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EUR Video Throwback Version of Babyface & Teddy Riley’s ‘Verzuz’ Battle (Watch)



Babyface and Teddy Riley
Babyface and Teddy Riley

Babyface and Teddy Riley

*The epic and very entertaining #Verzuz battle between Babyface and Teddy Riley on Monday night not only gave quarantined audiences of a certain age a soulful trip down memory lane, is also gave the the 49 tracks played during the Instagram Live event a colossal boost in streams.

Nielsen Music/MRC Data reported that the 49 titles collectively registered 3 million on-demand audio streams in the U.S. on April 21, the day following the session, compared with a cumulative 1.4 million haul on the 20th, a day-over-day surge of 115%.

Below are live performance videos to go along with Billboard’s reporting of the streaming standouts from the battle.

Tevin Campbell’s “Can We Talk” – a Babyface production – earned the highest streaming sum on the day after the showdown. The 1993 hit, a former three-week No. 1 on Hot R&B/Hip-Hop Songs and No. 9 success on the all-genre Billboard Hot 100, clocked 232,000 on-demand audio streams, up from 110,000 the day prior (up 110%). As did many artists whose songs featured in the Instagram Live, Campbell tweeted during the session that “Talk” is “a song about stalking but it works every time.”

Below “Talk,” the next two highest streamed songs for the day belong in the Riley camp: Blackstreet’s “No Diggity,” featuring Dr. Dre (173,000) and SWV’s “Right Here/Human Nature” (128,000).

Babyface rounds out the top five with two of the 1990s biggest hits: Boyz II Men’s “I’ll Make Love to You” (101,000) and “End of the Road” (100,000).

In terms of big day-over-day gains, other streaming highlights for Team Riley include Guy’s “Piece of My Love,” which rose to 89,000 on-demand audio streams from 29,000 (up 203%) and Hi-Five’s 1991 Hot 100 No. 1 “I Like The Way (The Kissing Game),” which jumped to 83,000 streams from 29,000 (up 186%).

Team Babyface, meanwhile, can count winners in Campbell’s “I’m Ready,” which climbed to 86,000 streams from 27,000 (197%) and two of the legend’s own tracks: “Soon As I Get Home,” which rose to 81,000 from 17,000 (+363%) and “Whip Appeal,” up to 89,000 from 38,000 (+133%).

One more for Babyface: Toni Braxton’s “Love Shoulda Brought You Home,” which he introduced with an anecdote about Michael Jackson attempting to ask Halle Berry on a date, yielded 74,000, up 493% from 12,000 the prior day.

And in case you missed the #Verzuz battle itself, here it is in its entirety:

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RADIOSCOPE RAW Podcast: Our Uncut 1989 Interview with Kool Moe Dee




Kool Moe Dee

*Episode 5 of the Radioscope Raw podcast features our Spring 1989 interview with rapper Kool Moe Dee.

The emcee and former member of the Treacherous Three was among hip hop’s most successful artists, with the singles “How You Like Me Now” and “Wild Wild West” having saturated urban radio two years prior.

In our interview, Kool Moe Dee (the Moe Dee short for his real name Mohandas Dewese) spoke to us about a wide range of topics, including an exchange about systemic racism and police brutality that could’ve happened yesterday, a very strong opinion on Robin Givens wanting half of ex-husband Mike Tyson’s fortune in their divorce (which inspired the album’s single “They Want Money”), and an extended dissection of his beef with LL Cool J.

“Our whole little conflict started because I felt his ego was out of hand,” he told us, adding that his frustration with LL stemmed from an opinion that the Queens rapper “never left you with any knowledge. His whole thing was like enticing the females, taking off his shirt, humping the couch and things like that, and he never went to another level. When you have that type of impact on kids, I think it’s extremely important to let them walk away with something, walk away with something inspiring.”

Listen below:

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The Supremes Made History When This Album Hit No. 1 on Oct. 22, 1966 [EUR Video Throwback]




The Supremes: Mary Wilson, Diana Ross and Florence Ballard

*Fifty-four years ago today, The Supremes made history as the first girl group to score a No. 1 album in the United States.

Their ninth studio LP, “The Supremes A’ Go-Go, was released by Motown on August 25, 1966 with two tracks that hit the Top 10 on the Hot 100 chart.


The first was the No. 9 hit “Love is Like an Itching in My Heart.” written and produced by Motown’s main production team of Holland–Dozier–Holland, and featuring instrumentation by The Funk Brothers. With Diana Ross on lead and background vocals from Mary Wilson and Florence Ballard, the song was one of their few that did not reach No. 1.

Released in April 1996, the track about being “bitten by the love bug” and not being able to scratch the itch peaked at No. 9 for one week in May of 1966.

