"Here and Now" by Luther Vandross

Top 10 Alert!

Gold Record Alert!

Grammy Alert!

Song#:  4148

Date:  12/23/1989

Debut:  78

Peak:  6

Weeks:  27

Genre:  R&B, Pop, Adult Contemporary

Pop Bits:  Six albums into his career (all platinum/double-platinum sellers), Vandross still had yet to have a single reach the Pop Top 10. The closest he got was the #15 "Stop to Love," which was from his '86 album Give Me the Reason. His popularity was so great that his '88 album Any Love would be his first to make the Pop Top 10 (#9) despite not containing a major hit. After that effort, Vandross' label chose to close out the decade with a compilation album. The double disc set The Best of Luther Vandross...The Best of Love would be issued out in the fall of '89. It contained hits and key tracks from Vandross including tracks from when he fronted the group Change. It also featured two new tracks including this single, which was released to help promote the set. The song would be Vandross' fifth to top the R&B chart. It would cross over to Pop where the tune would take a leisurely climb up the chart finally peaking at #6 in its 18th week. It would also get to #3 at AC. Not only would the song earn Vandross his first Pop Top 10 hit, but it would win him his first Grammy (Best Male R&B Vocal Performance). The single would also go gold (it would receive a platinum certification in 2021). The compilation would get to #2 R&B/#26 Pop and eventually hit the triple platinum mark.

ReduxReview:  Finally! After having a few terrific songs unable to crack the Pop Top 10, this ballad finally did the trick for Vandross. It would lead to more Top 10s (see below) and kick off what was arguably Vandross' most successful period. Vandross was an excellent songwriter, but unfortunately he did not have a hand in this one. It was written by Terry Steele and David L. Elliott (Dionne Warwick's eldest son). Regardless, it was a beautiful song that was worthy of its Top 10 placement. It took a long while to get there, but with folks finally realizing the goods Vandross had to offer, it eventually became a big crossover hit. The Vandross catalog is chock full of great songs and performances that are essential listening. That first compilation album, which had to be made into a double disc due to all his hits and key tracks, ended up being the tip of the iceberg with more classics to follow. At minimum, folks should go and listen to that comp at least once. Whether you become a fan from it or not doesn't matter. You just have to appreciate the talent that was Luther Vandross.

ReduxRating:  8/10

Trivia:  With plenty of momentum following this hit, Vandross would return in '91 with his next studio album Power of Love. Its lead single, "Power of Love/Love Power," would be a #1 R&B/#3 AC/#4 Pop hit, Its follow up, "Don't Want to Be a Fool," would be another winner getting to #4 R&B/#5 AC/#9 Pop. The album would be a #1 R&B/#7 Pop double platinum seller. Vandross would earn a fourth Pop Top 10 with the collaboration soundtrack single "The Best Things in Life Are Free" (#10 Pop/#1 R&B/#3 Dance). Used in the 1992 film Mo' Money, the song would be a duet between Vandross and Janet Jackson, and would featured supporting vocals by Bell Biv DeVoe and Ralph Tresvant. Vandross' final Pop Top 10 hit would come in 1994 via a remake of the 1981 Diana Ross/Lionel Richie #1 classic "Endless Love." Mariah Carey would join Vandross on the track, which peaked at #2 Pop/#7 R&B/#11 AC. Vandross would continue to record albums over the years with all of them at least hitting the gold mark. He would have one last significant hit in his career. In 2004, Vandross would release the album Dance with My Father. The title track, written by Vandross and Richard Marx, would go on to be a sentimental hit reaching #4 AC/#28 R&B/#38 Pop. However, its popularity rose when the tune won two Grammys, one for Song of the Year and one for Best Male R&B Vocal Performance. The album would debut at #1, become a double platinum seller, and would win the Grammy for Best R&B Album. Prior to its release, Vandross had suffered a stroke and was in a coma for about two months. He would recover enough to do a video thank you when he won the Grammy for Song of the Year. However, just over a year later in 2005 Vandross would die from a heart attack.

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"C'mon and Get My Love" by D-Mob introducing Cathy Dennis

Top 10 Alert!

Song#:  4139

Date:  12/16/1989

Debut:  96

Peak:  10

Weeks:  21

Genre: Dance-Pop, Acid House

Pop Bits:  British producer/remixer/songwriter Daniel Poku, aka Dancin' Danny D, worked his way through the music biz as a DJ and promoter until landing an A&R job at Chrysalis Records. He would continue to work remixer for various artists including ones on Chrysalis while branching out to do his own projects. After leaving Chrysalis, Danny would write and produce a track titled "We Call It Acieed." The song featured vocals by Gary Haisman. Released in the UK in the fall of '88 on the FFRR label and credited to D-Mob, the single became an unexpected hit reaching #3 on the UK chart. With the sudden success of his D-Mob project, Danny needed to get a follow up out and his next effort was "It Is Time to Get Funky" featuring rapper LRS and DJ Sarome. It would also reach the UK Top 10 (#5) in the spring of '89. The second success prompted Danny to create a debut album from D-Mob. In the meantime, across the pond in the US, the two D-Mob singles would both reach #1 on the Dance chart. By the fall of '89, the D-Mob debut album A Little Bit of This, a Little Bit of That would be set and this next single that featured singer Cathy Dennis would be issued out. While the song would do fine in the UK getting to #15, over in the US it would be D-Mob's third #1 at Dance while becoming a surprise Pop Top 10 hit. Another Cathy Dennis-led track, "That's the Way of the World," would stall in the UK at #48, but would hit #1 on the US Dance chart (#59 Pop). The album would sell modestly well in the US reaching #82 (#46 UK). 

ReduxReview:  House music was certainly popular in clubs, but it would only break through to the mainstream on occasion and this was one of them. With its relentless beat, the track was a catchy dancefloor filler that was made all the better by Dennis' vocal. Acid house music is generally not something I gravitate towards as I find it too repetitive, but when the beats are paired with a catchy melody and chorus and edited to a single, it can be terrific. This song was a good example. It was a whirlwind house track that was easy to get caught up in.

ReduxRating:  8/10

Trivia:  Double Shot!  1) The D-Mob outfit would go on to release a couple more singles later in '94 that didn't catch on as well and with that Dancin' Danny D would go on to other projects. He would run his own record label and also team up with Tim Blacksmith to form a publishing company. They would also manage the Norwegian songwriting/production team Stargate. That outfit would work on hits by major acts like Beyoncé, Rihanna, Chris Brown, Selena Gomez, Sam Smith, and many others. 2) While at Chrysalis, Poku would befriend a co-worker by the name of Simon Fuller, who would later become widely known for the UK's Pop Idol show (aka American Idol in the US along with franchises in many other countries). The connection came in handy when Poku needed a vocalist for a couple tracks. Fuller started his own management company and had signed on singer/songwriter Cathy Dennis. With her two D-Mob tracks becoming hits, Dennis then got her own record deal and later in 1990 issued out her debut solo album Move to This. While it would only reach #62 in the US, it would spawn three Pop Top 10 hits:  "Just Another Dream" (#9), "Touch Me (All Night Long)" (#2), and "Too Many Walls" (#8). Dennis co-wrote all three songs along with the majority of tracks on her debut. Unfortunately, her 1992 second album didn't fare as well and it more or less brought an end to her solo career (save for a '97 album). However, it would be Dennis' songwriting skills that would take her career to new heights. She began writing songs for other artists and things would start to rev starting in 1999 when she co-wrote four Top 10 hits for the UK pop outfit S Club 7. Her next hit would be a biggie. Dennis would co-write and co-produce the 2001 worldwide #1 "Can't Get You Out of My Head" by Kylie Minogue (#7 US). Dennis then got involved in Pop Idol thanks to Fuller. She would co-write the theme song, which would later be used for American Idol as well. Dennis would also be tapped to write songs for winners including the first UK winner Will Young and American Idol winner Kelly Clarkson. Many more hits would follow for Dennis including Britney Spears' 2004 "Toxic" (#9 US) and 2008's "I Kissed a Girl" (#1 US) by Katy Perry. Along the way Dennis would win two Grammys.

