"Price of Love" by Bad English

Top 10 Alert!

Song#:  4149

Date:  12/23/1989

Debut:  68

Peak:  5

Weeks:  19

Genre:  Rock

**This is the last song to be covered in this blog. It was the highest debuting song on the very last Pop chart of 1989 wrapping up the decade. I made it! I covered all songs to enter the Pop chart in the 80s. Thanks to any and all who followed along or even dropped in for an entry or two.

Pop Bits:  This glam rock supergroup fronted by John Waite was able to score a #1 Pop gold record with the Diane Warren-penned power ballad "When I See You Smile." It was the second single from the band's self-titled debut album. For a follow up, the label selected another power ballad from the album, "Price of Love," which was written by band member Waite and Jonathan Cain. It would do well enough to become the band's second Pop Top 10 hit (#30 Rock/#38 AC). The pair of hits would help send the album to #21 and it would become a platinum seller. Two other singles from the LP would make the Pop chart. "Heaven Is a 4 Letter Word" would get to #66 (#12 Rock) while "Possession" would make it to #21 (#42 AC).

ReduxReview:  With perhaps the most single worthy rock track already released ("Forget Me Not," #45), it wasn't surprising that the label chose to push out another power ballad in hopes of a second hit. The ploy worked, but at what price? <pun intended> With their only other Top 40 entry another power ballad, it sort of painted the band in a corner. Obviously they could rock out, but it seemed all folks wanted was big ballads featuring Waite's voice. It kind of put the band at odds. Were they a hard rock supergroup or commercial balladeers? It all would lead to a breakup after their second album, which wasn't surprising as that tends to happen with supergroups like this. But before all that they scored one last Top 10 with this tune. It was a nicely done, but really wasn't all that memorable. I think it had just enough radio ready flare to ride the coattails of "When I See You Smile." Had it been released first, I don't think it would have done nearly as well. It didn't have legs either as I haven't heard this song since its chart days.

ReduxRating:  5/10

Trivia:  With the debut album becoming a success, the band needed to record a follow up. They did so and in 1991 their second album Backlash was ready. Unfortunately, it seems tensions rose in the band during the recording of the LP concerning the direction of the band, so they were on shaky ground even before the LP's release. Then it all came crashing down when the LP's first single, "Straight to Your Heart," stalled at #42 Pop (#9 Rock) and a second single failed to chart. In turn the album stalled at #72 and couldn't even go gold. With those results, the band called it quits. John Wait would return to a solo career while Neal Schon and Jonathan Cain would eventually reform Journey along with Bad English drummer Deen Castronovo. Bassist Ricky Phillip would mainly return to session work while later joining an iteration of Styx.

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"Right and Hype" by Abstrac'

Song#:  4145

Date:  12/23/1989

Debut:  93

Peak:  89

Weeks:  6

Genre:  R&B, New Jack Swing

Pop Bits:  This vocal trio from NYC consisted of Mary Brown, Marsha McClurkin, and Topaz Del Bettis. Formed via Teddy Riley (Guy, Bobby Brown) and Gene Griffin, the trio got signed to Reprise Records and work began on a self titled debut album. Griffin would co-write and co-produce the majority of the album with Riley doing some side work. This first single would be issued out. It would be a minor hit at R&B reaching #23. The tune would cross over to Pop, but only spend a few weeks near the bottom. In turn, the album would get little attention and disappear quickly. Afterwards, Del Bettis would depart the trio leaving Brown and McClurkin to carry on. The pair would rename themselves M&M and record an album titled Get Ta Know Ya Betta for Atlantic Records. The title track would scrape the bottom of the R&B chart and that would be it for the duo.

ReduxReview:  While female vocal groups were more entrenched in freestyle at the time, there was potential for one to break through on the new jack scene and Reilly gave it a go with Abstrac'. The song was catchy, the production solid, and the vocals good. However, it just didn't have that little extra something needed to make it a memorable, standout track. I've read that Reilly and Griffin may have been going through a breakup of their partnership at the time and that may have affected the progress and promotion of artists they were handling like Abstrac'. The trio had potential, but in the end it just didn't work out.

ReduxRating:  5/10

Trivia:  Abstrac' member Mary Brown would step out of the limelight after M&M failed and begin working behind the scenes as a background singer and songwriter. Although prior to 1998 Brown would sell songs to a few artists including SWV, it would be a song that she co-wrote for a new vocal group that would truly kick off her career. Brown co-wrote "No, No, No," which would be the first single released by Destiny's Child. It would be a hit getting to #1 R&B and #3 Pop in 1998. The track would appear on the group's self-titled debut album. Although it would be her biggest hit as a writer, songs that she co-wrote would appear on albums by Diana Ross, Wyclef Jean, Kelly Rowland, Patti LaBelle, Queen Latifah, and others. In between she would provide background vocals for artists such as LL Cool J, Mary J. Blige, TLC, and Michael Jackson.

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"Tell Me Why" by Exposé

Top 10 Alert!

Song#:  4137

Date:  12/09/1989

Debut:  67

Peak:  9

Weeks:  15

Genre:  New Jack Swing, Dance-Pop

Pop Bits:  The trio's second album What You Don't Know was off to a good start with its first two singles making the Pop Top 10 including the ballad "When I Looked at Him" (#10). For a third single, this new jack swing track was selected for release. It would be another winner for the trio becoming their seventh consecutive Pop Top 10. The tune also made it to #3 at Dance. Oddly, even though the LP featured three Pop Top 10 hits, it didn't sell as well as expected. It would top out at #33 and only reach gold status. That was a far cry from their triple platinum '87 debut. Alas, all good things have to come to and end and the album's fourth single, the mid-tempo Diane Warren-penned "Your Baby Never Looked Good in Blue," would bring a halt to the trio's Top 10 streak when it peaked at #17 (#9 AC).

ReduxReview:  I thought I knew all of Exposé's hits, but I don't remember this one at all. It seems to be a hit in their catalog that has disappeared. It was another pretty good track from the trio's writer/producer Lewis A. Martineé, but it certainly wasn't as strong or memorable as previous hits. I wouldn't have pegged this for a Top 10 hit, but somehow it did well enough to just make it in.