The second release from “The Supremes A’ Go-Go,” on July 25, 1966, was the No. 1 classic “You Can’t Hurry Love,” also written and produced by Motown’s house writers Holland–Dozier–Holland.

According to AllMusic, “You Can’t Hurry Love” was based on the 1950s gospel tune “(You Can’t Hurry God) He’s Right on Time,” written by Dorothy Love Coates of The Original Gospel Harmonettes. Her lyrics included: “You can’t hurry God/you just have to wait/Trust and give him time/no matter how long it takes.”

Songwriter Lamont Dozier said, according to, “We were trying to reconstruct ‘Come See About Me’ and somehow it turned into ‘You Can’t Hurry Love.’ It was basically a gospel feel we were after.”

The song is housed in the Rock and Roll Hall of Fame’s permanent collection of 500 Songs that Shaped Rock and Roll. It was such a huge hit that Motown head Berry Gordy had The Supremes cut an Italian version, “L’amore verrà” (“Love Will Come”).

On the strength of its two hit singles, “The Supremes A’ Go-Go” unseated the Beatles album “Revolver” at No. 1 on Oct. 22, 1966, and stayed on the Billboard album chart for 60 weeks, selling more than 3,500,000 copies worldwide. One million of those sales were in the U.S.

Watch a 1966 interview with The Supremes below.

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How Herb Alpert’s ‘Rise’ Topped the Chart 41 Years Ago Today for All the Wrong Reasons (EUR Video Throwback)




*Some people of a certain age hear the 1979 instrumental “Rise” by Herb Alpert and think back no further than the 1997 image of Notorious B.I.G. and Puffy on a yacht. But there’s an entire generation of fans who, to this day, hear the song’s baseline strut and are instantly taken back to a critical scene on the soap opera “General Hospital.”

A rape scene.

On October 20, 1979, “Rise” went to No. 1 in the U.S. after it was used in a scene featuring Luke Spencer and Laura Webber, “General Hospital’s” “Luke & Laura” lovebirds whose immense popularity would explode beyond their own soap – and daytime dramas in general – to become a cultural flashpoint.

luke & laura

But the iconic characters, played by Genie Francis and Anthony Geary, weren’t even a couple when Geary reportedly suggested “Rise” to the show’s music director for his pivotal scene with Francis.

In fact, Laura was still with Scottie Baldwin when Luke – after Laura rebuffed his declaration of love – threw on the DJ’s record player and raped Laura on the floor of the campus disco, as “Rise” played in the background.

Watch below:

“General Hospital” ran this song several times a week for a short period after this scene, until writers transformed Luke and Laura into romantic lovers and made his redemption a part of their storyline.

“Rise,” written by Andy Armer and Herb’s nephew Randy “Badazz” Alpert, reached No. 1 on the Billboard Hot 100 exactly three months after its July 20, 1979 release from the album of the same name. It remained at the top for two weeks, and gave Alpert the distinction of becoming the first and only artist to score Hot 100 chart toppers with both an instrumental performance and a vocal performance (1968’s “This Guy’s in Love With You,” written by Burt Bacharach and Hal David).

“Rise” was also a fixture on Black radio in 1979, having peaked at number four on the R&B chart and number seventeen on the disco chart.

Sean “Puffy” Combs came along 18 years later and gave “Rise” new life by choosing its bass line for Biggie’s track “Hypnotize.” Released on March 1, 1997, one week before the rapper’s death in a drive by shooting, Puff’s production laced with B.I.G.’s indelible lyrics took “Rise” back to the Hot 100 summit. The original spent the entire summer of ’79 climbing the charts until that episode of “General Hospital” shoved it into the No. 1 spot on Oct. 20. Biggie’s version debuted at No. 2 and reached the pinnacle a week later.

Randy Alpert told the website, “I asked Puffy, in 1996 when he first called me concerning using ‘Rise’ for ‘Hypnotize,’ why he chose the ‘Rise’ groove. He told me that in the summer of 1979 when he was I think 10 years old the song was a huge hit everywhere in New York and ‘Rise’ along with Chic’s ‘Good Times’ were ‘The Songs’ that all the kids were dancing and roller skating to that summer. He had always remembered that summer and that song. When he first played the loop for Biggie, Biggie smiled and hugged him.”

Randy Alpert continued: “Over the years I was approached by Ice Cube, Easy E, Vanilla Ice, and maybe another 4-5 artists to use the song and I never said yes until I heard a rough version of Biggie’s recording. I was sent a cassette from Puffy and when I cranked it up I not only immediately loved it but my gut thought that this could be a #1 record once again.”

While “Hypnotize” wasn’t the only record to sample “Rise,” it was by far the most successful.

Monica used the groove on “I’m Back” from her 2002 album “All Eyez on Me.”

And Bell Biv DeVoe sampled the groove in their 2016 single “Run,” the trio’s first track in 14 years.

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