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"I Remember You" by Skid Row

Top 10 Alert!

Song#:  4111

Date:  11/18/1989

Debut:  63

Peak:  6

Weeks:  20

Genre:  Hard Rock, Glam Metal

Pop Bits:  Skid Row's self-titled debut album had already reached gold level sales even before its second single "18 and Life" made the Pop Top 10 (#4). It quickly turned platinum after that hit and it would sell even more following the release of this third single. The power ballad would be a hit at radio and on MTV with the song making it to #6 Pop/#23 Rock. By mid-January of 90, the LP would reach the triple platinum mark. A few years later it would hit the 5x platinum mark. Oddly, the label would opt to not release a fourth single for the album, although a video for the track "Piece of Me" would be filmed and promoted on MTV.

ReduxReview:  The success of "18 and Life" really set this song up well. Following up that harder edged story tune with this power ballad was a brilliant move and it sent sales of the album soaring. There were a lot of metal power ballads at the end of the 80s, but this one ranks among the best. It has terrific melodies and a big hooky chorus with standout vocals by Sebastian Bach. Oddly, the band chose not to capitalize on their mainstream success with their second album and opted for more aggressive tracks that weren't necessarily radio friendly. The LP still sold quite well, however, grunge and inner turmoil would do in the band in the mid 90s. 

ReduxRating:  8/10

Trivia:  For Skid Row's next album, '91's Slave to the Grind, the band would go for an even heavier sound than their debut. Anticipation was high for the LP, which was released just a few weeks after Billboard changed their chart methodology for sales over to the point-of-sale Nielson SoundScan system. That change had a definite impact on the charts. Stats for sales was immediate and that led to many albums hitting their peak position right out of the box in the first week on the chart. Slave to the Grind would be one of them. It would debut at the #1 spot thanks to sales of over 130,000 in its first week of release. The LP would only spend a week at the top. While fans and some critics liked the band's direction, it didn't bode well for mainstream singles. Only one track, "Wasted Time," would make the Pop chart peaking at #88 (#30 Rock). Another song, "Monkey Business," would make it to #13 Rock. Yet despite the lack of hits, the LP would go double platinum. The band would then take a bit of a break due to the advent of grunge, but would return in '95 with the dark Subhuman Race. It would top out at #35. Lead singer Sebastian Bach would leave the band in '96 and the band would go on hiatus. They would reform in '99 without Bach and would continue on with various lead singers. They would record a few albums along the way. Bach would go on to a solo career and also work as a vocalist for other bands. He would branch out into reality TV and appear in several shows including the competition program Gone Country, which he would win. Perhaps most surprising is that Bach would perform in Broadway musicals. It began when he took over the lead role in Jekyll and Hyde in 2000. He would follow that up with a role in Rocky Horror Picture Show along with being in the touring cast and having the lead role in Jesus Christ Superstar.

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"No More Lies" by Michel'le

Top 10 Alert!

Gold Record Alert!

Song#:  4107

Date:  11/18/1989

Debut:  92

Peak:  7

Weeks:  29

Genre:  R&B, New Jack Swing

Pop Bits:  L.A.-born singer Michel'le Toussant caught people off guard with her two distinct voices. While she spoke in a high-pitched, thin, mousy tone, her singing voice was full bodied and powerful and both got folk's attention. As a teen, Michel'le spent time around L.A. doing vocal competitions, which eventually led to an audition with DJ Alonzo Williams. In addition to owning a club, Williams was also busy with his group the World Class Wreckin' Cru, which featured soon-to-be stars DJ Yella and Dr. Dre. Around that time, the Cru was working up a track that needed a female vocalist and Michel'le was brought in to give it a go. The resulting song, the '87's slow jam "Turn Off the Lights," would be released as a single and get to #84 Pop/#30 R&B. Along the way, Michel'le and Cru member Dr. Dre would dive into a relationship. Dre's other group, N.W.A., was signed to Ruthless Records and it wasn't long before Michel'le had her own deal with the label. She and Dre would co-write the majority of songs (with Dre serving as producer) on her self-titled debut album including this first single. Released in the fall of '89, it would become a hit at R&B reaching #2. The song would crossover to Pop where it would take a slow climb before finally landing in the Top 10. The single would sell well enough to go gold. A second single, "Nicety," would get to #5 R&B/#29 Pop while "Something in My Heart" would make it to #2 R&B/#31 Pop. The hits helped send the album to #5 R&B/#35 Pop and it would turn gold. It was a terrific start to her career and should have led to further success, but then it would take nearly ten years before she could record a follow up.

ReduxReview:  I had forgotten about this great jam. It was defiant and tough with hot production. Michel'le then took it to the next level with her powerful vocal. While it did well and made it to #7, it really should have easily made the Top 3. Michel'le definitely had the goods to be a bigger star and it was too bad that she didn't get to do an immediate follow up. By the time she got one out, it was too late. Despite that, we are still left with her debut album and this terrific hit. It also seems she doesn't get enough credit for helping to forge a new path in music. There are some folks that consider Michel'le's debut as the first hip hop soul album; or at least the influence for the genre. The general view is that Sean "Puffy" Combs first coined the term hip hop soul when promoting Mary J. Blige's 1992 debut What's the 411?, an album on which he served as executive producer. She was then dubbed the Queen of Hip Hop Soul. However, some argue that Michel'le working with Dr. Dre set the genre in motion.

ReduxRating:  8/10

Trivia:  After the success of her debut album, Michel'le should have recorded a follow up soon after. However, that didn't happen. Her volatile relationship with Dr. Dre, which has been accounted in various ways, was a factor along with having a baby. While she would make guest appearances on a few tracks for other artists, she was unable to record songs of her own. The turmoil led to substance abuse, which she would later address. Her relationship with Dre would come to an end after she found out he got married to another woman, but then she began to see another notorious rap impresario, Suge Knight. He would eventually help Michel'le get her second album out. Hung Jury would be released in 1998, but the lengthy time away didn't help things and with only two minor charting singles, the LP would only get to #56 R&B. Michel'le would end up marrying Knight (while he was in prison) and they would have a daughter. They would later divorce, but it was during those proceedings that Michel'le found out that their marriage was actually invalid because Knight had never gotten divorced from his previous wife. Since then, Michel'le has recorded a few singles and even branched out to reality TV. Starting in 2013, she appeared in three seasons of the TV One show R&B Divas: Los Angeles. Then in 2016 she was the subject of a Lifetime TV biopic titled Surviving Compton: Dre, Suge & Michel'le.

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"Two to Make It Right" by Seduction

Top 10 Alert!

Gold Record Alert!

Song#:  4104

Date:  11/11/1989

Debut:  78

Peak:  2

Weeks:  23

Genre:  Dance-Pop, Freestyle

Pop Bits:  Seduction was initially a studio project from Robert Clivillés and David Cole. They recorded a couple of singles and released them under the moniker. One of the tracks, "(You're My One and Only) True Love" with vocals by Martha Wash, became an unexpected success getting to #3 Dance and #23 Pop. As the tune was shaping up to be a hit, Clivillés and Cole had to then form an actual vocal group named Seduction to help promote the single and then get them in the studio to record an album. Hired in for the trio were vocalists Idalis DeLeón, April Harris, and Michelle Visage. A debut LP titled Nothing Matters Without Love would be recorded and released in early fall of '89. The two previously released singles Clivillés and Cole did with other vocalists would appear on the album as-is, but the remaining tracks were performed by the new trio, which included this next single. The tune slowly caught fire and would finally reach #1 at Dance and #2 Pop. It sold well enough to go gold. The hit would send the album to #36 and in May of '90 it would go gold. The LP would spawn two more significant hits, "Heartbeat" (#11 Pop/#2 Dance/#21 R&B) and "Could This Be Love" (#13 Pop/#38 R&B/#21 AC).