ReduxRating:  5/10

Trivia:  Later in 1990, group member Gioia Bruno experienced vocal issues. Eventually she lost her voice and was unable to sing. With the trio still needing to push out a third album, she would be replaced by Kelly Moneymaker. Arista Records head Clive Davis would take a more hands-on approach with the trio's self-titled third effort and move them more towards a pop/AC-leaning sound. The person who assembled the trio and produced their first to albums, Lewis A. Martineé, would only get to contribute four tracks to the new LP while the balance featured tracks written by Diane Warren and other songwriters. A first single, "I Wish the Phone Would Ring," would falter at #28 Pop, but then the Warren-penned "I'll Never Get Over You (Getting Over Me)" would become a #8 Pop/#1 AC gold selling hit. Two further singles failed to crack the top half of the Pop chart. None of the four singles were written/produced by Martineé. Despite containing a major hit, the LP would stall at #135, however, over a two year period it would somehow sell well enough to be certified gold. After a '95 Greatest Hits album, the trio would be cut loose from Arista. Members would go their own ways, but then in 2003 the trio's third album lineup would get back together and start to perform. Bruno, who had recovered from her vocal outage, would come back in 2006 taking over her original spot from Moneymaker. The original trio would continue to perform over the years with Moneymaker subbing in as needed.

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"I Don't Know" by Michael Morales

Song#:  4134

Date:  12/09/1989

Debut:  92

Peak:  81

Weeks:  6

Genre:  Pop, Rock

 

Pop Bits:  After the second single from Morales' self-titled debut album, the cover tune "What I Like About You," managed to crack the Pop Top 30 (#28), his label decided to give this third single a try. This time around the tune didn't catch on and it would only spend a few weeks near the bottom of the Pop chart. The single obviously didn't help sell the album any further, which had already topped out at #113.

ReduxReview:  This was a is good, serviceable mid-tempo pop/rock song. It had a nice chorus and was well produced. It had all the basic elements needed for a Pop Top 40 entry. Yet it was one of those records that despite having everything in place didn't stand out from the pack. It probably didn't help that this style of pop/rock wasn't what the kids were gravitating towards at the time. Morales would return with a second album, but after an initial single faltered (it was actually a pretty good tune), there was no second single, which usually indicates a lack of label support. It seems the cards were stacked against Morales and unfortunately he came out on the losing end.

ReduxRating:  5/10

Trivia:  With his first album making some inroads, Morales was given the green light to record a follow up. In 1991, he would release Thump, an album mainly written, performed, and produced by Morales along with an assist from his brother Ron. Its first single, "I Don't Wanna See You," would fail to make an impact stalling at #73. A second single was not issue out and that left the LP disappearing quickly along with his label contract. However, by that point Morales and his brother had already opened up their own studio and were working with other artists. One project that the brothers would producer (also engineer and mix), singer Freddy Fender's 2002 album La Musica de Baldmar Huerta, would earn them a Grammy when the LP won for Best Latin Pop Album. The brothers would work on other albums that would go on to win Grammys including Selena's 1993 Live! and 1998's Said and Done by Flaco Jiménez.

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"Heart" by Neneh Cherry

Song#:  4132

Date:  12/09/1989

Debut:  94

Peak:  73

Weeks:  8

Genre:  R&B, Hip-Hop

Pop Bits:  Cherry's second single from her debut album Raw Like Sushi, "Kisses on the Wind," would become her second to make the Pop Top 10 topping out at #8. It seems next up for release was the track "Manchild," which had been her second single in the UK. It reached #5 there. However, the song just didn't click in the US and it failed to chart. The label then quickly issued out this next single that was only released in the US and Australia (UK and Europe would get "Inna City Mama" as the fourth single). While this time around the song did get on the Pop chart, it would only stick around for a few weeks. The album had already peaked at #40. The lack of a third hit would keep the album from reaching the gold sales mark.

ReduxReview:  Besides the first two hits, there wasn't anything else on the album that was of that commercial caliber. While "Manchild" seemed to work in the UK, it definitely wasn't something that was going to make it in the US. I'm surprised it was even attempted. This track had a chorus that was fairly radio ready, so it was perhaps the better choice for single release in the US, but its mix of spoken word/rap/singing didn't fully click. The album was terrific and between the two hits, critical reception, and a Grammy nod for Best New Artist, I'm still surprised it didn't do better on the chart and at least go gold.

ReduxRating:  5/10

Trivia:  Cherry would return in '92 with her second album Homebrew. It would be another critical success for the artists, but it seems radio and record buyers in the US didn't connect with it. The LP's first single, "Money Love," failed to chart. A second single, "Buddy X," would fare better reaching #43 Pop/#4 Dance/#96 R&B, but it didn't spark any interest in the album and it would fail to chart. While none of her follow up albums would reach the US chart, she would get on the Pop chart one last time as half of a duet. Cherry would team up with Senegalese star Youssou N'Dour for the song "7 Seconds." The song was recorded for N'Dour's 1994 album The Guide (Wommat). It would be a major worldwide hit reaching the Top 3 in many countries including the UK. In the US, the tune would just make the Pop chart at #98. N'Dour's album would get to #2 on the US World Albums chart. In '95, Cherry would reach #1 in the UK via a charity single. Recorded for the British charity Comic Relief, "Love Can Build a Bridge" featured Neneh Cherry, Cher, Chrissie Hynde, and Eric Clapton. The single, which was a cover of a 1990 #6 Country hit by The Judds, would be a hit getting to #1. After that, Cherry would grab one last Top 10 in the UK. The track "Woman" from her '96 album Man would get to #9.

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"500 Miles" by The Hooters

Song#:  4129

Date:  12/09/1989

Debut:  99

Peak:  97

Weeks:  5

Genre:  Folk-Rock

Pop Bits:  The Philly band's third album One Way Home would be a #27 gold seller thanks mainly to a couple of Top 15 Rock hits including the #3 "Johnny B" (#61 Pop). That LP found the band altering their sound a bit to something a shade more darker that leaned towards folk rock. For their next effort, Zig Zag, the band would amp the folk up even more and toss in some cultural and political themes. This first single was certainly a sign of their latest direction. It didn't quite ignite interest with the tune stopping at #20 Rock while barely scraping the Pop chart. A second single would fare less well and not even make the Pop chart. With those results, the LP stalled at a minor #115. It would be the band's third and last album for Columbia Records.

ReduxReview:  While I appreciate that the band recorded this as a topical political statement of sorts, I'm not sure why they chose it as the lead single from the album. While I like what they did with the tune, it wasn't going to get anywhere on the Pop chart. Maybe they thought that with some contemporary folk breaking through in the late 80s, it might catch on, especially since the band basically used a slower version of the backing rhythm they developed for "All You Zombies" (#58). While the results were haunting, there was just no way this was going to become a hit. It more or less doomed the LP and left the band looking for a new label.

