"Too Hot" by Loverboy

Song#:  4146

Date:  12/23/1989

Debut:  90

Peak:  84

Weeks:  5

Genre:  Glam Rock

Pop Bits:  After a run of four consecutive double platinum albums, Loverboy's career hit a bump with their fifth effort, '87's Wildside. It would be their lowest peaking studio album (#42) and would only reach gold level sales. With the band's popularity on the decline combined with tensions arising among the members, Loverboy decided to split in '88. The breakup would prove to be brief due to the band needing one more album to fulfill their label contract. A compilation package titled Big Ones would be put together and nestled among hits would be three new tracks including this first single. The song would peak at a minor #27 at Rock and was nearly a non-starter at Pop where it fizzled after a few weeks on the chart. The compilation would stall at a minor #189. Following some supporting tour dates, Loverboy would once again call it a day.

ReduxReview:  I think Loverboy had learned that their earlier 80s arena/synth rock wasn't going to cut it anymore in the late 80s and consciously amped up their sound with this song to try and compete with the glam metal of the day. It was a valiant attempt, but it was too little too late. For me, this just didn't sound like Loverboy. Even lead singer Mike Reno seemed to be trying to metal up his vocal and it was a bit too much of a stretch. It didn't help that the song wasn't all that memorable. Loverboy were a product of a certain time period and they were able to toss out some terrific radio hits that are still in rotation. It gave them the fodder to have a long lasting career. They really didn't need to reinvent the wheel.

ReduxRating:  4/10

Trivia:  As before, the band's breakup wouldn't last all that long. In 1991, the band was asked to perform at a benefit show for Brian MacLeod, a member of the popular Canadian group Chilliwack who was fighting cancer. In the US, Chilliwack was known for their 1981 #22 hit "My Girl (Gone, Gone, Gone)." The reunion worked out so well that the band decided to continue on and do a few tour dates. From that point on, Loverboy would remain together. They would tour and issue out a few albums along the way. Loverboy would be inducted into the Canadian Music Hall of Fame in 2009.

_________________________________________________________________________________

"Opposites Attract" by Paula Abdul (Duet with The Wild Pair)

#1 Alert

Song#:  4142

Date:  12/16/1989

Debut:  72

Peak:  1 (3 weeks)

Weeks:  23

Genre:  Pop

Pop Bits:  By this point in time, Abdul's debut album Forever Your Girl was showing only a few signs of slowing down. In October of '89, more than a year after it first reached the chart the LP finally made it to #1 after spawning four Pop Top 10 hits including three #1s. With the iron still hot, Abdul's label gambled on this sixth single. To boost it along, an inventive video was created for MTV. The ploy worked and Abdul would end up with her fourth #1 Pop hit (#3 R&B). It made her only the fourth artist at the time to generate four #1 songs from one album (Whitney Houston, George Michael, and Michael Jackson attained that mark previously). The hit would close out that album, which would reach the seven million sales mark in July of '90 to become one of the most successful debut albums ever.

ReduxReview:  This was the last song to debut on the Pop chart in '89 that would go on to become a #1 hit in 1990. I can't say it was a good one, but it gave Abdul another chart topper. I wasn't a fan of the song when it came out and it is still not one of my favorites among Abdul's hits. I think it was the video, which was kinda cool at the time, that pushed this one over the top. I mean, the track was fine, but the whole you-like/I-like concept had been done before and I didn't find it as fun or catchy as some of her other hits. Abdul's next LP was a bit of a mess, but it had a few keepers. "The Promise of a New Day" comes up in a couple of my playlists. Let's face it - Abdul was not a good singer, but with her debut she set a goal and had just the right songs and videos in place to capture an audience. You knew it couldn't last (and it didn't), but she certainly made a mark.

