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Ingram recorded “I Don’t Have The Heart” for his 1989 album It’s Real, but the song wasn’t a single at first. But when Medina heard the song, it made him cry. (Later on, Rich and Friendman wrote songs for artists like Kenny Loggins, Barbra Streisand, and Tina Turner, and they also penned Whitney Houston’s Bodyguard ballad “ Run To You,” which peaked at #31 and got nominated for an Oscar.) Rich and Friedman’s “I Don’t Have The Heart” demo sat in Warner exec Benny Medina’s office for more than a year before he finally listened to it. Journeyman songwriters Allan Rich and Jud Friedman wrote “I Don’t Have The Heart” together shortly after meeting in Los Angeles it was the first song that they ever wrote together. By the time “I Don’t Have The Heart” reached the top of the Hot 100, the song was pretty old. “I Don’t Have The Heart,” the song that James Ingram took to #1, wasn’t exactly a zeitgeist-ready track. Before “I Don’t Have The Heart,” Ingram’s biggest hit as a solo artist, with no above-the-line collaborators, was the 1984 ballad “ There’s No Other Way,” and that song peaked at #58. Mostly, it seems like he was happy playing on winning teams, doling out assists. And Ingram never seemed too thirsty for his own pop-chart success.
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Ingram was a valuable collaborator because he knew how to mold his voice to fit whatever he was singing. But Ingram could sing and write and play, and producers like Quincy Jones could use his voice as a kind of lush texture.
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He didn’t have a readily marketable persona. James Ingram was never really a hitmaker, and he certainly wasn’t a pop star. The other singers on that track were Al B. Ingram was one of four singers on “The Secret Garden (Sweet Seduction Suite),” a Quincy Jones single that peaked at #31 in 1990. He teamed up with Kenny Rogers and Kim Carnes on 1984’s “ What About Me?,” which made it to #15. Ingram sang on “ We Are The World.” He and Michael McDonald duetted on the 1983 single “ Yah Mo B There,” which peaked at #19. “Baby, Come To Me” included, most of Ingram’s biggest hits were collaborations. It’s a 9.) In the ’80s, a Quincy Jones association was a good thing to have, but Jones never turned Ingram into a superstar.Īll through the ’80s, James Ingram was a constant presence on the R&B charts, but he only broke through to pop radio when he was working with other people. The two of them co-wrote Michael Jackson’s “ PYT (Pretty Young Thing),” and Jones also produced “Baby, Come To Me.” (“PYT” peaked at #10. In the early ’80s, Jones and Ingram worked closely together. Jones signed Ingram to his Qwest label, and he featured Ingram on his 1981 album The Dude. He didn’t think of himself as a potential recording artist, but Quincy Jones heard him on demos and liked his voice.
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Ingram got his start as a keyboard player and an occasional demo singer. James Ingram was involved in a lot of hits in the ’80s, but he was never exactly a central figure within the pop-music narrative. But with Ingram’s second chart-topper, I must confess, I have no fucking idea how it happened. Ingram and Patti Austin’s duet “ Baby, Come To Me” reached #1 in 1983 because the song prominently soundtracked a General Hospital love scene, back in the era where songs could blow up just by playing in the background on daytime soap operas. With the first, though, there’s a clear trajectory. Both of those chart-topping hits were fairly unlikely. For instance: James Ingram, the smooth and sensitive balladeer, reached #1 twice in his career. Songs follow all sorts of weird, unconventional routes to hit status, and sometimes, even decades later, it’s virtually impossible to look back and reconstruct how it happened. How do songs become hits? It looks like a simple question, but it almost never is. In The Number Ones, I’m reviewing every single #1 single in the history of the Billboard Hot 100, starting with the chart’s beginning, in 1958, and working my way up into the present.
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