It’s that time again,
Dialophiles! That very special time in which the Radio Dial brings you two
songs, linked by a common bond, both in one fun-filled, musically enlightening
transmission. Tonight, please enjoy these selections from Polish songstress
Basia, “Time and Tide”, and “Until You Come Back to Me (That’s What I’m
Gonna Do)”.
It’s hard for me to stop my heart, love never knows when the time is right… I don’t want to hurt anybody, but can’t help loving you.
Releasing her solo material under her first name only, Basia Trzetrzelewska (pronounced… Basha T’she t’she levska) joined UK based pop/jazz band Matt Bianco in 1983, and charted several hit singles across Europe with the group, beginning with “Get Out Of Your Lazy Bed” which peaked at UK #15 in 1984.
After the band’s debut LP, “Whose Side Are You On?”, Basia and Danny White (her Matt Bianco bandmate, keyboardist, and songwriter) left the group to focus on Trzetrzelewska’s solo career, culminating in her first debut solo LP, 1987’s “Time and Tide”.
The title track was issued as a single, charting respectably at US #26, and also #19 on the US adult contemporary chart. However, it peaked surprisingly low in the UK, managing only a position of #64.
An upbeat, yet smooth serenade, “Time and Tide” is a celebratory declaration of Basia’s love for her beau, and her undying confidence that the future holds nothing but positive things for the two of them. Listen for the soulful inflection she gives the final note at the end of the third verse.
Time and tide, nothing and no one can stop us now, for better for worse, this time, I’m sure, it’s gonna last. Gonna last forever!
Basia’s playful video shows her song invigorating the employees of a dinner club, as they prepare the location for the nighttime’s festivities. Though the club manager initially (and amusingly) mispronounces her name as “Basie”, she and Danny delight employees and customers alike with her jazz-pop masterpiece. As the third verse begins, time leaps forward to the evening, showing a packed house and subdued lighting, as Basia sings to the crowd complete with saxophone accompaniment. Basia also tackles a dual role here, not just as the lead singer for the club’s band, but also as one of her own backing singers!
We got time, oh baby, there’s no rush, gonna be a better day for us. Hang on, and I will wait for you, our love will always stay as good as new.
It’s hard for me to stop my heart, love never knows when the time is right… I don’t want to hurt anybody, but can’t help loving you.
Releasing her solo material under her first name only, Basia Trzetrzelewska (pronounced… Basha T’she t’she levska) joined UK based pop/jazz band Matt Bianco in 1983, and charted several hit singles across Europe with the group, beginning with “Get Out Of Your Lazy Bed” which peaked at UK #15 in 1984.
After the band’s debut LP, “Whose Side Are You On?”, Basia and Danny White (her Matt Bianco bandmate, keyboardist, and songwriter) left the group to focus on Trzetrzelewska’s solo career, culminating in her first debut solo LP, 1987’s “Time and Tide”.
The title track was issued as a single, charting respectably at US #26, and also #19 on the US adult contemporary chart. However, it peaked surprisingly low in the UK, managing only a position of #64.
An upbeat, yet smooth serenade, “Time and Tide” is a celebratory declaration of Basia’s love for her beau, and her undying confidence that the future holds nothing but positive things for the two of them. Listen for the soulful inflection she gives the final note at the end of the third verse.
Time and tide, nothing and no one can stop us now, for better for worse, this time, I’m sure, it’s gonna last. Gonna last forever!
Basia’s playful video shows her song invigorating the employees of a dinner club, as they prepare the location for the nighttime’s festivities. Though the club manager initially (and amusingly) mispronounces her name as “Basie”, she and Danny delight employees and customers alike with her jazz-pop masterpiece. As the third verse begins, time leaps forward to the evening, showing a packed house and subdued lighting, as Basia sings to the crowd complete with saxophone accompaniment. Basia also tackles a dual role here, not just as the lead singer for the club’s band, but also as one of her own backing singers!
We got time, oh baby, there’s no rush, gonna be a better day for us. Hang on, and I will wait for you, our love will always stay as good as new.
By 1989, Basia had developed a
strong following in the pop and jazz communities, so it would stand to reason that her second LP, “London Warsaw New York” was released
with great expectation in the fall of that year. It would prove not to
disappoint. Featuring the hits “Cruising for Bruising” (US #29 pop, and
#5 US A.C.), and “Baby You’re Mine” (#18 US A.C.), the LP also featured
Basia’s first recorded cover tune.