ReduxRating:  4/10

Trivia:  Double Shot!  1) This single was billed as a duet with The Wild Pair, which consisted of Bruce DeShazer (aka Tony Christian) and Marvin Gunn. The pair were formerly members of the Minneapolis R&B/funk band Mazarati, who were signed to Prince's Paisley Park label. Their self-titled '86 debut album would spawn the #19 R&B single "100 MPH." The Wild Pair would do background vocals on a couple of Abdul's tracks while take a turn at the lead for this tune. For single release, the label requested a remix with a rap and so producer Oliver Leiber collaborated with Derrick "Delite" Stevens and came up with the new version. Then there was the video. Inspired by an animated/live action dance sequence in the 1945 Gene Kelly musical Anchors Away, the video had Abdul doing a duet/dance with the animated character MC Skat Kat (voiced by The Wild Pair). It proved to be very successful and would go on to win a Grammy for Best Short Form Music Video. The MC Scat Kat would prove to be so popular that the character would be spin off as a recording artist. With Derrick Stevens providing the vocals, MC Skat Kat and the Stray Mob would be released in 1991. The LP's first single, "Skat Strut," would get to #80 Pop/#94 R&B. The album would not chart and with that MC Skat Kat would pretty much disappear.  2) The difficult thing about having a wildly successful debut album is following it up. Abdul gave it a go with her '91 effort Spellbound. For it, she pretty much ditched her cohorts from her debut and mainly worked with Peter Lord and V. Jeffrey Smith who were from the NYC R&B/soul band The Family Stand. They would write and produce the majority of the album with Abdul joining them as co-writer on four tracks. Abdul also did a John Hiatt cover tune with producer Don Was and recorded one Prince song that was produced by folks in his Paisley Park stable. The LP started off well with its first two singles, "Rush, Rush" and "The Promise of a New Day," both hitting #1. Another Top 10 arrived with the #6 "Blowing Kisses in the Wind" followed by a couple of Top 20s. The album would spend two weeks at #1 and sell three million copies. Overall, it was a good result, but it couldn't get close to the success of her debut. After a break, Abdul would return in '95 with Head Over Heels. None of its singles would crack the Pop Top 30 and the album would stall at #18 and only go gold. To-date, Abdul has yet to release a fourth studio album. Her career floundered for a bit, but then in 2002 she got a major revival when she became a judge on the hugely successful reality competition show American Idol.

_________________________________________________________________________________

"Never 2 Much of U" by Dino

Song#:  4138

Date:  12/16/1989

Debut:  96

Peak:  61

Weeks:  9

Genre:  Pop

Pop Bits:  After a fourth single from Dino's debut album 24/7 was able to make the Pop Top 30 ("Sunshine," #23), his label took a chance and decided to push out a fifth single. This next track was selected, but it really didn't do much to boost Dino or the album. The song would be unable to crack the top half of the Pop chart and it would do nearly the same at R&B (#69). Regardless, Dino's debut album was a success peaking at #34 and going gold.

ReduxReview:  With its Prince-like spelling, I figured this would be some kind of Minneapolis style jam. However, it was a more meditative mid-tempo soul-leaning tune a la George Michael. The track contained little production techniques/enhancements to boost the tune, which was needed as the song wasn't all that interesting or memorable. It probably wasn't the best decision to shove this out, but you can't blame them for trying.

ReduxRating:  4/10

Trivia:  In 1990, Dino would issue out his second album Swingin'. Its first single, "Romeo," would end up becoming Dino's highest peaking on the Pop chart getting to #6. It would also reach #35 Dance and #69 R&B. Unfortunately, the LP's next single, "Gentle," would halt at #31 Pop/#31 R&B and that result would do little for album sales. Without a string of chart singles, the LP then would only peak at #82 and miss out on going gold. It then seems that Dino would be left off of the Island Records roster. He'd sign on with the Atlantic offshoot label EastWest and release a third album in '93 titled The Way I Am, but it came and went to little notice save for the #27 Pop single "Ooh Child," which was a cover of the 1970 #4 Pop/#14 R&B hit by The Five Stairsteps. With his time in the sunshine done, Dino would then step behind the scenes and mainly work writing and producing for other artists.

_________________________________________________________________________________

"I'll Be Good to You" by Quincy Jones featuring Ray Charles & Chaka Khan

Grammy Alert!