ReduxReview:  With its big hook and samples from the Rob Base & DJ E-Z Rock hit "It Takes Two," this song stood out among the glut of freestyle songs on the Pop chart. Clivillés and Cole were reaching the top of their game with this track and it would lead to their massive 1991 #1 hit "Gonna Make You Sweat (Everybody Dance Now)" under the moniker C+C Music Factory (with vocal by Martha Wash) and their work on Mariah Carey's '91 album Emotions. As for Seduction, they were the right voices at the right time and the trio did fine on this hit and its follow ups. Unfortunately, just as quickly as they were tossed together, they split. Still, they will always be remembered for this track, which was one of the major freestyle hits of the era.

ReduxRating:  8/10

Trivia:  Like a lot of assembled groups, line up changes would happen and not everyone would get along. And they didn't necessarily see much of the profits made from their hits and tours. The various issues seemed to creep up on the trio and so in '91 they would go their own ways. Of course the most well known former member of the group would be Michelle Visage, although it would take a while. After the breakup of Seduction, Visage still did vocal work including being featured on the '92 track "It's Gonna Be a Lovely Day," which was recorded by The S.O.U.L. System for the soundtrack to The Bodyguard. Released as a single, it would get to #1 Dance/#34 Pop/#44 R&B. Visage would have other gigs before landing a job at a New York station. That job just happened to be co-hosting a radio show with RuPaul. That quickly led to her being the co-host on the VH-1 program The RuPaul Show, which lasted for two seasons. Visage would say in radio for several years in various cities until RuPaul called on her to be a judge on his new reality competition program RuPaul's Drag Race. The show would launch in 2009, but initially without Visage. She had a contract with CBS radio and they wouldn't let her join the show. Finally, by season three of Drag Race she got CBS to let her do the program and from that point on Visage became a fixture on the show's judging panel. Later on she would become of of the show's producers and would win an Emmy in 2021 when Drag Race won for Best Competition Program. As for her old group Seduction, former member April Harris, who owned the Seduction name, would reform the trio with two new members in 2004. A new album, Feel Brand New, would be released. The title track would get to #28 Dance, but the album would not chart. As of this posting date, Harris' version of Seduction is still out there performing on the bills of nostalgia shows.

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"Rock and a Hard Place" by The Rolling Stones

Song#:  4097

Date:  11/04/1989

Debut:  79

Peak:  23

Weeks:  14

Genre:  Rock

Pop Bits:  After a much needed break from each other, Mick Jagger and Keith Richards finally got back together and came up with songs for their first album in four years, Steel Wheels. The first single, "Mixed Emotions," would get to #5 and help the LP reach #2. Next up for single release would be this track. While it would do well at Rock getting to #1, it floundered a bit on the Pop chart and got locked out of the Top 20. It would end up being the Stones' last single to reach the Pop Top 40. A third single from the album, "Almost Hear You Sigh," would hit #1 at Rock, but stall at #50 Pop. Still, the tune would earn the band a Grammy nomination for Best Rock Performance by a Duo or Group. Steel Wheels would become a double platinum seller.

ReduxReview:  With an instantly recognizable guitar lick and hooky chorus, I thought for sure this single would make the Top 10. I was even surprised that it stopped short of the Top 20. Although it got an 80s production boost, the track seemed rooted in the Stones' 70s period. Was it as good as their legendary songs? No, but it was a quality track from the Stones that showed they could still rock out and write good material 25 years after their first album. It was an exciting track that ended up being the band's last charting single of the decade and their final Top 40 entry.

ReduxRating:  8/10

Trivia:  The Stones would release two more albums in the 90s. Voodoo Lounge would come out in '94. It would get to #2, go double platinum, and win the Grammy for Best Rock Album. Then Bridges to Babylon would arrive in '97. It would hit #1 and go platinum. It would take eight years before the band would issue out a new album. A Bigger Bang would arrive in 2005 and become a #1 platinum seller. Eleven years later, the Stones would record a straight-up blues album titled Blue & Lonesome. The #1 LP would receive critical acclaim and would win the band a Grammy for Best Traditional Blues Album.

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"No Souvenirs" by Melissa Etheridge

Song#:  4093

Date:  11/04/1989

Debut:  95

Peak:  95

Weeks:  3

Genre:  Rock

Pop Bits:  Etheridge earned a Grammy nomination and a surprise gold record with her self-titled debut album (#22). While it would boast a pair of Rock Top 10s, the only single to make the Pop chart was the #94 "Similar Features." Hoping to expand on those results, Etheridge went on to record her second album Brave and Crazy. This first single would be issued out and it would become her third Rock Top 10 getting to #9. Yet once again Etheridge would find herself nearly locked out of the Pop chart with this tune spending a few minor weeks near the bottom. Still, the album would match the peak of her debut (#22) and would also go gold. Etheridge would also earn a second Grammy nomination for the album in the Best Rock Vocal Performance, Female, category. While she beat the sophomore slump, the results left Etheridge still looking for her mainstream breakthrough.

ReduxReview:  I loved Etheridge's debut album and couldn't wait for Brave and Crazy. This album-opening track/single didn't disappoint. It was a terrific tune that was radio-ready and I thought for sure it would get her into the Pop Top 40. Sadly, it got zero attention on pop radio and fizzled quickly. What a shame. The LP was a bit more hit-n- miss than her brilliant debut, but it still had some terrific tracks. However, this first single remains the standout. While she would tread water with her next album, Etheridge would finally reach the big time with her fourth album.

ReduxRating:  8/10

Trivia:  Double Shot!  1) A track from this album would later get picked up by a major country star. Trisha Yearwood would record "You Can Sleep While I Drive" for her '95 album Thinkin' About You (#3 Country/#28 Pop, platinum). The song would be releases as the LP's third single following a pair of Country #1s. It would do modestly well topping out at #23 Country.  2) Etheridge's third album Never Enough would replicate the results of her first two albums getting to #21 and going gold. The track "Ain't It Heavy" (#10 Rock) would earn Etheridge her first Grammy win. Yet once again, a significant Pop chart single eluded her. That would finally change with her fourth album, '93's Yes I Am. While the LP's first single "I'm the Only One" would falter on initial release, the second single "Come to My Window" took off and got to #25 Pop/#22 Rock/#4 AC (it would also win a second Grammy for Etheridge). With a foot finally in the door, "I'm the Only One" started to pick up momentum and on its second go-around it would make the Pop Top 10 at #8 (#10 Rock/#1 AC). It would end up being Etheridge's first and only Pop Top 10 hit. The album would sell over 6 million copies and make Etheridge a major star. The LP's success helped sell copies of her previous three albums. Two would go platinum while her debut would reach double-platinum status. Etheridge's '95 album Your Little Secret would be her first to crack the Top 10 at #6. It would go double-platinum. She would go on to record more successful albums and along the way earn ten further Grammy nominations. In 2007, a song she wrote for the Oscar-winning documentary An Inconvenient Truth, "I Need to Wake Up," would earn Etheridge an Oscar for Best Original Song.