ReduxRating:  5/10

Trivia:  Double Shot!  1) This is an updated version of an early 60s folk song written by American folk singer Hedy West. The origins of her song are a little sketchy, but it seems that West cobbled the tune together from melodies learned from folks in her family, which in turn could have been based on other folk songs that date back to the 1920s or even as early as the Civil War. The tune has become one of the most popular in the American folk catalog. While many artists have covered the song, only one has made a hit out of it. Country star Bobby Bare released a version in 1963. It would make it to #10 Pop/#5 Country/#4 AC. The Hooters would revisit the tune, but would add their own lyrics with a reference to the anonymous man who stood in front of the tank at the June '89 Tiananmen Square protests. Background vocals on the track were done by the famous folk trio Peter, Paul & Mary, who recorded their own take on the song for their 1962 debut album.  2) The Hooters would move over to MCA for their next album, '93's Out of Body. Neither the album nor any of its singles would reach the US charts. However, that album along with Zig Zag proved to be popular in some European countries. The albums would reach the Top 15 in Sweden and Norway with both LPs going gold in Sweden. A live album in '94 would be released in Europe only and do well there, yet it seemed that wasn't enough for the band and they would choose to go on hiatus in '95. Lead vocalist/guitarist Eric Bazilian would then write/co-write songs for Joan Osborne's 1995 debut album Relish. That LP featured Osborne's lone chart single, the #4 "One of Us," which was written by Bazilian. That song would earn Grammy nominations for Record and Song of the Year. Osborne's album would get to #9 and go triple platinum and be nominated for Album of the Year. Osborne would earn two further nominations for Best Pop Vocal Performance and Best New Artist. The Hooters would reunite in 2001 and release a new album in 2007.

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"Peace in Our Time" by Eddie Money

Song#:  4128

Date:  12/02/1989

Debut:  86

Peak:  11

Weeks:  15

Genre:  Rock

Pop Bits:  Although Money's '88 album Nothing to Lose would peak at #49 and miss the gold mark, it would spawn a pair of Pop Top 30 hits including the #9 "Walk on Water" (#2 Rock). To wrap up the 80s, Money's label, Columbia, would assemble the compilation Greatest Hits: The Sound of Money. The collection would include key hits from Money's career along with an unreleased live track and two newly recorded songs. One of those new tunes, "Peace in Our Time," would be issued out as a single to help promote the album. It would just miss out on the Pop Top 10 stalling just shy at the dreaded #11 spot. The song would also get to #2 Rock and #34 AC. The hits package would peak at #53 and eventually go gold.

ReduxReview:  Money took a bland pop/gospel anthem (see below) and turned it into a pretty good rock tune. While it wasn't as memorable as his previous big hits, enough folks paid attention to nearly send the tune into the Pop Top 10. It seems to be one lost to time as I can't say I've heard this song since its chart days.

ReduxRating:  5/10

Trivia:  Double Shot!  1) This is a remake of a song originally recorded by singer Jennifer Holliday. Written by Andy Hill and Peter Sinfield, Holliday's version would be done for the 1988 Summer Olympics soundtrack One Moment in Time. It was not released as a single. A few years later in '93, British superstar Cliff Richard would record the song for his LP titled The Album. It was the second single released from the LP and it would peak at #8 in the UK.  2) Money would push out his next studio album in '91. Right Here signaled a big dip in Money's career when it peaked at a very minor #160. While two of its tracks would make the Rock Top 10, the only single to do well at Pop was the #21 "I'll Get By" (#7 AC). The album and singles would be Money's last ones to reach the Pop charts. After an unplugged EP, Money would be left off of the Columbia rosters. He would continue to tour over the years and release three indie studio albums before his death in 2019.

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"Serious Kinda Girl" by Christopher Max

Song#:  4121

Date:  12/02/1989

Debut:  97

Peak:  75

Weeks:  8

Genre:  R&B, Electro-Funk

Pop Bits:  Exposed to music and the business at a young age via his father (see below), Christopher McDaniels initially became proficient in drumming, but then expanded out to guitar and vocal work. After a stint at Boston's Berklee College of Music alongside his brother London, the pair moved to L.A. and formed the band Carerra. They would end up getting signed by Warner Bros. and issue out a self-titled debut album in '83. The LP didn't get anywhere, but the band would get a second chance when picked up by the Capitol Records off shoot label Manhattan. They would have a name change to World Sitizenz and push out a self-titled debut album in '85. Again, the work failed to gain any attention and the band would split. Then a chance run-in with producer Nile Rodgers led to a solo deal with EMI. McDaniels would then become Christopher Max and a debut album titled More Than Physical would be recorded with Rodgers. The title track would serve as the LP's first single and it would get to #24 R&B. A second single, "I Burn for You," would only reach #71 R&B. Then this third single came along. This time around, the song failed to reach the R&B chart, but it would spend a couple of months in the bottom quarter of the Pop chart. In turn, the album came and went as did Max's major label days.

ReduxReview:  This funky tune has a bit of the ol' Minneapolis feel to it mixed with a little new jack. The tune was nicely crafted and the production solid for the time period. However, it wasn't a tune that stuck with me. I liked it while listening, but then later I couldn't recall a note of it. The album's title track was the same way. Fun to hear, but then it left my brain soon after. The talent seemed to be there. It was just that Max wasn't able to come up with that surefire breakthrough hit.

ReduxRating:  5/10

Trivia:  Christopher McDaniel's father had some chart success in the early 60s. Gene McDaniels started out as a singer fronting a few jazz bands before getting a chance for a solo career. In '61 and '62, he would end up scoring three Pop Top 10s with "A Hundred Pounds of Clay" (#3 Pop/#11 R&B), "Tower of Strength" (#5 Pop/#5 R&B), and "Chip Chip" (#10 Pop). A couple of other Pop Top 40 entries would follow, but the hits would quickly halt for McDaniels. He would turn mainly to songwriting with his tunes getting picked up by several artist including Roberta Flack, who would turn one of McDaniels' songs into a major hit. "Feel Like Makin' Love" would be an across the board smash in 1974 getting to #1 at Pop, AC, and R&B. It would be nominated for three Grammys including Record and Song of the Year.

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"Steamy Windows" by Tina Turner

Song#:  4119

Date:  11/25/1989

Debut:  83

Peak:  39

Weeks:  11

Genre:  Pop, Rock

Pop Bits:  Although it would go on to be one of her signature songs, the first single from Turner's album Foreign Affair, "The Best," would stop shy of the Pop Top 10 at #15. With the song not becoming a bigger hit, album sales were sluggish and it would stall at #31. Hoping to boost sales, this second single would be pushed out. It wouldn't do all that well peaking just inside the Pop Top 40 while getting to #33 Dance. A third single, "Look Me in the Heart," would be a hit at AC getting to #7, but would fail to make the Pop chart. With those results, Foreign Affair would only obtain gold status.