Song#:  4108

Date:  11/18/1989

Debut:  86

Peak:  18

Weeks:  16

Genre:  R&B

Pop Bits:  The last time Quincy Jones release an album under his name was 1981's The Dude. It was a #10 Pop/#3 R&B platinum hit that would go on to win three Grammys for Jones (plus one for James Ingram). On the heels of that success, Jones would work with Michael Jackson on Thriller and then Bad. In between those was the charity single "We Are the World" and a few other projects. In other words, it was a busy stretch for Jones that left little time to do a project of his own. That would change starting in '88 when Jones began to assemble his next effort. It seems he had a vision of melding the various styles of music he had been a part of throughout his career, such as jazz, soul, and pop, with the current sounds of the day, i.e. rap, new jack swing, etc. He also wanted to bring together artists from his jazz days with established pop/R&B superstars and new hot artists. The project would be called Back on the Block and it would feature a diverse list of artists including Ella Fitzgerald, Sarah Vaughan, Miles Davis, El DeBarge, Barry White, Tevin Campbell, Ice-T, and Big Daddy Kane. This first single would be issued out and it would featured vocals by Ray Charles and Chaka Khan. It would be a #1 hit at R&B and Dance while making the Pop Top 20 and getting to #30 AC. A second single, "The Secret Garden (Sweet Seduction Suite)," featured a quartet of vocal stars (James Ingram, Al B. Sure!, El DeBarge, and Barry White). It would become a #1 R&B/#31 Pop gold seller. A third R&B #1 (#75 Pop), "Tomorrow (A Better You, Better Me)," was headed up by Tevin Campbell. The hits would help send the album to #1 R&B/#9 Pop. It would be a platinum seller that would win seven Grammys including Album of the Year. "I'll Be Good to You" would win a Grammy for Best R&B Vocal Performance, Duo or Group."

ReduxReview:  The ingredients were great. A classic 70s hit, two superstar singers, and a brilliant arranger/producer. This should have been a slam-dunk. Yet it wasn't. I found it mired in late-80s new jack production that overwhelmed the vocals. Now, Chaka Khan is a vocalist that can rise above any production din and make the song better, however this is one instance where she could not. Weirdly, Charles comes out better, but I think Jones wanted to spotlight him more than Khan. Still, it just didn't mesh and what should have been a killer track ended up a bit of a mess. I have to say that I felt the same way about most of the album. I thought Jones had a great vision, but overall the song selection was not terribly strong and the production heavy handed. Songs from The Dude are still getting airplay today, but when was the last time you heard anything from Back on the Block? I believe it won Album of the Year due to respect for Jones, the concept, and the fact that it had very weak competition. It typically ranks low on worst-to-best Grammy Album of the Year lists. While it was a bit of a big deal at the time, these days the LP has kind of been forgotten.

ReduxRating:  4/10

Trivia:  Double Shot!  1) This was a remake of a song originally recorded by The Johnson Brothers. Their 1976 version served as their debut single and it would be a gold seller that got to #3 Pop/#1 R&B. The producer of that song and the Brothers' debut album was none other than Quincy Jones. Jones would revive the song for Back on the Block pairing music legends Ray Charles and Chaka Khan for the vocals. Jones would produce four consecutive platinum selling albums for The Johnson Brothers that include two more R&B #1s, "Strawberry Letter 23" (#5 Pop) and "Stomp!" (#7 Pop).  2) Jones' next mainstream effort would be 1995's Q's Juke Joint. It would once again feature a diverse list of performers including Gloria Estefan, Phil Collins, Brandy, Babyface, Bono, Queen Latifah, Heavy D, and Tone Loc. It would be a platinum seller that reached #1 R&B/#31 Pop. Jones would only receive one Grammy nod for the LP, however it would win the Grammy for Best Engineered Album, Non-Classical.

_________________________________________________________________________________

"Big Talk" by Warrant

Song#:  4092

Date:  11/04/1989

Debut:  96

Peak:  93

Weeks:  4

Genre:  Hard Rock, Glam Metal

Pop Bits:  This band's debut album Dirty Rotten Filthy Stinking Rich really took off after its second single, the power ballad "Heaven," became a gold selling #2 Pop/#3 Rock hit. The LP would then peak at #10 and quickly go platinum. For a follow up, this next track was selected for the third single. It perhaps wasn't the right choice as the song stalled at #30 Rock while only spending a month at the bottom of the Pop chart. The album's fourth single, another power ballad, would help the band rebound.

ReduxReview:  I totally get that the band needed to follow up "Heaven" with a more upbeat aggressive single and this track was perhaps the one that had the most radio potential. Still, it wasn't the best candidate for a single. When you have listeners looking for big hooks like ones supplied by the likes of Bon Jovi, this tune wasn't going to cut it.

ReduxRating:  4/10

Trivia:  The cover art for Warrant's debut album was created by Mark Ryden. From the late 80s through most of the 90s, Ryden mainly worked as a commercial artist creating album and book covers. The style of his work was known as Lowbrow (aka Pop Surrealism). Although Lowbrow had been around since the 60s, it started to become more recognized in the early 80s. Ryden's works would be associated with the art form especially after he left commercial art behind and had his first exhibition in 1998. He became a prominent figure in Lowbrow art with Interview magazine even calling him "the god-father of pop surrealism." For Warrant's album, Ryden created a figure known as Fugazi who is described as "an overpaid, amoral infrastructure manager and archetypal business psychopath." For the "Big Talk" video, Fugazi was brought to life by someone in a replica head/mask and costume. In the video the character's name is Cashly Guido Bucksley. During his commercial period, Ryden would do album covers for several artists including Michael Jackson (Dangerous) and Red Hot Chili Peppers (One Hot Minute). He also did a couple book cover designs for Stephen King.