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"When the Night Comes" by Joe Cocker

Song#:  4087

Date:  10/28/1989

Debut:  85

Peak:  11

Weeks:  20

Genre:  Pop, Rock

Pop Bits:  Cocker's career got a big boost when his Grammy and Oscar winning duet with Jennifer Warnes "Up Where We Belong" hit #1 in '82. It should have been the beginning of a comeback period, but then Cocker's next three studio albums failed to produce a significant hit and it left Cocker in the same career lull he had before the movie hit. Still, he soldiered on and in '89 he worked again for a second time with producer Charlie Midnight and came out of the studio with One Night of Sin. For this effort it seems someone decided that it might be wise to secure at least one song by current, hit making writers that would have chart potential. This first single would be that track. Written by Diane Warren along with Bryan Adams and Jim Vallance, the tune gave Cocker a commercial edge and it ended up paying off pretty well. The song would reach #6 at Rock and #12 AC while nearly cracking the Pop Top 10. It stopped just shy at the dreaded #11 spot. It was Cocker's biggest solo hit since his 1975 #5 "You Are So Beautiful." Unfortunately, it would end up being Cocker's last Pop Top 40 entry. Follow up singles would fail to chart and that left the album stopping at #52.

ReduxReview:  The sound of this single, especially at the beginning, was like something that might have come from Eric Clapton. It also sounded like it could have been used in a beer commercial. It did get used as the closing credit song in the '89 Tom Selleck crime drama An Innocent Man, so it did get picked up for other use. This is a song I completely forgot about, which is too bad. It was a solid, rousing, radio ready track that fit Cocker quite well. It really should have poked into the Top 10. I was never a big Cocker fan, but once in a while he could send out a zinger that make you perk up and this certainly was one. I'd consider it a forgotten gem.

ReduxRating:  8/10

Trivia:  Cocker's next album would be '90's Joe Cocker Live. Although the vast majority of the album contained live performances, the final two tracks were new studio efforts. One of them, the Diane Warren-penned "What Are You Doing with a Fool Like Me" would be issued out as a single. It would get to #44 Rock/#96 Pop. It was Cocker's last single to reach the Pop chart. His '91 album Night Calls would generate his last significant single. Cocker's remake of Gary Wright's 1976 #2 hit "Love Is Alive" would do well at Rock reaching #7. Cocker would continue to record and perform all the way through to his death from lung cancer in 2014.

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"We Didn't Start the Fire" by Billy Joel

#1 Alert!

Gold Record Alert!

Song#:  4073

Date:  10/14/1989

Debut:  58

Peak:  1 (2 weeks)

Weeks:  19

Genre:  Pop, Rock

Pop Bits:  Joel's '86 album The Bridge signaled a bit of a downturn in popularity. Although the LP would reach #7, featured a pair of Top 10 singles, and go double-platinum, it wasn't particularly well-received and didn't get close to the five million (later seven million) sales mark of his previous effort An Innocent Man. Feeling the need to branch out and make changes, Joel parted ways with his long time producer Phil Ramone and chose to work with Foreigner guitarist Mick Jones. He also scrapped most of his backing band in favor of new musicians. The resulting LP, Storm Front, was a slightly darker and denser affair, which was highlighted by this intense first single. The rapid fire history-lesson-in-five-minutes track piqued the interest of radio listeners and it wasn't long before the song was bolting up the Pop chart. It would become Joel's third (and final) #1 at Pop while also getting to #5 AC and #6 Rock. It would sell well enough to go gold. The hit would help send the album to #1 for a week. It was Joel's third #1 and first since 1980's Glass Houses. "We Didn't Start the Fire" would earn three Grammy nods including for Record and Song of the Year. The following year, the album would get Joel nominations for Best Male Pop Vocal Performance and Producer of the Year. The LP would eventually reach the 4x platinum mark. Helping it along was a second hit "I Go to Extremes" (#6 Pop/#4 AC/#10 Rock). Three other singles would reach the charts including the ballad "And So It Goes" (#5 AC/#37 Pop). During its time on the charts "We Didn't Start the Fire" would go gold, but over the years it became a sort of cultural touchstone and the tune's digital version would reach the triple-platinum mark in 2021 thanks in part to a viral tweet (see below).

ReduxReview:  I have to say that when this song first arrived, I was all about it. I got the single and played it to the point where I had the lyrics down pat. If karaoke was around at the time in my area I would have killed with this tune! I thought it was a truly interesting song and I liked its message, which was basically that every generation is fucked up in its own way. I remember some reviewers dismissing the song for delivering a message like that but offering no solution. Like, what was he supposed to do? Provide a wish list of future initiatives and then sing "we can stop the fire?" It was ridiculous. As much as I still like the tune, I have to say it is one that I can't hear a lot anymore. It's a fun lark once in a great while to see how many of the lyrics I remember, but it was a song of a certain time and place. At least for me. However, the song still gets used and parodied in various ways and even went viral in 2020 thanks to a TV writing using Twitter to point out all the shitty things that happened on a specific day (March 11, 2020). His tweet was simple: "Today was like if 'We Didn't Start The Fire' was a day."

ReduxRating:  8/10

Trivia:  Double Shot!  1) Joel got the idea for this song during a visit with John Lennon's son Sean and his 21-year-old friend. It seems the friend was talking about how bad the times were as he was growing up and that it seemed like everything was more or less hunky dory in the 50s. Joel disputed the assumption saying that growing up in the 50s was just as bad and cited several historical events. That conversation sparked Joel's creativity and he decided to continue to list out various historical events (or people involved) in a mostly chronological over a 40 year period from Joel's birth year of 1949 through to 1989. The song mentions 118 people/events from the worlds of politics, entertainment, science, and pop culture. The references sent many listeners scrambling to find out more about certain items in Joel's list. Even some history classes in schools would use the song as a springboard for lessons and discussions. Yet despite its teachable moments, weeks at #1, and multiple Grammy nods, the song would later find its way on a few "worst of" lists and the one person seemingly in partial agreement was Joel. When interviewed about the song, Joel once said of the music that "if you take the melody by itself, terrible. Like a dentist drill." He said he also forgets the lyrics often when performing it and relies on the audience to help along.  2) Joel's upturn of success with Storm Front would continue with his next album, '93's River of Dreams. It would reach #1 and sell over 5 million copies thanks mainly to the #3 gold title-track single. The LP would earn a Grammy nod for Album of the Year while the single would receive three nods including Record and Song of the Year. And then just like that, it was over. According to an interview with Joel, he got bored of writing 3-minute pop songs and wanted to do something different. While he could continue to tour on his own and with Elton John over the years, Joel would spend time coming up with that "different" thing. It would finally see the light of day in 2001 when Joel unveiled his first classical compositions with Fantasies & Delusions. The effort would get a mixed critical reaction, but it did reach #1 on the Classical chart and even got to #83 at Pop. As of this posting date, it remains Joel's last studio album. Since the time of River of Dreams, Joel has only released a couple of new pop songs. Both came in 2007. Joel wrote "All My Life" as an anniversary gift for his third wife Katie Lee. He would also write the charity single "Christmas in Fallujah." While the song was credited to Billy Joel, the vocals were done by singer Cass Dillon. Joel thought a younger voice would portray the lyrics much better. In addition to record breaking tours and stints at Madison Square Gardens, Joel would be inducted into the Rock and Roll Hall of Fame in 2008.

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"Pump Up the Jam" by Technotronic

Top 10 Alert!

Platinum Record Alert!