ReduxReview:  This swamp rock tune was a good fit for Turner. She gave the groovy, sexy tune a hot, sensual reading and as an album track it worked. As a single, not so much. There was just no way this was going to be a hit. I was even surprised it cracked the Top 40. Dan Hartman served as producer on the majority of the album and while he did a nice job, the main issue was material. Besides "The Best," which didn't do all that great in the US, there were no surefire hits. Guided by manager Roger Davies, several of the folks who participated in her Private Dancer comeback album were along for Foreign Affair and that probably wasn't the best move. After the lackluster Break Every Rule, Turner needed an update and perhaps they thought bringing Hartman aboard would do the trick. It didn't. Turner had such a rock edge and loved rock 'n' roll, so it would have been the coolest had she been hooked up with hot songwriter/producers of the time like Desmond Child or Robert John "Mutt" Lange. They would have taken her to a new level and the tunes would have been ripe for chart action. Instead, we got bluesy tracks from Tony Joe White, a lackluster pop tune from the Steinberg/Kelly team, a bland Graham Lyle track, stuff from Holly Knight, and another Rupert Hine production. The album wasn't bad, it just wasn't all that good, which was disappointing considering all the names involved. Maybe a matter to too many cooks and it didn't gel into a solid work. "The Best" would end up surviving over the years, but the rest, including this track, have pretty much gone the way of the dodo.

ReduxRating:  5/10

Trivia:  Double Shot!  1) This song was written by singer/songwriter Tony Joe White. He would supply this song and three other compositions for Turner's album. The connection most likely came via White's friend Mark Knopfler, who had previously worked with Turner. White began his career as a solo artist in the late 60s. He would have his lone major hit in 1969 with "Polk Salad Annie" (#8), a song that would famously be covered by Elvis Presley. White would have another major hit as a songwriter in 1970 when Brook Benton took White's song "Rainy Night in Georgia" to #4 Pop/#2AC/#1 R&B. White would record albums for a few different labels over the years, but nothing really advanced his solo career. In the early 80s, he would basically set aside solo aspirations and work behind the scenes as a writer and musician. After getting paired with Turner for her LP, Turner's manager Roger Davies decided to take White on as a client. White would record his first solo studio album in eight years, '91's Closer to the Truth. For the LP, White would do his own version of "Steamy Windows" along with another track he supplied to Turner. Although the album sold well in Europe, it didn't get much attention in the US. White would still continue to record over the years and would give Turner another song for her '95 album Wildest Dreams. The song "On Silent Wings," which featured an appearance by Sting, would be issued out as a single and would get to #24 AC.  2) Turner would grab one last Pop Top 10 in 1993. "I Don't Wanna Fight" would get to #9 Pop/#1 AC/#51 R&B. Turner recorded it for the soundtrack to her own autobiographical film What's Love Got to Do with It, which featured Angela Bassett as Turner in an Oscar nominated performance. Turner would record one more album in 1999, Twenty Four Seven (#21, gold). Although she would do a couple of tours and appearances, Turner would basically retire from music. She would write books, work on a Broadway musical titled Tina, receive a Lifetime Grammy, and be inducted into the Rock and Roll Hall of Fame.

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"Hide Your Heart" by Kiss

Song#:  4114

Date:  11/25/1989

Debut:  92

Peak:  66

Weeks:  10

Genre:  Hard Rock

Pop Bits:  Kiss had a bump in popularity with their '87 album Crazy Nights. It would return them to platinum selling status while becoming their highest peaking studio album of the 80s (#18). It got a boost from MTV exposure along with a couple of mid-charting singles including the #65 "Crazy, Crazy Nights." After pushing out a hits compilation, the band would get back into the studio to record their fifteenth studio album Hot in the Shade. This first single would be pushed out and it replicated the results of the singles from Crazy Nights stopping at #66 Pop/#22 Rock. The same week this single debuted on the Pop chart, the album would reach its peak of #29. It would quickly go gold.

ReduxReview:  This wasn't a bad tune, but it certainly wasn't a surefire hit. However, it seems like Child & Co. thought it was and were determined to make it one by farming it off to several artists (see below). Around the same time, Child had a few other tunes that circulated between several artists including "The Best" (Tina Turner, Bonnie Tyler) and "Save Up All Your Tears" (Bonnie Tyler, Robin Beck, Cher). Kiss would end up having the most success with this song, but it was nothing to write home about. It peaked appropriately.

ReduxRating:  5/10

Trivia:  Double Shot!  1) The second single from Hot in the Shade would end up becoming the band's second biggest hit. The power ballad "Forever" was issued out and it became a surprise hit reaching #8 Pop/#17 Rock. It was Kiss' first Top 10 hit since '76's "Beth" (#7) and their first Top 40 entry since '79's "I Was Made for Lovin' You." Oddly, that success didn't really bolster sales of the album. It would not do well enough to reach the platinum mark. "Forever" was co-written by band member Paul Stanley and a newly established star that surprised many folks. Michael Bolton would be Stanley's collaborator on the track. While the pairing may have seemed odd, folks probably forget that Bolton began his career as a rocker with a pair of solo LPs in the late 70s and a couple with his band Blackjack. This was long before Bolton became a superstar crooner. The pairing of the two may have come about via producer/songwriter Desmond Child, who had previously worked with Kiss and had been assisting Bolton on his'89 Soul Provider album.  2) "Hide Your Heart" is one of those rare songs that just happened to get recorded and released by four different artists within the same year; and all of those were actually remakes. The song was originally written by Kiss member Paul Stanley with hitmakers Desmond Child and Holly Knight. It was supposed to be recorded and included on Kiss' '87 album Crazy Nights but was ultimately rejected by the band. Around that time, Child was working on an album with Bonnie Tyler and he got her to record the song. It would be the title track to her '88 album Hide Your Heart. The tune would be issued out as a single, but it would fail to chart in most countries save for Finland (#22). The song would continue to be shopped around and in '89 three artists bought in. Molly Hatchet would record the tune for their album Lightning Strikes Twice, which was released in late summer of '89. The song would not be released as a single. Also picking up the tune was former Kiss member Ace Frehley. He recorded it for his second solo album Trouble Walkin', which was released in October of '89. Then another artist Child was working with at the time, singer Robin Beck, would get a crack at the tune for her second solo album Trouble or Nothin'. That LP would be issued out in November of '89. Then finally coming full circle, Kiss chose to record the song and get it on their Hot in the Shade album. Both the LP and single would be released in mid-November of '89. Their version would be the one to finally make the US Pop chart.