_________________________________________________________________________________

"Crossroads" by Tracy Chapman

Song#:  4083

Date:  10/28/1989

Debut:  95

Peak:  90

Weeks:  4

Genre:  Contemporary Folk, Singer/Songwriter

Pop Bits:  Chapman's first single, "Fast Car," was not your typical pop single. The quiet story song didn't really fit among the hair metal and dance-pop hits of the day. Yet the tune intrigued listeners and it became an unexpected Grammy-winning hit that reached #6 on the Pop chart. Its success helped Chapman's self-titled debut album get to #1 and go triple platinum (years later it would reach the 6x platinum mark). After that major accomplishment, Chapman had the difficult task of following it up. What made it all harder was that Chapman's music wasn't necessarily mainstream fodder, so odds were good that she'd end up a one-hit wonder. Nevertheless, Chapman soldiered on and emerged in the fall of '89 with her second effort Crossroads. This first single was issued out and while it would do well at Modern Rock getting to #7, it didn't capture people's attention like "Fast Car" and the song stalled near the bottom of the Pop chart while only getting to #26 Rock and #41 AC. Further singles failed to chart. Despite not having a significant single, folks still showed up to buy the album and it would reach #9 and go platinum. It would earn a Grammy nod for Best Contemporary Folk Album.. Although the LP wasn't necessarily a failure, it did seem to indicate that Chapman could indeed become a one-hit wonder.

ReduxReview:  The chances of Chapman writing another song that would capture everyone's ear like "Fast Car" was slim to none. She was a coffee shop folk artist and her style wasn't something that continually lit up the Pop chart. Still, anything remotely popular would help to maintain the large audience she gained with her first album. Unfortunately, this song wasn't it. The jangly opening seemed promising, but in the end the tune just moved along verse after verse with little in the way of hooks, an interesting storyline, or even a chorus. Obviously, this is fine for a folk tune, but not for a pop radio single. It wasn't shocking that this song didn't get anywhere, but luckily many who showed up for her first album gave the second one a go and sales were good. It seemed like Chapman's days in the pop sun were over, but then eight years after 'Fast Car" hit, a little crowd-pleasing blues number she came up with put her back in the spotlight.

ReduxRating:  4/10

Trivia:  Chapman's third album, '92's Matters of the Heart, saw her mainstream audience dwindle further. No singles charted and that left the LP peaking at #53 and only reaching gold level sales. It seems like Chapman would go on to be a successful niche market artist after scoring one left-field hit. But then the unexpected happened. She did it again. Late in '95, Chapman released her fourth album New Beginnings. Its first single, the bluesy "Give Me One Reason," was also issued out. The song wasn't getting anywhere, but the album was selling fairly well. As more folks bought the LP, the single began to pick up some traction and was able to get on the Pop chart. Oddly, just a couple weeks prior to the single debuting on the Pop chart, the album would reach gold level sales. The song then kept gaining attention and eventually it would get to #3 Pop/#3 AC and go platinum. It eclipsed the success of her breakthrough hit "Fast Car." In turn the album would make it to #4. Eventually it would sell over 5 million copies. "Give Me One Reason" would receive four Grammy nods including for Record and Song of the Year. It would win for Best Rock Song giving Chapman her fourth Grammy. The song's success was as unexpected as Chapman's first hit and it quashed the one-hit wonder tag. Chapman's mainstream career would cool off again with her next LP, 2000's Telling Stories, getting to #33 and going gold. Chapman would continue to record and perform over the years and she would earn another Grammy nod in 2010 for her album Our Bright Future in the Best Contemporary Folk Album category.

_________________________________________________________________________________

"License to Chill" by Billy Ocean

Song#:  4065

Date:  10/07/1989

Debut:  76

Peak:  32

Weeks:  9

Genre:  Pop, R&B

Pop Bits:  The 80s were a great time for Billy Ocean. Over the course of three platinum selling albums (two double-platinum) , Ocean earned seven Pop Top 10 hits including three #1s. It was enough for Ocean's label to call for a compilation and Greatest Hits was assembled. Along with Ocean's top singles, two new tracks were added to the LP including this first single. While it got some attention, it would only make the Top 40 on both the Pop (#32) and R&B (#33) charts. The other new track, "I Sleep Much Better (In Someone Else's Bed)," would only get to #60 R&B. The album would top out at #77 Pop/#65 R&B and by summer go gold. A few years later it would turn platinum. So while the 80s were great for Ocean, his career took a quick downturn in the new decade. This single would end up being Ocean's last one to make the Pop chart.

