin a world made of steel, made of stoneâ is an apt nod to the day job of Jennifer Bealsâ welder character.Â
Moroder felt that the oft-repeated lyric âwhat a feelingâ was right for the story but tried to persuade Cara and Forsey to incorporate the title of the film into the lyrics. The word âflashdanceâ never appears in the song â itâs a tough word to rhyme â but the words âflashâ and âdanceâ do appear separately. It was only after the song was completed with the intended title âWhat a Feelingâ that the word âFlashdanceâŚâ was tacked onto the title, for its promotional value. Â
The song wound up being used over the climactic scene Forsey and Cara had previewed, as well as during the opening credits. âFlashdanceâŚWhat a Feelingâ is what we hear as a young woman rides her bike through the streets of Pittsburgh just after sunrise, and as she starts her shift at the steel mill.Â
Cara had a good, well, âfeelingâ about the song. âI knew when we were recording it that we had something special with the song,â she said in an interview for BBC Radio 2âs Electric Dreams: The Giorgio Moroder Story. âSome things you just feel, you know? You canât really dissect it or analyze it. Itâs a spiritual thing that you sense, and I did sense that I had something special with this song.âÂ
Bruckheimer also immediately sensed the songâs potential. On the Special Collectorâs Edition DVD release of Flashdance (2010), Bruckheimer said, âWhen you first heard it, you said, âItâs a hit.â Itâs one of those things you just heard, and you just couldnât get it out of your head. And it just got us all so excited. We kept playing it over and over and never got tired of it. To this day, Iâm not tired of that song.âÂ
As Cara had fretted all along, âFlashdanceâ drew comparisons to Summerâs hits of the era â and not just because of Moroderâs involvement. The songâs balladic opening, which segued into a rousing dance section, echoed a formula Summer and Moroder had perfected on hits like âLast Dance.â That Thank God Itâs Friday highlight had won the Oscar five years earlier.Â
But while âFlashdanceâŚWhat a Feelingâ is very much in Summerâs wheelhouse, Cara sang it with an approachability and conviction that made it her own. She takes the listener on a journey from timidity and fear (âFirst, when thereâs nothing/ But a slow-glowing dreamâ) to joy and abandon (âPictures come alive/ You can dance right through your lifeâ).Â
Even snarky critics were (mostly) won over by the single. Writing for Rolling Stone in 1984, Don Shewey called it â1983âs cheapest thrill⌠a patently ludicrous ode to instant gratification that Caraâs youthfully urgent, desperately soulful vocal rendered transcendent.âÂ
âFlashdanceâŚWhat a Feelingâ was the second-highest new entry on the Billboard Hot 100 for the week ending April 2, 1983. Only Duran Duranâs âRio,â first released in 1982, got off to a faster start that week. âFlashdanceâ reached No. 1 in its ninth week, dethroning David Bowieâs âLetâs Dance,â and stayed on top for six consecutive weeks â until it was in turn booted by The Policeâs âEvery Breath You Take.â âFlashdanceâŚWhat a Feelingâ was the longest-running No. 1 hit of 1983 by a female artist. It also was the only 1983 single to log 14 weeks in the top 10.Â
At the end of the year â and this is almost too perfect â Caraâs single and the film achieved identical rankings on key year-end charts. On Billboardâs year-end Hot 100 singles chart for 1983, âFlashdanceâŚWhat a Feelingâ ranked No. 3 behind âEvery Breath You Takeâ and Jacksonâs âBillie Jean.â On boxofficemojo.comâs accounting of the top-grossing films of 1983, Flashdance ranked No. 3 behind Return of the Jedi and a 1982 holdover, Tootsie.Â
When the 26th Annual Grammy nominations were announced, Cara received four nods â record of the year and best pop vocal performance, female, both for âFlashdanceâŚWhat a Feelingâ and album of the year and best album of original score written for a motion picture or a television special, both for Flashdance.Â
At the Grammy telecast on Feb. 28, 1984 â the highest-rated Grammys in history, in large part because the red-hot Jackson was expected to sweep (and did) â Cara won the female pop vocal award and shared in the award for original score. She also performed âFlashdanceâ as the final performance of the night.
The female pop vocal category was highlighted on the show, with performances from all five of the nominees â Cara, Linda Ronstadt, Bonnie Tyler, Sheena Easton and â you guessed it â Summer. Cara seemed genuinely shocked when Bob Seger and Christine McVie announced her as the winner. âAre you sure?,â she charmingly asked, before saying, âUm, I canât believe this.âÂ
Five weeks later, on April 9, 1984, Cara performed âFlashdanceâŚWhat a Feelingâ on the Oscars. She was accompanied by 44 boys and girls from the National Dance Institute. The number was sensationally staged, and was interrupted by applause six times.
When Flashdance star Beals and Matthew Broderick announced âFlashdanceâŚWhat a Feelingâ as the winner, Cara became only the second person of color to win an Oscar for best original song â following Isaac Hayes for his 1971 classic âTheme From Shaftâ â and the first woman of color to do so.Â
In her acceptance speech, Cara graciously saluted a legendary lyricist/composer team that was also nominated with two songs from Yentl. âJust to be nominated with the likes of Alan and Marilyn Bergman and Michel Legrand is an honor enough.âÂ
In the wake of âFlashdance,â Cara landed just one more top 10 hit on the Hot 100. âBreakdance,â which Cara and Moroder co-wrote to capitalize on the breakdancing phenomenon, reached No. 8 in June 1984.Â
Itâs hard to know why Cara didnât sustain as a successful recording artist. Her two tentpole smashes were so ubiquitous they may have simply been too hard to follow. Summer dominated the dance/pop space in the late â70s and early â80s to the degree that it was hard for anyone else to step out of her shadow. Also, 1983-84 saw the emergence of a new MTV class of visuals-forward pop artists, including Madonna, Jackson, Prince, Cyndi Lauper and Culture Club. That may have left Cara, whose two big hits had visuals defined more by their movies than her own star power, trailing a little behind.
In the interview she did with me the week after winning two Grammys, she cited sexism in the music industry as a source of frustration, even then, at the pinnacle of her career.
âItâs very hard being female in this business,â she said. âThey donât want to know that you can play an instrument, which I do, or that you can write. They want you to look pretty and sing, and Iâm not about just being a chick singer.
âThatâs why I have tremendous respect for Donna [Summer] and Barbra [Streisand],â she continued, âand the women who are out there trying to have some control over their own careers.â
Cara saw the frequent comparisons to Summer â who was also 63 when she died in 2012 â as rooted in sexism. âA lot of people like to rival other female artists,â she said. âI listen to the radio and I hear one song after another by all the male artists and I canât tell one voice from the next, but no one says anything about that.âÂ
Whatever career frustrations and roadblocks Cara encountered, her talent and charisma at her peak â as seen in her recordings and those award show performances â are forever there for all to hear and see. She took her passion and made it happen. Â