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"Oh Father" by Madonna

Song#:  4105

Date:  11/11/1989

Debut:  55

Peak:  20

Weeks:  13

Genre:  Pop

Pop Bits:  By this point in time Madonna's Like a Prayer album had reached the double platinum mark and was on its way to adding another million to that total. It got there thanks to the #1 title track and a pair of #2s including "Cherish." To keep the ball rolling, this fourth single was released from the LP. Although it debuted near the halfway point on the Pop chart, the tune didn't catch fire like the previous singles and it would halt at #20. It would be Madonna's first single to not reach the Top 10 since her first Pop chart song, '83s "Holiday" (#16). The song also famously ended her run of 17 consecutive Pop Top 10 hits. Luckily, the album's next single, "Keep It Together," would kick off another run of Top 10s for Madonna. The track would reach #7 and go gold. It would be the last single released from the LP, which over time would eventually reach the 4x platinum mark.

ReduxReview:  After three upbeat singles, I'm sure Madonna wanted to take the tempo down a tidge for single number four. The problem was that the LP didn't really have a single-worthy ballad. Three were on the album, "Promise to Try," "Oh Father," and "Spanish Eyes." The first two were very personal songs that were not typical pop radio fare. The third one was a mid-tempo effort with lyrics that have been interpreted as being about AIDS. So yeah. None of them were hits waiting in the wings. According to Madonna-lore, it seems "Spanish Eyes" might have been her single selection and out of the three, it would have been the better candidate. Had it been released, I think Madonna's popularity might have been enough to make it crack the Pop Top 10. But due to the influence of someone else (see below), "Oh Father" got released instead. Bad choice. As an album track, I think it was a wonderful song. Very personal and moving with a vulnerable vocal from Madonna. As a single? Hell no. I mean, imagine driving down the road with your windows down on a beautiful, happy, sunny day and then this tune comes on the radio. Nope! Switch! It was so obviously the wrong choice for a single and it rightfully stopped Madonna's run of Top 10s. Ah well. It was bound to happen sometime. She made up for it the next year in spades with "Vogue." For the most part, critics and polls will either put Like a Prayer or Ray of Light at the top of the list of best Madonna albums. I admit that I waffle between the two for the top spot. Both really pushed Madonna's artistic side. I do think Ray of Light is a more consistent listen front to back, but then Like a Prayer features some classic singles along with a few unusual tracks like the baroque pop of "Dear Jessie" and the blistering Sean Penn inspired "Till Death Do Us Part." Really, you can't go wrong with either of them.

ReduxRating:  5/10

Trivia:  Double Shot!  1) According to a 2009 interview with this song's video director David Fincher that appeared in The Guardian, he apparently talked Madonna into releasing "Oh Father" as a single. It seems Madonna may have had another song in mind (most likely "Spanish Eyes," which ended up being the b-side), but Fincher wanted to do a video for "Oh Father" and convinced Madonna to push it out. The song was considered a flop and the video pretty much ignored. Of course Madonna was not pleased and let Fincher know. Around the same time she needed a video done in short order for an upcoming single. Madonna then basically cornered Fincher and told him he needed to come up with a video for the song pronto to make up for his flub. Fincher did and the final result was the iconic video for Madonna's #1 hit "Vogue."  2) After this single, Madonna would start up a new string of Pop Top 10 hits. She would grab eight consecutive Top 10s, which included the #1s "Vogue," "Justify My Love," and "This Used to Be My Playground." After that streak, Madonna's singles would be more hit or miss, yet between 1994 and 2012, she would rack up an additional 13 Pop Top 10s including what would be the biggest hit of her career, '94's "Take a Bow." That song would spend seven weeks at #1. Along the way, all of Madonna's studio albums to-date (save for her self-titled debut) have hit the Top 3. Three soundtrack albums and five compilations would also make the Top 10. Madonna would be inducted into the Rock and Roll Hall of Fame in 2008.

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"Over and Over" by Pajama Party

Song#:  4101

Date:  11/11/1989

Debut:  88

Peak:  59

Weeks:  14

Genre:  Freestyle

Pop Bits:  This vocal trio got a little bit of attention in the early summer of '89 with their first single "Yo No Sé." The tune would get to #34 Dance/#75 Pop and that was a positive enough result for them to record a debut album that would be titled Up All Night. It would be release in the fall of '89 along with this next single. The track would end up being the trio's best effort getting to #26 Dance while peaking a bit shy of the halfway point on the Pop chart. A third single, "Hide and Seek," would get to #33 Dance/#73 Pop. While the singles saw a little action, it wasn't enough to sell the album and it would fail to chart.

ReduxReview:  After getting some notice with "Yo No Sé," this should have been the single to break the trio wider. There was potential here, but it may not have been strong or distinct enough to compete with the other freestyle singles of the day. Although I could certainly do without the little rap section, overall it wasn't too bad of a tune. It was catchy and well-produced. The single probably should have at least got inside the Pop Top 40, but it really didn't have to goods to get any further.

ReduxRating:  5/10

Trivia:  Double Shot!  1) This is a remake of a song originally recorded by Brenda K. Starr. Written by Jim Klein and Peggy Sendars, the song would get picked up by Starr and included on her 1987 self-titled second album, which contained her biggest hit, the #13 "I Still Believe." With that foot in the door, Klein and Sendars were then able to secure a job writing all the songs for Pajama Party's debut album (with Klein producing). Since "Over and Over" was not released as a single in the US from Starr, Klein then got it recorded by Pajama Party. It became their best performing single. Klein and Sendars would also write/produce all the tracks on the trio's second album, but it didn't work out as well.  2) Despite the album not selling, the trio's label, Atlantic, went ahead and gave them another chance. Early in '91, they were ready to release Can't Live Without It. The LP's first single, "Got My Eye on You," failed to generate any interest and did not chart. With that result, Atlantic lost interest in the trio and didn't release a second single. Of course the LP would disappear quickly along with the trio's label deal. By 1992, members of Pajama Party would go their own ways.