ReduxReview:  Hmmm. Was it a coincidence that this song and the James Bond flick License to Kill were out at the same time? I think not. Another Ocean/Mutt Lange collaboration, basically sounds and feels like a couple of Ocean's late 80s hits. It does sound like the song was meant for a film and it didn't help that it definitely had a "Ghostbusters" feel. It was kind of a cheezy track with the "go Billy!" shouts and certainly wasn't as memorable as his other hits. With the tune petering out inside the Pop Top 40, it was a sign that the Ocean formula was quickly wearing thin. He did try to change it up with his next LP, but after an extended hiatus it seemed no one was interested and Ocean's hit making days came to an end. He had a good run though.

ReduxRating:  4/10

Trivia:  Ocean would choose to take a break from music following his Greatest Hits album. After a few years off, Ocean would finally get back to the studio. Working with a new set of writers and producers, including R. Kelly, Ocean would return in '93 with his eighth album Time Moves On. For the LP, Ocean tried to incorporate new sounds such as new jack swing and even changed up his look. The new and improved Billy Ocean didn't go over very well. The LP's first two singles failed to chart while a third one barely scraped the R&B chart at #91. With those results, the LP failed to chart. It was a major disappointment following his string of 80s successes. Management and label issues would follow and it all spurred Ocean to go on another hiatus. While he would still perform and tour during his extended break, Ocean wouldn't record another album until 2009's Because I Love You.

_________________________________________________________________________________

"No Big Deal" by Love and Rockets

Song#:  4040

Date:  09/23/1989

Debut:  87

Peak:  82

Weeks:  4

Genre:  Alternative Rock

Pop Bits:  This English band scored a left field hit with the #3 "So Alive." It was taken from their self-titled fourth album that ended up reaching #14 and went gold. To try and push album sales further this next single was issued out. It did not fare well peaking at #19 Modern Rock while only spending a month on the Pop chart.

ReduxReview: Let's face it. Love and Rockets wasn't a band that was going to make music for the masses. Of course they wanted to sell albums and such, but making chart hits wasn't their goal. So the fact that they grabbed a major hit with "So Alive" was surprising. Then the task was to try and figure out how to follow it up. There was nothing on par with "So Alive" on the album, so it really was a crap shoot for the label. They opted for this lo-fi blues-laced ditty, which was probably the one with the most (or any really) single/radio potential. Still, it wasn't something that was going to light up the phones and it certainly didn't. It would basically one-n-done for the band.

ReduxRating:  4/10

Trivia:  The band's US audience grew with their second and third albums, both of which made the Top 100. Their fourth album would be their big mainstream breakthrough thanks to "So Alive." With that hit and a gold album under their belt, it seemed like the perfect time to strike while the iron was hot. But that did not happen. Instead of issuing out a fifth Love and Rockets album, the band decided to take a break and that allowed for two of its members, Danial Ash and David J, to make solo albums. The trio would finally reconvene later in '93 to work on a new album. The more electronic/dance influenced Hot Trip to Heaven would be issued out in '94. The experimental effort was met with a thud. Critics and fans were left confused about the band's direction and the LP quickly disappeared. Two more albums would follow that didn't to much to reignite the band's popularity. By 1999, they were done.

_________________________________________________________________________________

"Sunshine" by Dino

Song#:  4029

Date:  09/09/1989

Debut:  84

Peak:  23

Weeks:  15

Genre:  Dance-Pop, New Jack Swing

Pop Bits:  After a couple of minor charting singles, Dino finally broke through in a bigger way with "I Like It," the third single from his debut album 24/7. The song would be a gold seller. To keep momentum up, this fourth single was issued out. It would do fairly well getting close to the Pop Top 20 while also getting to #47 R&B. Just a month after this song debuted on the Pop chart, the album would be certified gold.

ReduxReview:  I doubt Dino or his label imagined they'd be four singles deep into the album, but with the late bloomer "I Like It" going gold, they needed to pick something and this track was selected. It probably was the best option from the remaining tracks and it did fairly well. However, it just wasn't nearly as memorable or catchy has his previous hit.

