Hit Parade: Red, Red Wine Edition

Host: Chris Molanphy
Date: April 28, 2017
Podcast: Hit Parade | Slate Podcasts

Episode Overview

This debut episode of "Hit Parade" investigates the rollercoaster chart history behind the song “Red Red Wine”—from its 1960s origins to its ascent to No. 1 decades later. Host Chris Molanphy applies his pop-chart analyst expertise to unravel what truly makes a song a "smash," using “Red Red Wine” as a case study. The episode highlights the interplay of talent, luck, timing, and industry quirks, illustrating how hits often succeed for reasons far beyond music’s intrinsic quality.

Key Discussion Points & Insights

1. The Genesis of "Red Red Wine" (04:53–09:39)

• Original Songwriter and Performer: Neil Diamond wrote and performed "Red Red Wine" in 1967, but its initial chart performance was underwhelming—peaking at #62 on the Billboard Hot 100.
• Brill Building Era: Diamond was a notable Brill Building songwriter. He achieved significant hits in the '60s, both for himself ("Cherry Cherry") and others (the Monkees’ "I'm A Believer").
• The Song’s Early Reception: Diamond’s version, described as brooding and overproduced, didn’t click with audiences or fit comfortably into dance or ballad categories.
  • Quote: “The problem, I think, was that Diamond's Red Red Wine was neither fish nor fowl … who wants to slow dance to a regretful ballad about trying to forget someone who's left you?” (09:39)

2. The Jamaican Transformation: Tony Tribe’s Cover (11:02–12:03)

• Rocksteady Makeover: In 1969, Tony Tribe reimagined "Red Red Wine" as a “rocksteady” tune—a precursor to reggae—adding a lilting, mid-tempo groove.
  • Insight: This version became the template for subsequent covers, catching the attention of Britain’s reggae and ska lovers.
  • Quote: “When a Jamaican artist covers an Anglo pop song, he often reconfigures the very structure of the song from the ground up. And that's what Tony Tribe does with Red Red Wine. His version is utterly transformative.” (12:03)

3. UB40 and the Birth of the Hit Version (12:03–17:38)

• UB40’s Roots & Approach: Formed in late '70s Birmingham—a hub of multicultural reggae influence—UB40 modeled their 1983 version of “Red Red Wine” not on Diamond’s original, but on Tony Tribe’s cover.
• Chart Success in the UK: UB40’s “Red Red Wine” shot to No. 1 in the UK in 1983, propelled by its relaxed reggae feel and Astro’s rap bridge (toasting).
• Introduction of Toasting: This Caribbean rap-style segment was particularly innovative for early ‘80s pop.
  • Quote (Astro’s toast): “Red red wine, you make me feel so fine, you keep me rocking all of the time.” (17:35)

4. American Chart Journey and Reggae’s Place in Pop (17:38–19:53)

• US Reception: Initially, UB40’s version only reached #34 (1984), a respectable but not spectacular chart peak. Reggae’s role in American pop is often minor, with hits appearing in short waves.
  • Example chart instances are given (Johnny Nash, Eric Clapton, Musical Youth’s "Pass the Dutchie").

5. The Rogue DJ and the Song’s American Resurrection (22:28–28:56)

• Game-Changing Airplay: In summer 1988, Guy Zapoleon, a Phoenix radio program director, rediscovered UB40’s “Red Red Wine,” putting it on heavy rotation due to its “should’ve been a hit” quality.
  • Zapoleon’s Philosophy: “One of the things I've always used throughout my career… is what I call would've been should've beens. If the current music wasn't up to snuff, I would dig into a pile of songs that I thought should have been a hit.” (24:11)
• Record Label Reluctance & Eventual Embrace: A&M Records initially balked at re-promoting an old single, but audience demand forced a second commercial release—now on cassette as well as vinyl.
• The "Viral" Effect: As more radio stations joined in, "Red Red Wine" re-entered the Hot 100 (August 13, 1988), shooting from #85 to eventual #1 by October 15, 1988.

6. Industry Impact: The ‘Would’ve Been, Should’ve Been’ Fad (28:56–33:38)

• Trendsetting: The success of "Red Red Wine" sparked a mini-wave of older singles getting revived and charting. Examples include:
  • Sheriff’s "When I’m With You" (peaked at #1 in 1989 after flopping in '83).
  • Benny Mardones’ "Into the Night" and Peter Gabriel’s "In Your Eyes" (re-charted after initial modest peaks).
• Industry Skepticism and After-effects: Labels expressed concerns about reviving “dead” acts, but the trend briefly persisted.
  • Notable industry quote: “There are so many great records out there that deserve exposure … it’s kind of a waste of time to expose these old records.” (31:27)

7. UB40’s Lasting Legacy and Neil Diamond’s Response (33:38–37:45)

• UB40’s Success Formula: The band doubled-down on covers, producing hits like "The Way You Do the Things You Do," "Here I Am (Come and Take Me)," and "Can’t Help Falling in Love" (all charting higher than some originals).
• Neil Diamond’s Embrace: Diamond not only welcomed the royalties, but performed "Red Red Wine" with UB40’s reggae arrangement—including the rap section—in concert.
  • Quote (Diamond live): “Red Red Wine made me feel so good, even if the words aren’t understood / Everybody get to have some fun / With UB40 we be number one…” (37:45)

Notable Quotes & Memorable Moments

• On Song Hit-Making:
  “It's a mix of art and commerce. It's the song itself and it's the machinations behind the song. So that's what we will do with Hit Parade…” (01:10, Chris Molanphy)
• On the Strange Life of "Red Red Wine":
  “Our first episode is just that kind of story. It's about a number one hit that was originally a no. 62 hit and then years later, a number 34 hit. And that was still a half decade before it topped the charts.” (03:06)
• On the Power of DJs:
  “Zapolian, as it happened in 1988, had a fairly low-risk way to test out old records he thought missed their mark the first time…” (24:26)
• On Reggae’s Place in American Pop:
  “In England, reggae has been a regular part of the pop stew since the 60s. In the US we tend to treat reggae like a trendlet or a fad.” (17:53)

Important Timestamps

• [04:53] — Neil Diamond’s original “Red Red Wine” release and chart history
• [11:02] — Tony Tribe’s transformative rocksteady version (and its UK chart success)
• [16:20] — UB40’s 1983 Labor of Love album and reggae cover origins
• [17:35] — Astro’s toasting/rap in UB40’s hit version
• [19:53] — UB40 enters US charts the first time
• [22:28] — Guy Zapoleon’s rediscovery; the Phoenix radio station anecdote
• [28:56] — The 1988-89 wave of “would've been, should've been” revived hits
• [33:38] — UB40’s ‘covers band’ era and follow-up US hits
• [37:45] — Neil Diamond’s endorsement and adaptation of UB40’s style

Episode Tone

Conversational, witty, and deeply informative, Chris Molanphy’s narration balances music-nerd detail with pop-culture storytelling. The episode is filled with pop history trivia, memorable song snippets, and clever asides—making complex chart stories lively and approachable.

Summary Takeaway

"Red Red Wine" is the rare song that needed three tries and a genre transformation to reach its full pop potential. Molanphy explains how artistry, cross-cultural cover versions, radio industry quirks, and sheer luck intertwined to make UB40’s laid-back hit a perennial favorite—and set off an unexpected retro-chart revolution. The tale demonstrates how music history is written as much in smoky backrooms and radio booths as in recording studios.