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"Fool for Your Loving" by Whitesnake

Song#:  4096

Date:  11/04/1989

Debut:  83

Peak:  37

Weeks:  22

Genre:  Hard Rock, Glam Metal

Pop Bits:  Whitesnake's self-titled 1987 album would be a massive hit reaching #2 and eventually selling over 8 million copies. It got there thanks to the #1 and #2 punch of "Here I Go Again" and "Is This Love." As soon as they could, David Coverdale and the band made plans to get back in the studio to record a follow up. Initially, they hired producer Bruce Fairbairn (Bon Jovi, Aerosmith) to helm the LP, but then he had to bail due to scheduling conflicts. It left Coverdale feeling uneasy about the project and so he brought in two producers to take over, Keith Olsen and Mike Clink. Then there was another blow to the band when guitarist Adrian Vandenberg experienced wrist issues to bad that he couldn't play and needed surgery. Coverdale then hired in Steve Vai to handle the guitar parts. To pile on top of things, the band's label Geffen, stepped in and wanted them to re-record "Fool for Your Loving" and use it for the LP's first single. The track was originally from the band's 1980 album Ready an' Willing and was that LP's first single. It got to #53 Pop. The label thought it was a good idea due to the success of the band's re-recording of "Here I Go Again" for the Whitesnake album that ended up hitting #1. Basically, the label wanted a rinse and repeat. Coverdale didn't want to do it, but acquiesced and once the new album Slip of the Tongue was finished, this single was pushed out. While it would do very well at Rock getting to #2, it didn't seem to thrill the mainstream audience and the song petered out just inside the Pop Top 40. A second single, "The Deeper the Love" would fare a bit better getting to #28 Pop/#4 Rock while a third single would be a minor blip at the bottom of the Pop chart. The lack of a bigger Pop chart hit then left the album peaking at #10 and only going platinum, a sharp decline from their previous effort.

ReduxReview:  While the label's idea to re-record this track wasn't necessarily a bad one, the problem was that the song had already charted. "Here I Go Again" had been released as a single when originally recorded, but it didn't make the Pop or Rock charts, so that made more sense. Coverdale's lack of enthusiasm to do the cover didn't help. He could have chose to hop on board and do a complete makeover of the song - perhaps turn it into a big power ballad or something. Instead, he just finished the exercise and what came out was a basic retread of the song with crunchier late 80s production. It was fine, but it was nothing that was going to burn up the Pop chart and it certainly didn't. Sometimes artists can rise above challenges that come about when making an album, but for Slip of the Tongue it seemed like Coverdale may have buckled a bit under the pressure and it pretty much brought Whitesnake to a screeching halt.

ReduxRating:  5/10

Trivia:  The results of Slip of the Tongue along with exhaustion, a dislike for what Whitesnake had become, and an impending divorce left David Coverdale in a not good state. So much so that he decided to put the band on an indefinite hiatus in 1990. A year or so later, Coverdale found himself collaborating with Led Zeppelin guitarist Jimmy Page at the suggestion of a Geffen A&R rep. The pair seemed to hit it off well and chose to work up an album. Early in '93 they were ready to release Coverdale-Page. It would end up being a #5 platinum success thanks to the hype around the collaboration and a pair of Rock Top 10s including the #1 "Pride and Joy." The one-off collaboration helped Coverdale get back in the game. He would reform Whitesnake in 1994 to tour and promote a Greatest Hits album. He'd then go for a solo career, but his '97 effort Restless Heart got credited to David Coverdale & Whitesnake due to label intervention. Coverdale would finally get a full solo album out in 2000 titled Into the Light. He would then revive Whitesnake in 2003 and has since then kept on going with various lineups with the band recording several albums.

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"Name and Number" by Big Noise

Song#:  4090

Date:  11/04/1989

Debut:  98

Peak:  97

Weeks:  3

Genre:  Pop

Pop Bits:  This band from Birmingham, England, initially formed in the early 80s under the name Mr. President. They eventually got the attention of Atlantic Records in the US who signed them to their subsidiary label ATCO. The band would change their name to Big Noise and start work on a debut album with songwriter/producer Elliot Wolff (of Paula Abdul fame). Three of the band's members would co-write all the songs with Wolff chiming in on a few. Once the album, titled Bang!, was completed, this first single was issued out. It would be a minor blip on the Pop chart spending a few short weeks near the bottom. With that result, the album failed to chart. The band would eventually split up soon after.

ReduxReview:  This song runs in the same company as tracks by Go West. It was a good, slickly produced tune that was right for the time period. It sounded great, but the memorability factor wasn't quite there. It needed more intense hooks to really break through on the Pop chart. This was one of those tracks that was capably done and a good listen, but it didn't do much to make Big Noise stand out as an artist. It could have been recorded by anyone - in other words, it was kind of faceless.

ReduxRating:  5/10

Trivia:  Big Noise's lead vocalist was Tony Fennell (or Fenelle as printed on the Bang! album). Following the band breakup, Fennell mainly worked as a songwriter. Then a chance meeting in a recording studio led him to fronting a famous 80s new wave band. Ultravox member Billy Currie was looking to restart the band. They had more or less broken up in '87 after lead singer Midge Ure took off to go solo. Currie happened to be in the same studio building where Fennell was doing some work. The two had previously known each other and upon running into each other at the studio, Currie invited Fennell to join him in a reformed Ultravox. Fennell did and over the next year the pair toured and recorded an EP and the '93 LP Revelation. Unfortunately, Fennell and Currie didn't quite mesh and it led to Fennell leaving the band. He would then continue on as a songwriter mainly providing material for films and TV shows. Then in 2016, Fennell would get the opportunity to return to the stage. The alt rock/power pop band Enuff Z'Nuff, who had been Big Noise's labelmate back in the day, was looking for a guitarist and hooked up with Fennell. He would join the band in 2016 and co-write songs and perform on the band's 2018 album Diamond Boy (#33 US Indie). Fennell would leave the band the following year, but would rejoin them in 2021.

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"I Live By the Groove" by Paul Carrack

Song#:  4089

Date:  10/28/1989

Debut:  70

Peak:  31

Weeks:  13

Genre:  Pop, Rock

Pop Bits:  Carrack's solo career reached a peak with his '87 album One Good Reason. It got to #67 thanks to the #9 Pop/#5 Rock hit "Don't Shed a Tear." After that success, Carrack would return to do some lead vocal work with Mike + the Mechanics, which led to the #1 hit "The Living Years." After things with that project wrapped up, Carrack returned to the studio to record his next solo album. Groove Approved would be mainly produced by Carrack with T-Bone Wolk and this first single would be issued out. It would do modestly well cracking the Pop Top 40 while getting to #22 AC. Unfortunately, no other singles from the album charted and that left it stopping at #120.