ReduxRating:  4/10

Trivia:  Dino (Dean Esposito) would end up marrying Caroline Jackson, a member of The Cover Girls. Their son Matthew Dean Esposito would try to break into the music business via a reality competition show. In the summer of 2017, the ABC TV show Boy Band would air. The competition series had 30 teen/early 20s male singers vying for one of five spots in a new boy band that would be called In Real Life. Under the name Matthew Dean, Dino's son would be selected to be on the show. Unfortunately, he and eleven others were cut the first episode. The remaining eighteen were split into three groups with each performing on successive episodes. Eliminations would take place after the performances. The field would be whittled down with new groups formed along the way. After the viewers vote, five singers were selected to become In Real Life. The group was given a contract with Hollywood Records. Their first single, "Eyes Closed," did not chart. Throughout 2018, the band would keep releasing singles until they finally collected those along with three new tunes for their 2019 debut album She Do. Despite some of their songs getting some airplay and going on tour, the group didn't break out in a big way. In early 2020, In Real Life announced their breakup.

_________________________________________________________________________________

"Ain't Too Proud to Beg" by Rick Astley

Song#:  4004

Date:  08/19/1989

Debut:  93

Peak:  89

Weeks:  3

Genre:  Pop, Blue-Eyed Soul

Pop Bits:  Astley's second album, Hold Me in Your Arms, was not matching the success of his #10 double-platinum debut. The LP peaked at #19 thanks mainly to the #6 single "She Wants to Dance with Me," but after a second single just barely scraped the Top 40, the label was looking for a third single that would breathe life back into the album This cover tune was selected for release, but it did not get the job done. While the tune would do okay at AC getting to #16, it was a dud on the Pop chart disappearing after a quick three weeks. The results didn't spark album sales and it would only be able to go gold.

ReduxReview:  In the UK, the Stock Aitken Waterman songwriting/production era was in full swing and remaining popular. In the US, audiences were getting tired of the trio's cookie cutter tracks so instead of releasing the SAW song "Take Me to Your Heart" in the US (#8 UK) the label perhaps thought that this cover tune would suit tastes better. It wasn't a bad tactic, but the problem was this mid-tempo take on the Motown hit was a bit sleepy, especially for a single. Astley sounded like he put his all into the tune and luckily he didn't desecrate the classic. However, there was just nothing exciting or engaging about the track.

ReduxRating:  4/10

Trivia:  Double Shot!  1) This is a remake of a song originally recorded by The Temptations. Written by Norman Whitfield and Eddie Holland (produced by Whitefield), the 1966 single would be the group's fourth R&B #1 while also getting to #13 Pop. The only other artist besides Astley to reach the Pop chart with a version of the song was The Rolling Stones. They covered the tune for their 1974 album It's Only Rock and Roll. It was released as the second single from the LP and it would get to #17 Pop.  2) After his second album didn't meet expectations, Astley decided to move in a new direction. First, he chose not to work with the Stock Aitken Waterman songwriting/production team, who had supplied tracks for Astley's first two albums including his first #1 Pop hit "Never Gonna Give You Up." Then he chose to change his image and update his sound focusing on a more mature soul-leaning direction. In 1991, Astley would release his third album Free. He would write/co-write the majority of songs on the album and produce them all with Gary Stevenson. The LP's first single was the ballad "Cry for Help." It would be a success reaching #7 Pop and #1 AC. It would also get to #7 in the UK. While the hit would provide a bit of validation for Astley's new approach, other singles failed to ignite and that left the LP peaking at #31. Astley's fourth album, 1993's Body and Soul, would supply him with one last Pop Top 40 entry with the #28 "Hopelessly" (#4 AC). Unfortunately, the album didn't sell and it stalled at a very minor #185. After that result, Astley would take an extended break from music. He would return to the biz starting in 2001 with an album only released in Germany, followed by a 2005 covers album that got wider distribution. However, he would make a big splash in the UK in 2016 with his album 50. It was released to coincide with Astley's 50th birthday. The LP was a surprise hit reaching #1 in the UK. Follow-up albums in 2018 and 2019 would both crack the UK Top 10.