A classic track about the various lengths that a jilted lover will endure in order to prove to their devotion to their former partner, “Until You Come Back To Me (That’s What I’m Gonna Do)” was released as the third single, but did not chart in the hot 100, though it did place at #33 on the U.S. Adult Contemporary charts.
Though you don’t call anymore, I sit and wait… in vain. I guess I’ll rap on your door, tap on your window pane.
Written by Stevie Wonder alongside Motown songwriters Morris Broadnax and Clarence Paul, the best known (and biggest hit) version was released by The Queen of Soul herself, Miss Aretha Franklin, whose rendition hit #3 on the hot 100 and topped the R&B singles chart in 1974. Basia’s treatment of this classic soul track adds a muted hip-hop beat, piano, strings, and that certain elegance befitting Miss Trzetrzelewska.
A nice touch is provided in the track’s opening seconds, in which we are treated to the sound of an orchestra warming up. At about the 18 second mark the conductor raps his baton, starting the piano, followed by the beat, then Basia’s lovely vocals glide in to begin the song proper.
Why did you have to decide, you had to set me free? I’m gonna swallow my pride, I’m gonna beg you to please… baby please see me.
Basia’s music is typically classified as “sophisti-pop”, a smooth and classy UK based blend of soft rock, jazz, soul, and occasional new wave elements, which charted many pop hits in America (and worldwide) beginning in the mid-80s. Artists like Sade, Level 42, Swing out Sister, Johnny Hates Jazz, and one hit wonder acts like Double (1986’s “The Captain of Her Heart”), and When in Rome (‘88s “The Promise”) insured that sophisti-pop’s smooth sounds provided a welcome relaxing antidote to the hair metal, teen dance pop, and early hip hop that was beginning to dominate the top 40 format.
Only a few Basia tracks were pushed to U.S. radio, but whenever they were played, we here at the Radio Dial always perked up our receivers. Give these two tracks a spin, and see if you don’t also become a fan of Basia’s smooth, classy brand of pop.
Living for you my dear, is like living in a world of constant fear… In my plea, I’ve got to make you see, that our love is dying.
A classic track about the various lengths that a jilted lover will endure in order to prove to their devotion to their former partner, “Until You Come Back To Me (That’s What I’m Gonna Do)” was released as the third single, but did not chart in the hot 100, though it did place at #33 on the U.S. Adult Contemporary charts.
Though you don’t call anymore, I sit and wait… in vain. I guess I’ll rap on your door, tap on your window pane.
Written by Stevie Wonder alongside Motown songwriters Morris Broadnax and Clarence Paul, the best known (and biggest hit) version was released by The Queen of Soul herself, Miss Aretha Franklin, whose rendition hit #3 on the hot 100 and topped the R&B singles chart in 1974. Basia’s treatment of this classic soul track adds a muted hip-hop beat, piano, strings, and that certain elegance befitting Miss Trzetrzelewska.
A nice touch is provided in the track’s opening seconds, in which we are treated to the sound of an orchestra warming up. At about the 18 second mark the conductor raps his baton, starting the piano, followed by the beat, then Basia’s lovely vocals glide in to begin the song proper.
Why did you have to decide, you had to set me free? I’m gonna swallow my pride, I’m gonna beg you to please… baby please see me.
Basia’s music is typically classified as “sophisti-pop”, a smooth and classy UK based blend of soft rock, jazz, soul, and occasional new wave elements, which charted many pop hits in America (and worldwide) beginning in the mid-80s. Artists like Sade, Level 42, Swing out Sister, Johnny Hates Jazz, and one hit wonder acts like Double (1986’s “The Captain of Her Heart”), and When in Rome (‘88s “The Promise”) insured that sophisti-pop’s smooth sounds provided a welcome relaxing antidote to the hair metal, teen dance pop, and early hip hop that was beginning to dominate the top 40 format.
Only a few Basia tracks were pushed to U.S. radio, but whenever they were played, we here at the Radio Dial always perked up our receivers. Give these two tracks a spin, and see if you don’t also become a fan of Basia’s smooth, classy brand of pop.
Living for you my dear, is like living in a world of constant fear… In my plea, I’ve got to make you see, that our love is dying.
No comments:
Post a Comment