There is a great blog called "Behind the Grooves" written by Jeff Harris. He writes purely for the love of music. I got his permission to post some of his writing on my page. I love the stories he tells about how the music was created


Reprinted with permission of Jeff Harris -Behind the Grooves 2014

On this day in music history: February 19, 1983 - “Baby, Come To Me” by Patti Austin with James Ingram hits #1 on the Billboard Hot 100 for 2 weeks, also topping the Adult Contemporary chart for 3 weeks on January 22, 1983, and peaking at #9 on the R&B singles chart on February 12, 1983. Written by Rod Temperton, it is the biggest hit for the Harlem, NY born vocalist. The goddaughter of legendary producer and arranger Quincy Jones, Patti Austin is a musical prodigy from early childhood, making her first public performance on the stage of the Apollo Theater at four years old and signing her first recording contract with RCA Victor Records at five. By the time she is a teenager in the late 60’s, Austin will begin working successfully as a studio background vocalist and commercial jingle singer. She will first work with Jones on the soundtrack to “The Wiz” (as a background vocalist and choir mistress) and his album “Sounds… And Stuff Like That”. On the latter she is a featured vocalist on the tracks “I’m Gonna Miss You In The Morning”, featuring then still largely unknown Luther Vandross, and “Love I Never Had It So Good” with Wattsline vocalist Charles May. In 1980, Patti Austin will be one of the first artists signed to Quincy Jones’ Qwest Records label (distributed by Warner Bros.). Jones will produce her debut album for the label titled “Every Home Should Have One” released in August of 1981. Songwriter Rod Temperton will write four songs the project including the first single “Do You Love Me? (#24 R&B, #1 Club Play). For the ballad “Baby Come To Me”, Austin will be paired with fellow Jones protege James Ingram (“Just Once”, “One Hundred Ways”), and is issued as the album’s second single in Early 1982. Entering the Hot 100 at #81 on April 24, 1982, it will peter out at #73 two weeks later, dropping to #92 the following week, then falling off of the chart completely one week after that. A few months later, something unexpected will happen. Jill Phelps, the musical director of the daytime soap opera “General Hospital” will discover the song after series creator Gloria Monty asks her to find a song that would be an appropriate “love theme” for main character Luke (Anthony Geary), and his new love interest after Laura (Genie Francis) leaves the program. When “Baby, Come To Me” is featured on the series, people will immediately begin calling ABC’s switchboard, inquiring about the song. Warner Bros will quickly reissue the single and begin re-promoting it at radio. Re-entering the Hot 100 at #91 on October 16, 1982, twenty-one weeks after it had last charted, it will climb to the top of the chart eighteen weeks later. Following the singles’ two week run at the top of the pop chart, Quincy Jones will make history when he becomes only the third record producer (George Martin and the Bee Gees are the first two) to have one record he’s produced, be succeeded by another at the top when Michael Jackson’s “Billie Jean” moves to number one on March 5, 1983. “Baby, Come To Me” is certified Gold in the US by the RIAA.