_________________________________________________________________________________

"On the Line" by Tangier

Song#:  3992

Date:  08/12/1989

Debut:  99

Peak:  67

Weeks:  7

Genre:  Hard Rock

Pop Bits:  This band was initially formed by guitarist/songwriter Doug Gordon in Philadelphia sometime in 1984. The following year they were able to record an indie self-titled debut album that featured lead vocalist Bill Mattson. The LP didn't do much to boost their profile, so Gordon decided to scrap the band and try a new approach. He began writing songs that leaned towards AOR with shades of the blues and then started to reform a new version of Tangier retaining singer Mattson. Gordon's new direction seemed to be the ticket as the band started to attract label attention. They would eventually sign on with Atco Records and work began on an album titled Four Winds. This first single would be pushed out and it would do well at Rock getting to #7. The tune was able to cross over to the Pop, but it was unable to get out of the bottom half of the chart. Further singles failed to do anything and that left the album peaking at #91. After further lineup changes, which included a new lead singer in Mike LeCompt, the band returned with 1991's Stranded. With no singles making an impact, the album peaked at a very minor #187. Tangier would split for good in 1992.

ReduxReview:  This song sort of fit in a slot between Foreigner and Whitesnake. It was prime for rock radio, but its mainstream prospects were limited. It wasn't as catchy as say a Bon Jovi track and it didn't quite fit in with the hit glam metal songs of the day. The tune was fine, but it wasn't all that memorable. The best part was Bill Mattson's voice which helped boost the song up a notch. Other than that, there wasn't anything special about it.

ReduxRating:  4/10

Trivia:  After the end of Tangier, founder Doug Gordon would take a few spins in the producer's chair. One of the jobs he took on was definitely not in the same genre/style of Tangier. Gordon would co-write and co-produce a track for the second album from the freestyle trio Linear. "I Just Can't Stop Loving You" would be included on Linear's 1992 album Caught in the Middle. It would not be released as a single, but it would be the b-side to the LP's lead single "T.L.C." (#30 Pop). Signed to Atlantic Records, the group initially hit it big with their 1990 single "Sending All My Love," which got to #5 Pop and went gold. A self-titled debut album would reach #52. Atlantic sprung for a second album and for that one Gordon would be involved on a track. However, with the LP's first single only making it to the Top 30, the album didn't sell and failed to chart. Linear's major label days would then come to an end.

_________________________________________________________________________________

"It's Not Enough" by Starship

Song#:  3988

Date:  08/05/1989

Debut:  80

Peak:  12

Weeks:  16

Genre:  Pop, Rock

Pop Bits:  The second album by Starship, 1987's No Protection, would end up being a #12 gold seller thanks to the #9 hit "It's Not Over ('Til It's Over)" and the inclusion of their big #1 soundtrack hit "Nothing's Gonna Stop Us Now." After things wrapped up with the album, long time Jefferson Airplane/Jefferson Starship/Starship member Grace Slick decided to leave the band. Apparently she was not happy with the band's direction and material and left to join a reformed Jefferson Airplane. That left Mickey Thomas as the sole lead singer and guitarist Craig Chaquico the only other long term Jefferson Starship member remaining in the band. They forged ahead and recorded Starship's third effort Love Among the Cannibals. This first single was issued out and it did well at Rock getting to #10. On the Pop chart it would just miss out on the Top 10 while also getting to #30 AC. Unfortunately, the single didn't spark album sales and it would end up halting at a tepid #64.

ReduxReview:  While band members co-wrote four of the tracks on the album, the majority were by outside writers. This song was composed by Martin Page and Tommy Funderburk. The band had recorded tunes by Page on their previous LPs included the #1 "We Build This City." Unfortunately, this track wasn't nearly as good or memorable as that smash. In fact, I was surprised it got as far up the chart as it did. The mid-tempo song was fine, but it just sort of lumbered along and wasn't all that interesting. Frankly, I don't remember it at all. I'm sure I must have heard it several times back in the day yet not a lick of it sounded familiar to me. It definitely falls in the "meh" category.

ReduxRating:  4/10

Trivia:  During the tour to support Love Among the Cannibals, the band found themselves in Scranton, Pennsylvania. Their show there ended up being canceled due to weather and so the band went to a local bar to hang out. Mickey Thomas and drummer Donny Baldwin had been friends for years. They played together in the Elvin Bishop's band when Thomas got to sing the lead vocal on Bishop's only major hit, 1976's "Fooled Around and Fell in Love." Thomas would later join up with Jefferson Starship and when the band's drummer quit in 1982, Thomas brought Baldwin on board. But after years of touring together, is seemed the pair were a bit at odds when the Cannibals tour started. It all came to a head in the Scranton bar when Baldwin viciously attacked Thomas. It was more than just a minor bar fight. Thomas had severe injuries to his face and broken ribs. He would end up undergoing facial reconstruction surgery. Because of this, the tour had to be postponed while Thomas healed. For obvious reasons, Baldwin was no longer a member of the band. Despite the massive injuries, Thomas didn't press charges against Baldwin. The pair just went their own ways and went on with their lives. In later years, Baldwin would join a newly reformed line up of Jefferson Starship headed up by original Jefferson Airplane/Starship member Paul Kantner.