ReduxReview:  This was a fun tune that was sort of in the same vein as hits by Huey Lewis & the News. However, since Lewis' popularity was starting to wane, it may not have been the right time to release this tune. It still managed to nearly make the Pop Top 30, which was a bit surprising. Carrack had a golden opportunity after the success of "Don't Shed a Tear" and "The Living Years" to really kick his solo career into high gear, but he just didn't have the material to do that. Plus it seems that his label at the time might have been going through changes as well and that is never a good thing. Despite not being able to have a string of solo hits, Carrack has certainly had a long and successful career on his own and with others.

ReduxRating:  5/10

Trivia:  Carrack wouldn't record another solo effort until 1996. Blue Views wouldn't chart, but two of its tracks made the AC chart including the #3 "For Once in Our Lives." Further album/single releases from Carrack would fail to reach the US charts. However, in his UK homeland, most of his albums would make the chart. His 2016 album Soul Shadows would become the highest peaking of his career reaching #25. Along the way, Carrack would rejoin his former band Squeeze for an album and work alongside many top artists. In '94, Carrack would form a band with former Eagles members Timothy B. Schmit and Don Felder. Ultimately, the project never got off the ground with Schmit and Felder opting to join the reformed Eagles for a tour. A resulting live album Hell Freezes Over would come from that tour. Included on the album would be four new studio tracks including "Love Will Keep Us Alive,' which was a song that Carrack had co-written and intended for the band with Schmit and Felder. After that project fell through, Schmit and Felder took the song over to the Eagles. While the track would not be issued out as an official single, it would get a lot of airplay and would end up spending three weeks at #1 on the AC chart.

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"Was It Nothing at All" by Michael Damian

Song#:  4086

Date:  10/28/1989

Debut:  88

Peak:  24

Weeks:  21

Genre:  Pop

Pop Bits:  Thanks in part to exposure as a struggling musician on the daytime soap The Young and the Restless, Damian's actual music career took off when his remake of the David Essex hit "Rock On" made it to #1. An album titled Where Do We Go from Here would then be issued out and its second single, "Cover of Love," would nearly make the Pop Top 30 (#31). For a third single, this ballad was then issued out. It would do a little better peaking inside the Top 30 while cracking the Top 10 at AC (#7). By this point in time, Damian's album had already peaked at #61.

ReduxReview:  This probably should have been the LP's second single. It might have gone a little further on the chart. Although some of the lyrics were a bit cheezy, it was a nicely done tune and a better single candidate than "Cover of Love." Still it wasn't all that memorable and didn't hang around much beyond its chart run.

ReduxRating:  5/10

Trivia:  In 1991, Damian would issue out his follow up album Dreams of Summer. The lead single "What a Price to Pay" would only be able to reach #60 at Pop. A second single would fail to chart. The third single "(There'll Never Be) Another You" would be a minor #26 entry at AC. With those lackluster results, the album would fail to chart. In 1993, Damian would take his acting and vocal skills to the stage. He would take on the lead role in the Broadway revival of Joseph and the Amazing Technicolor Dreamcoat. Although the show would not receive any Tony nominations, the cast album did get a Grammy nomination for Best Musical Show Album. Damian would continue to perform as Danny Romalotti on The Young and the Restless through to 1998. He would revive the character on the show a few times over the years.

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"Bring It All Back" by Grayson Hugh

Song#:  4081

Date:  10/28/1989

Debut:  99

Peak:  87

Weeks:  4

Genre:  Blue-Eyed Soul, Adult Contemporary

Pop Bits:  Hugh grabbed an unexpected Pop Top 20 hit with "Talk It Over" (#19), the second single from his second album Blind to Reason. The soulful tune, which got to #9 AC, kicked of sales of the album and it would reach #71. This follow up single would then be issued out. While it would only spend a short month at the bottom of the Pop chart, it would do well at AC getting to #9. Hugh's next single would be a remake of Champaign's 1981 #12 Pop/#5 R&B/#1 AC hit "How 'Bout Us." Done as a duet with soul singer Betty Wright, the tune would miss the Pop chart, but get to #15 AC. It was from the soundtrack album to the 1989 rom-com True Love.

ReduxReview:  This is an easily listenable tune that perhaps wouldn't have been out of place on a Bonnie Raitt album. It was a good fit for AC radio, but the tune was nearly too polite and easy going for pop radio and it failed to catch on. The track might have had a more timeless feel if the little 80s production flourishes were not on it (such as the fake hand claps).

ReduxRating:  5/10

Trivia:  For his third album, Hugh would move over to MCA Records. Prior to the album coming out, three songs from the LP would first appear on a couple of 1991 soundtracks; two for Thelma and Louise and one for Fried Green Tomatoes. Then in '92, Hugh's album Road to Freedom would be released. No singles from the LP would chart and it quickly disappeared. Due to that and changes at MCA, Hugh would be left off of the label's roster. The next several years proved to be difficult for Hugh. He would spend time with a new band in North Carolina, then end up teaching for a spell at Boston's Berklee College of Music. But by 2004, he had become an alcoholic living out on Cape Cod and nearly died due to an alcohol-induced seizure. He would eventually become sober and pick back up on his music. He was able to release the 2010 indie album An American Record and start to tour again. Since that time, Hugh has married his backup singer, recorded more albums, and worked on contemporary dance pieces and film music.

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"The Same Love" by The Jets

Song#:  4076

Date:  10/21/1989

Debut:  92

Peak:  87

Weeks:  6

Genre:  Pop

Pop Bits:  After a pair of successful albums, this family band was hoping their luck would continue with their third regular studio effort Believe. Unfortunately, the LP's first single, "You Better Dance," didn't connect with listeners and it stalled at a minor #59 Pop/#73 R&B/#28 Dance. That definitely didn't bode well for album sales and it was hoped that this second single, written by Diane Warren, would turn things around. It didn't happen. While the song was able to reach #15 at AC, it was unable to get out of the basement rungs on the Pop chart. With those results, the album faltered at #107 Pop/#74 R&B.

ReduxReview:  This was an average ballad from Warren. It certainly didn't rank alongside her bigger hits and that didn't do The Jets any favors. With Warren on a hot streak, I'm sure the band and their label thought one of her songs would be a surefire hit, but this one just wasn't all that memorable. With the tune not becoming a hit, it seems Warren may have continued to shop the song and Exposé picked it up for their '92 self-titled LP, but it wasn't released as a single. The lifespan of a bubblegum/teen pop group is typically short and The Jets' time in the spotlight quickly came to an end after grabbing five Pop Top 10s. An issue for them was that with minor exceptions, they didn't write their own material. They relied on outside writers and chances are that their label did most of the song selection. That worked out fine for a couple of albums, but by the third one, the material just didn't hit potential and didn't move the band forward in any way. Still, the Wolfgramm family had a nice run of hit singles.