Song#:  4071

Date:  10/14/1989

Debut:  86

Peak:  2

Weeks:  24

Genre:  House, Dance, Hip Hop

Pop Bits:  This Belgian electronic music outfit seemed to continuously evolved during their existence, but at the heart was always musician Jo Bogaert. Bogaert played with several bands in Belgium and worked on various projects, but nothing would hit far beyond the borders of his home country. Bogaert had his sights set on conquering the US and with a couple of his dance tracks getting some attention there, he figured that was the way to go. Bogaert would use an instrumental single he released under the name The Pro 24's titled "Technotronic" as the basis for a new track. He would bring on board to the project hip hop artist Manuela Kamosi, aka Ya Kid K, and she would provide lyrics and vocals on the new tune. From there, the new project would be called Technotronic and the track titled "Pump Up the Jam." For the project Bogaert would go by the alias Thomas De Quincey. The tune would be picked up for international release, but there was a slight issue. Ya Kid K was busy with her own projects and didn't want to do promo for the song or appear in the video. Therefore, in a Black Box/Milli Vanilli sort of way, Congolese model Felly Kilingi, was hired to be the face of the project. She would lip sync in the video and her image would appear on the record sleeve. Upon release, the single would take off hitting #1 in many countries. In the US, the track would easily top the Dance chart. It would then catch on at other formats finally getting to #10 R&B and #2 Pop. The single would sell well and go platinum. As the song shaped up to be a major hit, Bogaert was then given the green light to assemble a debut LP. Pump Up the Jam: The Album would soon follow. It would reach #10 and go platinum.

ReduxReview:  This track is often considered the first in the house music genre to become a Top 10 hit. It was certainly infectious and fun. There wasn't really anything like it on the radio at the time so it stood out. House music in its various forms had been around for a long time, but the mainstream didn't really catch on until this single came along. It was the right song at the right time. Usually projects like this end up being one-hit wonders, but the group was able to grab two more Pop Top 10s. I liked this song and bought the single, however, I didn't become a big fan of house music. It often became repetitive and similar sounding and I lost interest. However, this remains a fun track that helped house music reach a new level. This post comes not too long after I watched the British mockumentary series Cunk on Earth, which featured Diane Morgan playing investigative reporter Philomena Cunk. A running gag in the hilarious show was including this song and a part of its video in each episode. I'll now forever associate this song with Cunk.

ReduxRating:  8/10

Trivia:  When the album was released, it was followed by a second single, "Get Up! (Before the Night Is Over)." It would end up being a gold selling #7 Pop/#2 Dance/#27 R&B hit. By the time that song was ready for release, the ploy about using Felly as the project's face was uncovered and so going forward, Ya Kid K would then rightfully be put in the spotlight. Two further singles would be released from the album that performed less well. Bogaert would then need to record a follow up album. For that effort, the personnel had significantly changed with Ya Kid K taking off for a solo career. Bogaert then began to collaborate with Réjane "Reggie" Magloire and they would come up with the majority of tracks on '91's Body to Body. Singles from the album failed to chart and the album disappeared quickly. However, Technotronic would earn one last hit. In '92, a track from the group's debut album, "Move This," would get picked up and used in a Revlon commercial. Its use sparked enough interest in the song that it was issued out as a single in a new mix. It would end up getting to #6 Pop. The renewed success led to Technotronic recording a third album, '95's Recall. Ya Kid K would return for the effort. The LP would not chart, however it did contain the #3 Dance hit "Move to the Rhythm" (#83 Pop). After that, only a few singles would be issued out over the years under the Technotronic moniker.

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"Don't Know Much" by Linda Ronstadt featuring Aaron Neville

Top 10 Alert!

Grammy Alert!

Song#:  4057

Date:  09/30/1989

Debut:  72

Peak:  2

Weeks:  26

Genre:  Pop, Adult Contemporary

Pop Bits:  Save for a one-off movie theme duet with James Ingram, '86's "Somewhere Out There" (#4), hadn't had a major solo Pop hit since 1980's "Hurt So Bad" (#8). As her pop music fortunes declined at the beginning of the 80s, Ronstadt then turned to other styles including three albums of standards, one of Mexican traditional songs, and a country trio effort with Emmylou Harris and Dolly Parton. Grammys and good reviews followed, but as the decade was coming to a close Ronstadt thought it was time to return to the pop mainstream. Most of the songs on her sixteenth studio album Cry Like a Rainstorm, Howl Like the Wind would be cover tunes. She would perform four songs from famed writer Jimmy Webb along with others from Karla Bonoff, Paul Carrack and Issac Hayes. Ronstadt would also bring in singer Aaron Neville to guest on four songs including this first single. The AC-leaning ballad would become a surprise hit making it to #2 on the Pop chart. It would do even better at AC getting to #1. The single would sell well enough to go gold. In turn, the hit would help send the album to #7. By the end of the year it would go platinum. This song would earn Ronstadt and Neville the Grammy for Best Pop Vocal Performance, Duo or Group. A second single, "All My Life," would get to #11 Pop/#1 AC in 1990. Do to it being released in the next Grammy cycle, the song would earn Ronstadt and Neville a second Grammy in the same category. Cry Like a Rainstorm would eventually sell over three million copies becoming one of Ronstadt's biggest albums.

ReduxReview:  I remember when this came out that it confused me. I didn't recognize the title, but I knew the song. It took me a bit to remember that I knew the song as "All I Need to Know" from Bette Midler's '83 album No Frills. While I did like her version, I do have to admit that the pairing of Ronstadt and Neville on this song did take it to a different level. I've never been a fan of Neville's high, vibrato-laden voice, but it does meld well with Ronstadt's impeccable instrument. The track was nicely arranged and it made for a lovely listen. It was easy to peg this as an instant #1 at AC, but I was quite surprised that it nearly topped the Pop chart. It provided a nice boost to the careers of both Ronstadt and Neville.

ReduxRating:  8/10

Trivia:  Double Shot!  1) This is a remake of a song composed by Barry Mann, Cynthia Weil, and Tom Snow, and originally recorded by Mann. It first appeared on his 1980 self-titled album. It was not released as a single. The following year it was picked up by singer Bill Medley. His single version became a minor chart entry at Pop (#88) and AC (#29).  Then Bette Midler gave the song a go in '83. Her version, which was titled "All I Need to Know," also stiffed only getting to #77 Pop/#39 AC. The song finally got its long awaited due when Ronstadt and Neville turned it into a duet.  2) Ronstadt's successful return to pop would be short-lived. She would go back to Mexican traditional music for two albums before putting out Winter Light in '93. It didn't generate much attention and stalled at a low #93. She would release four more solo albums and a collaboration effort with Ann Savoy before retiring from music in 2011 due to her battle with Parkinson's disease. Ronstadt would receive 12 Grammys in her career including the Lifetime Achievement Award. Her final Grammy came in 2021 when a documentary about her life and career, Linda Ronstadt: The Sound of My Voice, won for Best Music Film.

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"Don't Ask Me Why" by Eurythmics

Song#:  4055

Date:  09/30/1989

Debut:  81

Peak:  40

Weeks:  9

Genre:  Pop

Pop Bits:  The duo's sixth album, '87's Savage, signaled a decline in popularity. The LP stopped at #41 and failed to reach gold-level status mainly because none of its singles was able to crack the Pop Top 40. Nearly two years later, the pair would return with their next effort We Too Are One. In their UK homeland, the album was seen as a return to form and it would hit #1. In the US, it would only do slightly better than Savage getting to #34. That was mostly due to this first single, which just barely made the Pop Top 40 and got to #12 at Modern Rock. It would end up being the duo's final single to reach the US Pop chart.

ReduxReview:  I was always surprised this track didn't do better. The mood of it along with the opening pizzicato strings was reminiscent of their #4 hit "Here Comes the Rain Again." It chugged along quite well and featured a haunting vocal by Lennox. It was a chilly and mature track that I loved. The song was the first single released in the US, but over the in the UK the first release was the upbeat workout "Revival." That tune was a bit more bluesy and forceful, but I think "Don't Ask Me Why" was the better choice. It doesn't rank among their most memorable singles, but it should have done a whole lot better on the chart. Eurythmics remain one of my all time favorite artists.

ReduxRating:  8/10

Trivia:  Double Shot!  1) After We Too Are One, the duo of Annie Lennox and Dave Stewart would split. Each would go on to solo careers. Then in 1998, the pair began to write together again following a performance they did for an event. The following year they would put out their eighth album Peace. It would be a #25 gold seller in the US. A remix of the track "17 Again" would hit #1 on the US Dance chart. The pair would go their own ways again and have yet to reunite for another album. However, a song from the 2005 compilation Ultimate Collection, "I've Got a Life (It's the Only Thing That's Mine)," would make it to #1 on the Dance chart. In 2022, Eurythmics would be inducted into the Rock and Roll Hall of Fame.  2) As far as solo careers for the pair, Stewart would release a couple albums with his band The Spiritual Cowboys along with some other solo efforts. In addition, he would work as writer/producer for hire and work on film music. His score for the 1989 Dutch film Lily Was Here would generate Stewart's only US Pop chart hit. The instrumental title track featuring Dutch jazz saxophonist Candy Dulfer would end up reaching #11 later in '91. In 2003, Stewart would get a hit as co-writer of "Underneath It All" by No Doubt. Written with band leader Gwen Stefani, the song would reach #3 on the Pop chart. Annie Lennox would go on to have a highly successful solo career. Her debut album, '92's Diva, would be a #23 double platinum hit that would earn Lennox three Grammy nods including one for Album of the Year. She would win for Best Longform Music Video. She'd win another Grammy with a track from her second album Medusa (Best Female Pop Vocal Performance for "No More 'I Love You's'"). In 2003, Lennox would supply the closing theme to the film The Lord of the Rings: The Return of the King. "Into the West" would achieve the trifecta of awards winning a Grammy, a Golden Globe, and an Oscar.

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"Love Song" by Tesla

Top 10 Alert!

Gold Record Alert!

Song#:  4052

Date:  09/30/1989

Debut:  90

Peak:  10

Weeks:  27

Genre:  Hard Rock, Glam Metal

Pop Bits:  Tesla's debut album, '86's Mechanical Resonance, would turn into a #32 gold record thanks to touring, MTV exposure, and the single "Little Suzi" getting a bit of airplay (#22 Rock, #91 Pop). The stage was set for a bigger breakthrough and by the beginning of '89 they had prepped their second effort The Great Radio Controversy. Its first single, "Heaven's Trail (No Way Out)," would do well at Rock getting to #13. A second single, "Hang Tough," would make it to #34 Rock. Despite neither song reaching the Pop chart, the album initially peaked at #18 in March of '89 and would go gold. It was a good result, but things were about to really pick up for the band with this third single. The power ballad would take a leisurely climb up the Pop chart eventually dipping into the Top 10 while also getting to #7 at Rock. The hit significantly boosted sales of the album and while it didn't eclipse its initial #18 peak, the LP did rebound and by the end of '89 it would go platinum. Eventually it would sell over 2 million copies. A fourth single, "The Way It Is," would do fairly well getting to #13 Rock/#55 Pop.

ReduxReview:  I really liked how this song built from the acoustic opening through to the guitar, then the final big chorus followed by the quiet coda. It was a well constructed tune that had shades of what would soon be known as grunge. It wasn't the typical hair metal power ballad. The result was an unexpected gold single that significantly expanded the band's audience.

ReduxRating:  8/10

Trivia:  Tesla's next album would be a bit of a change. Encouraged by a live acoustical rendition of "Love Song" for an awards event, the band's manager pushed them to perform a full set of songs on acoustic instruments. Initially they balked as they were a hard rock band, but were eventually won over. Two acoustic performances were booked at a club and after the response they got, four more shows were booked during breaks from their tour with Mötley Crüe. One of the shows was taped and some of those performances would make up the concert LP Five Man Acoustical Jam. A track from the album, a remake of the Five Man Electrical Band's 1971 #3 hit "Signs," was released as a single. It would be their biggest charting hit reach #2 Rock and #8 Pop. The album would get to #12 and go platinum. Tesla would return in '91 with their third studio album Psychotic Supper. It would get to #13 and go platinum thanks to the #7 Rock/#86 Pop single "What You Give." Their fourth album, '94's Bust a Nut, would be the swan song to their heydays. It would get to #20 and go gold. The band would then split and go on an extended hiatus. Eventually, they would reunite in 2000 and have since toured and released a few albums.

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"Poison" by Alice Cooper

Top 10 Alert!

Gold Record Alert!

Song#:  4048

Date:  09/23/1989

Debut:  66

Peak:  7

Weeks:  19

Genre:  Hard Rock, Glam Metal

Pop Bits:  Cooper had a rough 80s. His commercial fortunes dwindled to the point where his long time label Warner Bros. let him go after the failure of '83's DaDa. He was hospitalized for alcoholism (but once and for good got sober) and went through a divorce. He did a few things in music and made some appearances, but it seemed like his career was slipping away. Things began to turn around a bit in '86 when Cooper signed up with MCA and released the album Constrictor. It did modestly well as did the follow up Raise Your Fist and Yell. In addition, Cooper went out on tour for the first time since '81 and it was highly successful. With a bit of momentum behind him, Cooper figured the time was right to plot a real comeback album. He moved over to Epic Records and taking a cue from some other artists who were making comebacks at the time chose to work with hit making producers/writers of the era. Mainly, he collaborated with Desmond Child who would produce and co-write the majority of the tracks on Cooper's eleventh solo album Poison. Other artists like Joan Jett and Jon Bon Jovi would lend a hand in writing along with proven hitmaker Diane Warren. This first single would be issued out and it was the right song at the right time. It would get to #15 Rock while becoming Cooper's first Pop Top 10 single since '77's #9 "You and Me." It would also sell well enough to go gold. The hit would drive sales of the album and it would reach #20 and go platinum. It was his best result since his 1974 solo debut Welcome to My Nightmare (#5, platinum). (Note that from '69-'73, seven albums were released by the band Alice Cooper. Leader Vincent Furnier, aka Alice Cooper, would legal adopt the name and set out on a solo career in '74.)

ReduxReview:  This was a calculated move to revive Cooper's career and it paid off in spades. Collaborating with Child was a great idea. The pair were able to make airplay-worthy tracks that still kept Cooper's nightmare-ish style alive. This single couldn't have been better for Cooper. It was a loud, hooky glam rock track that had a definite dark side and cheeky lyrics that gave a wink and a nudge to Cooper's horror side. It was also released at the right time when glam metal was riding high. Trash was easily Cooper's best LP of the decade and it pushed his career back into high gear.

ReduxRating:  8/10

Trivia:  Cooper's follow up album, '91's Hey Stoopid, wouldn't be quite as successful, but still did well enough to go gold and maintain his comeback status. It would reach #47 thanks mainly to the title track that got to #13 Rock/#78 Pop. The song's claymation video would be popular on MTV. Around that time, Cooper would cap off his comeback period with a memorable "we're not worthy!" appearance in the '92 hit film Wayne's World where he also performed the track "Feed My Frankenstein." With the advent of grunge, Cooper's record sales would dwindle, but he continued to record albums and have successful concert tours. In 2011, Cooper would record Welcome 2 My Nightmare, a sequel to his '74 debut album. It would reach #22, which was his best showing since Poison. That same year, Cooper, both the person and the band, would be induced into the Rock and Roll Hall of Fame.