ReduxRating:  5/10

Trivia:  The Jets would have one more album issued out by MCA Records. In 1990, the compilation The Best of the Jets would be issued. It consisted of the band's biggest hits along with four new songs. One of the new tracks, "Special Kind of Love," would be issued out as a single. It would be their final one to reach any chart topping out at a minor #83 at R&B. Left off of the MCA roster, the band would keep going and would issue out a few indie albums over the years. Along the way, original members would bow out and be replaced by other siblings who were too young to participate during the band's heydays. There would be no shortage of Wolfgramm's to fill up spots as there were 17 siblings (15 born to the family, 2 adopted). However, like any other band disagreements arose and the family would be left fractured. They would attempt to solve issues and reunite, but that didn't last long and a lawsuit would divide the family again. It seems things would finally be resolved, but in the aftermath there would end up being two versions of the band - The Jets and The Jets Original Family Band.

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"If You Leave Me Now" by Jaya

Song#:  4069

Date:  10/14/1989

Debut:  94

Peak:  44

Weeks:  26

Genre:  Freestyle

Pop Bits:  Maria Luisa Ramsey was born in the Philippines and spent the majority of her younger life there. Her parents separated when she was a young child. Maria's mother, Elizabeth, was an entertainer and by the age of 10, Maria was performing in her mom's shows. Then before she was a teenager, Maria started doing background vocals for other artists and eventually began performing solo. The pair would make a move to the US in '85 and while attending school Maria would get work backing up Filipino artists that were performing in the L.A. area. After graduating high school, Maria took off for NYC and landed a job as a background vocalist for freestyle artist Stevie B. He took an interest in Maria and got her a record deal with his label LMR. Around this time, she would get a new name - Jaya. Stevie B would produce and co-write this debut single that was released in the fall of '89. The track would gain enough attention to get on the Pop chart. It then made a long slow climb upward until finally peaking at #44. The single would spend a lengthy 26 weeks on the chart, which was highly unusual for a tune that peaked outside of the Top 40. Its extended stay on the chart was due to the song catching on in various markets at different times. As it would peak in certain cities, the tune was getting traction in other areas. With the single doing well, Jaya was given the go-ahead for assembling a debut album. Stevie B would product and co-write most of the tracks for a self-titled debut. A second single, "One Kiss Per Minute," would get to #24 at Dance, but would fail to make the Pop chart. A third single didn't chart at all. With those results, the album was unable to chart. After a one-off single in '93 failed to do anything, Jaya's US recording career came to an end.

ReduxReview:  This was right in line with other Stevie B tracks. A good freestyle jam with a hooky chorus. It was nothing that was going to become a major mainstream hit, but it was something that would please fans of freestyle. Stevie B also took a bit of liberty in showcasing his voice in the last part of the song, so that was a bit of a promotional push for both him and Jaya. Further singles didn't excite listeners and Jaya promptly disappeared. Oddly, that may have been fortunate as she ended up doing very well back home (see below).

ReduxRating:  5/10

Trivia:  While her singing career in the US was short-lived, Jaya would become highly successful back home. In 1995, she got the opportunity to return to the Philippines to record an album. Released in the summer of '96, her second self-titled album would become a huge hit. It would go 9x platinum and become the biggest selling album by a female artist in the Philippines; a record she would hold until 1999. The LP is still ranked in the Top 10 of the biggest selling LPs of all time in the Philippines. Jaya's third album, 1997's In the Raw, would also be a major hit going 5x platinum. The success of the two albums made Jaya a huge star and she would go on to win eight Awit Awards (the sort of Grammys of the Philippines). Jaya would continue to record albums while also branching out to hosting several TV shows and even acting in a comedy/drama/musical series.

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"Angelia" by Richard Marx

Top 10 Alert!

Song#:  4068

Date:  10/07/1989

Debut:  52

Peak:  4

Weeks:  17

Genre:  Soft Rock

Pop Bits:  Marx scored a career best hit with "Right Here Waiting," the second single from his #1 album Repeat Offender. It would spend three weeks at #1 on the Pop chart while also hitting that mark at AC. It was his third consecutive Pop #1. To follow it up, this mid-tempo ballad was issued out. It would do well at AC reaching #2. On the Pop chart, it would miss out on the top spot, but would become Marx's seventh consecutive Top 10. By this point in time, the LP had hit the triple-platinum sales mark.

ReduxReview:  I barely remember this song. I'm sure it must have been played a lot in my area, but I guess it didn't make much of an impression on me. His next two singles (see below) I didn't remember at all. So I guess you could say I wasn't much of a Marx fan. Still, these three songs didn't have the staying power of Marx's previous hits. While capably written and recorded, the tracks just weren't as memorable. I did pay attention to his '91 hit "Hazard" as it was something different and interesting. The tune had a sort of Southern gothic feel to it along the lines of Bobbie Gentry's "Ode to Billy Joe." Other than that, Marx stayed off my radar. He had a great run of hit singles, but like most all artists, it couldn't last and by the mid-90s his heydays on the Pop chart were over.

ReduxRating:  5/10

Trivia:  Two more singles would be released from Repeat Offender and both would make the Pop Top 20. "Too Late to Say Goodbye" would get to #12 while "Children of the Night" would top out at #13. Eventually, the album would reach the 4 million sales mark. Marx's career would begin to slow down in the 90s. His next album, '91's Rush Street would stop at #35, but would go platinum thanks in part to the mysterious hit "Hazard" (#9 Pop/#1 AC) and "Keep Coming Back," which spent four weeks at #1 on the AC chart (#12 Pop). His next album, '94's Paid Vacation (#37, platinum) would feature Marx's last Pop Top 10 with the #7 "Now and Forever" (#1 AC). The hits would dwindle after that and further albums failed to even reach gold level sales. Still, Marx continued to record and tour/perform over the years in addition to writing and producing for other artists. In 2004, Marx would win his first Grammy. He co-wrote "Dance with My Father" with R&B star Luther Vandross. It would be released as a single and do modestly well getting to #4 AC/#38 Pop/#28 R&B. However, Grammy voters loved the tune and awarded it Song of the Year. Vandross also won the award for Best R&B Vocal Performance, Male, for his recording.

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