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"Back to Life" by Soul II Soul (featuring Caron Wheeler)

Top 10 Alert!

Platinum Record Alert!

Grammy Alert!

Song#:  4047

Date:  09/23/1989

Debut:  70

Peak:  4

Weeks:  28

Genre:  R&B, Soul

Pop Bits:  This British collective hit it big with their single "Keep on Movin'," which became a #1 R&B/#1 Dance/#11 Pop platinum seller. It had previously been a hit in the UK getting to #5 and it was quickly followed by the group's debut album Club Classics Vol. One. Wanting another hit along the same lines, the group's label wanted another hit that featured the same vocalist, Caron Wheeler. However, the problem was that the only other track on the album to have Wheeler singing was an a cappella track title "Back to Life." Needing to meet the demand, members Jazzie B. and Nellee Hooper took the vocals and fashioned a new backing track along the same lines as "Keep on Movin'." The new mix would be issued out as a single and it flew to #1 in the UK. Success in the US would follow with the song getting to #1 R&B and #1 Dance while making the Pop Top 10. It would also become their second single in a row to go platinum. The hit would help album sales, but some of those buyers weren't so happy when they discovered that the "Back to Life" on the LP was the original a cappella version. Still, it would go on to sell over two million copies. This song would go on to win the Grammy for Best R&B Performance by a Duo or Group with Vocal. The collective would earn a second Grammy that same year when the track "African Dance" won for Best R&B Instrumental Performance.

ReduxReview:  While I'm sure many folks remember "Keep on Movin'," I think the group is mainly remember for this jam. I'm still surprised it didn't get to #1. It was all over the place. In addition to a lot of radio airplay, there wasn't a club or event or party where this wasn't played - a lot. I liked the track and was going to buy the single, but got tired of the tune before that happened. I'd heard it enough times. It's still a great tune and interesting that they took their own a cappella album track and transitioned it into a major hit.

ReduxRating:  8/10

Trivia:  Double Shot!  1) Soul II Soul would quickly follow up their debut with their 1990 album Vol. II: 1990 - A New Decade. It wouldn't do as quite well as their debut in the US stopping at #21 Pop/#14 R&B and only going gold. Its first single, "Get a Life" would get to #5 R&B/#9 Dance, but stall at #54 at Pop. A second single, "A Dream's Dream," would get to #3 Dance/#19 R&B/#85 Pop. That song would be the group's last to reach the Pop chart. Their next three albums continued the downward trend and by 1998 Soul II Soul had disbanded.  2) Following Soul II Soul's debut album, vocalist Caron Wheeler would leave and set out on a solo career. In 1990, she would release her debut album UK Blak. Its first single, "Livin' in the Light," would reach #1 Dance/#3 R&B/#53 Pop. In turn, the album topped out at #30 R&B/#133 Pop. A second album would follow in '93 that spawned an R&B Top 20 entry. The following year, Wheeler would attempt to join back up with Soul II Soul and supply vocals for a couple of songs, but directional differences had her taking off again. She continued to work as a vocalist over the years until finally reuniting and touring with Soul II Soul again in 2007.

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"The Way to Your Heart" by Soulsister

Song#:  4046

Date:  09/23/1989

Debut:  71

Peak:  41

Weeks:  10

Genre:  Pop

Pop Bits:  The Belgian duo Soulsister was formed in '86 by musicians Jan Leyers and Paul Michiels. Both had experience with other bands before meeting each other in a café, which led to them collaborating. A demo song they wrote and performed piqued the interest of EMI Records who pushed the pair into forming a duo. Initially calling themselves The Soul Sisters, EMI would push out a couple of singles that got a small bit of attention. Encouraged by that, the label pressed the duo for a debut album. Under the new name of Soulsister, the pair would record It Takes Two. An initial single wouldn't make much of an impact, but a second single, "The Way to Your Heart," would take off late in '88. It would go Top 10 in several European countries including #3 in their home of Belgium. That success would lead to a distribution deal in the US and nearly a year after its initial release, the single was issued out in the States. The Motown-ish song would become a hit at AC getting to #5. It was also able to get on the Pop chart, but it stopped just shy of the Top 40 at the dreaded #41 mark. It would be the duo's only charting single in the US. The album would be released as well in the US, but it would not chart.

ReduxReview:  Whoa! This was a blast from the past. I swear I haven't heard this song since it came out and it was like I just heard it yesterday. I'd totally forgotten about this song. I'm not exactly sure why I knew it so well as I didn't buy the single and I don't have it on any of my 80s collections. Since it went Top 5 at AC, I'm guessing a radio station I listened to must have had it in heavy rotation. If I didn't already know this had peaked at #41, I would have thought it had at least cracked the Top 20. This is a terrific Motown-inspired pop tune that easily puts a smile on my face. It's hooky, fun, and a sweet confection. The song should have done a lot better on the Pop chart, but perhaps it was better suited to AC where it did quite well.

ReduxRating:  8/10

Trivia:  Soulsister's next two albums would be released only in Europe. Both would sport a Top 10 hit at home in Belgium. After a fourth album would fail to do much, the duo would split. They would reunite in 2006 and the following year put out their fifth album. Jan Leyers would go on to form the rock band My Velma while also doing some solo work, which included the 2000 Belgian #2 hit "Only Your Love Will Do." He would write songs for other artists along the way and one of his co-writes, "That's as Close as I'll Get to Loving You," would become a #1 US Country hit in 1995 for singer Aaron Tippin. Leyers would also go on to be a television personality in Belgium hosting several shows and working as a judge on the Belgium edition of the Idol franchise. Paul Michiels would also continue on doing solo work and in 2001 would grab a Belgian #3 hit with "Let Me Be Turned to Stone."

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"When I See You Smile" by Bad English

#1 Alert!

Gold Record Alert!

Song#:  4035

Date:  09/16/1989

Debut:  72

Peak:  1 (2 weeks)

Weeks:  22

Genre:  Rock

Pop Bits:  This supergroup starring John Waite, Jonathan Cain, and Neal Schon kicked off their self-titled debut album with the #2 Rock hit "Forget Me Not." While the tune would get on the Pop chart, it stalled shy of the Top 40 at #45. Hoping to better that result, this power ballad was next up for release. It would become the band's mainstream breakthrough getting to #10 Rock and #11 AC while hitting #1 on the Pop chart for two weeks. The single would sell well enough to go gold. With that result, the album would peak at #21 and by the beginning of November it would go gold.

ReduxReview:  With the songwriting capabilities of the band's members, I'm pretty sure none of them said, "hey, let's go find a hit song for the album written by someone else!" It totally wreaks of label/A&R folks pushing the band to record a potential hit because they didn't hear one within the band's compositions. Bad English then opted to take on this Diane Warren power ballad and did their best to rock it up. The end result was a solid piece of commercial pop/rock that was bound to light up the charts. Lead singer John Waite sold it well and it became his biggest hit since his own #1, 1984's "Missing You." It would easily become the band's most recognizable tune and it is one that still gets a lot of airplay today.

ReduxRating:  8/10

Trivia:  This song was penned by Diane Warren. It was only one of two tracks on the Bad English album where a band member was not listed as a composer. Warren had been on a hot streak for the past couple of years earning #1 songs in '87 ("Nothings Gonna Stop Us Now" by Starship) and in '88 ("Look Away" by Chicago). While other songs she wrote did well in '89 she had yet to grab a #1 through the majority of the year. Then this Bad English track did the job making it three years in a row that Warren had penned a #1 Pop single.

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"Don't Close Your Eyes" by Kix

Gold Record Alert!

Song#:  4027

Date:  09/09/1989

Debut:  93

Peak:  11

Weeks:  23

Genre:  Hard Rock, Glam Metal

Pop Bits:  This Maryland band started to form in 1977. After a couple of name changes, the band settled on Kix and began playing covers in the local clubs. Over the course of three years, the band built up a sizable fan base around the Baltimore area. Finally in 1981, the band would get signed to Atlantic Records. Work began on a self-titled debut album with bassist Donnie Purnell serving as the main songwriter. While it got some good notices, the album didn't fare well and was unable to chart. Still believing in the band, Atlantic gave them another shot and they came up with '83's Cool Kids. Apparently, the label pushed the band in a more commercial direction and wanting some kind of radio hit got them to record three cover tunes. One of those tracks, a remake of the 1981 Nick Gilder song "Body Talk," was released as the first single. It would just miss the Pop chart stopping at #104. That minor attention along with the band's live shows helped the album get to #177. Their third album, '85's Midnight Dynamite, failed to chart and it left the band at a sort of crossroads. Atlantic was willing to give the band another shot, but it seemed like it could be their last chance. They went into the studio with veteran producer Tom Werman and emerged with Blow My Fuse. Released to good notices and a promotional push in '88, none if its initial singles would chart. However, the album sold and it would initially peak at #74. It was a definite improvement from their previous efforts, but the band still wasn't breaking through in a major way. That would change when nearly a year after the LP's release this power ballad would start to gain attention. The song would become their first charting hit eventually get to #16 Rock while nearly making the Pop Top 10, stopping at the dreaded #11. In turn, the album would re-enter the chart and move up to a peak of #46. Both the single and the album would be certified gold (the album would get to platinum status in 2000). It was the big break the band was looking for. Unfortunately, it would prove to be short-lived.

ReduxReview:  This intense power ballad led by Steve Whiteman's gritty, soaring vocals came along at the right time. The tune wasn't your basic glam metal ballad about a broken relationship or longing for home. It dealt with a person basically trying to stop someone from committing suicide. A heavy topic for pop radio, but it worked thanks in part to the big chorus and tight, radio-ready arrangement and production. It was a bummer this didn't slide into the Top 10 for a week, but it still sold well enough to go gold. Kix got the hit in just about under the wire. In a couple years glam metal would be on the outs with grunge taking over.

ReduxRating:  8/10

Trivia:  For their next album, for whatever reason Atlantic would move Kix over to their new sub-label EastWest. The change threw the band for a loop, but they would rally and finish the album Hot Wire. It would be released in 1991. The only song to reach a chart was the first single "Girl Money," which got to #26 Rock. That left the album stalling at #64. Kix would fulfill their Atlantic contract with a 1993 live album and then were let go. However, by this time Nirvana had already busted down the grunge doors leaving metal bands like Kix in the dust, so the writing was already on the wall. They tried to rally with an indie album in '95, but it didn't do much to further their career. The band members would then go on to do other projects. Save for bassist/songwriter Donnie Purnell, the band would reunite in 2003. In 2014, they would release their first album in nearly twenty years. Rock Your Face Off would return the band to the Album chart where it peaked at #49.

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"Love in an Elevator" by Aerosmith

Top 10 Alert!

Gold Record Alert!

Song#:  4021

Date:  09/02/1989

Debut:  56

Peak:  5

Weeks:  16

Genre:  Hard Rock, Glam Rock

Pop Bits:  After cleaning up their act, Aerosmith came back in a big way with their '87 album Permanent Vacation. Featuring the #3 hit "Angel," the album would peak at #11 and eventually sell over 5 million copies. The trick after a major comeback is to try to keep the momentum up and Aerosmith made the attempt with their tenth studio album Pump. Once again working with producer Bruce Fairbairn, the LP would be ready to go in the fall of '89. To kick things off, this first single was released. It would be a big hit at Rock where it would become the band's first song to top that chart. Over on the Pop chart, the tune would become their fourth Top 10 hit and first gold record. In turn, the album would make it to #5. It was Aerosmith's first Top 10 album since 1976's Rocks (#3). Within a short couple of months, the LP would go platinum. The song would earn the band a Grammy nomination for Best Hard Rock Performance.

ReduxReview:  For Permanent Vacation, Aerosmith's main writers Steven Tyler and Joe Perry, were coerced into writing with hit makers like Desmond Child and Diane Warren to help get them going on a more mainstream track. It ended up working and it seems the guys took what they learned ran with it for Pump. While they worked with others on a few tracks, the majority of the album was the Tyler/Perry show including this first single. From the opening riff to the whoa-yeah's to the hooky chorus, there was just no doubt this was going to be a hit. Tyler and Perry had found a way to keep Aerosmith's signature blues-rock sound while amping up the hooks and commercial viability. Fairbairn's production was nice-n-chewy and suited the band well. Pump built on what the band established with Permanent Vacation and it was great to see that their comeback wasn't just a one-and-done fluke.

ReduxRating:  8/10

Trivia:  In 1998, Aerosmith was big enough and mainstream enough (thanks to the #1 Armageddon soundtrack hit "I Don't Want to Miss a Thing") that Disney, whose Touchstone Pictures released Armageddon, hit up the band to be the featured act on their new Rock 'n' Roller Coaster themed ride. The coaster would be installed in three parks - Disney's Hollywood Studios (California), Walt Disney World (Florida), and Walt Disney Studios Park (France). The indoors coaster was know for its immediate launch (0 to 58 in 3 seconds) and three inversions. Along the way speakers in the cars would play Aerosmith songs. While "Love in an Elevator" would play, it was redone as "Love in a Rollercoaster" just for the ride. The Rock 'n' Roller Coaster Featuring Aerosmith opened in 1999 and has been a mainstay at the two US parks for years.

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"Listen to Your Heart" by Roxette

#1 Alert!

Song#:  4014

Date:  08/26/1989

Debut:  64

Peak:  1 (1 week)

Weeks:  22

Genre:  Pop

Pop Bits:  The second single from the Swedish duo's album Look Sharp!, "Dressed for Success," did fairly well making the Pop Top 20 (#14). Therefore, a third single was called for and the label took a chance on this power ballad. It was the exact right choice with the tune making it all the way to #1. It was the duo's second chart topper following their US debut single "The Look." The song would also get to #2 at AC. The hit would help sell more albums and at the turn of the new year, it would reach the platinum mark.

ReduxReview:  I've always found this tune to be a cousin to Heart's chart topping "Alone." It may not have been quite as powerful as Heart's song, but Roxette certainly did their best to try and reach that same level. The results were solid and it was the perfect choice for a single. There were hooks and drama galore and it reeled you in on just one listen. There was little doubt that this would become another hit for the duo.

ReduxRating:  8/10

Trivia:  This was the first single to reach #1 on the Pop chart to be only available for purchase as a cassette single. The standard vinyl 45 was not printed for the release. With the advent of the CD and the popularity of cassette players like Sony's Walkman, sales of vinyl product was quickly decreasing. The same week this song hit #1, the album Touch Me Tonight - The Best of Shooting Star by the US rock band Shooting Star debuted on the Album chart. It was the first charting album that was only commercially available on cassette or CD. No vinyl LPs were printed for the release. The trend would continue with CDs eventually taking over the market share leaving both vinyl and cassettes in the dust. It seems the worst time for vinyl was round 2005-2006 when it seems like the format was basically done and dead. However, as things do, vinyl started to gain favor again just a few years later. The trend would catch on with artists and labels putting more of their work back on vinyl. Each years sales increased and in 2020, vinyl records outsold CDs for the first time since 1986. While digital product and streaming still lead the marketplace, the resurgence of vinyl has created a nice revenue stream for artists and labels.

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