_________________________________________________________________________________

"You Better Dance" by The Jets

Song#:  3979

Date:  07/29/1989

Debut:  92

Peak:  59

Weeks:  7

Genre:  Dance-Pop

Pop Bits:  The Wolfgramm siblings, aka The Jets, earned a gold record with their second regular studio album Magic. It got a boost thanks to a pair of Pop Top 10 hits including the #6 Grammy-nominated "Rocket 2 You." Originally consisting of eight brothers and sisters, for their next effort they would be down one with Eugene (under the name of Gene Hunt) taking off to form the duo Boys Club ("I Remember Holding You," #8, 1988). The remaining band stayed in their Minneapolis hometown and began to work on a third album with Prince/Paisley Park associate David Z. along with Don Powell. The pair had worked on The Jets' debut album. Once the new effort, Believe, was set to go, this first single was issued out. Unfortunately, it didn't attract much of an audience. The tune would fail to make the top half of the Pop chart while only reaching #28 Dance and #73 R&B. The result didn't bode well for sales of the album.

ReduxReview:  This seemed to be an attempt to retain the urban feel of "Rocket 2 You." Written by Michael Jonzun and produced by David Z., it had the pedigree to become a hit. Yet it didn't. I think it was because the song just wasn't all that catchy or memorable. David Z.'s production was solid, but the tune offered little in the way of hooks or melody. With not much for listeners to grab on to, it got ignored. Its failure on the chart pretty much brought an end to The Jets as hitmakers.

ReduxRating:  4/10

Trivia:  Included on the Believe album was the song "Under Any Moon." Written by hitmaker Diane Warren, the tune was recorded for the soundtrack to the sequel film The Karate Kid Part III. It was performed as a duet between The Jets' Elizabeth Wolfgramm and singer Glenn Medeiros. It was not issued out as a single in the US. The soundtrack album would fail to chart. The film would do modestly well at the box office though most critics panned the sequel. It would receive five Golden Raspberry Award nominations including Worst Film.

_________________________________________________________________________________

"Smooth Up" by BulletBoys

Song#:  3967

Date:  07/22/1989

Debut:  96

Peak:  71

Weeks:  10

Genre:  Hard Rock, Glam metal

Pop Bits:  This outfit was able to reach the Pop chart for the first time with their remake of "For the Love of Money" (#78). It was the second single from their self-titled debut album. For a follow up, the label took the tactic of re-releasing the album's first single "Smooth Up." That tune initially peaked at #23 on the Rock chart, but failed to make the Pop chart. With a little more momentum and exposure provided by "For the Love of Money," the label chose to give "Smooth Up" another shot to do better. It did by finally making the Pop chart, but it didn't get all that far. Regardless, the album had already been selling well peaking at #34 and going gold.

ReduxReview:  I didn't care for their previous single and this one didn't do much for me either. Especially since the chorus sounded to me like it was ripped from Billy Squier's "The Stroke." That song was excellent. This one is not. It just lumbers along and doesn't really offer anything new or different from what other hair bands of the time were doing. Seems like the talent was there; they just didn't have the songs to complete the package.

ReduxRating:  4/10

Trivia:  The BulletBoys would return in 1991 with their follow up album Freakshow. Prior to it coming out, the band would release another interesting cover as a first single. They would issue out their version of the Tom Waits tune "Hang on St. Christopher." That song was originally written and recorded by Waits for his 1987 album Franks Wild Years. It would be released as a single, but would not make any chart. The BulletBoys version would make it to #22 on the Rock chart, but would miss the Pop chart. It would be their last single to reach any chart. The album did fairly well peaking at #68. It would also be their last album to chart. They would release two more album that didn't fare well before splitting. Since then, various iterations of the band have formed and have recorded albums. The original lineup of the band would get together in 2019 and tour together through to early 2022.

_________________________________________________________________________________

"Come Home with Me Baby" by Dead or Alive

Song#:  3951

Date:  07/01/1989

Debut:  90

Peak:  69

Weeks:  8

Genre:  Dance-Pop, Hi-NRG, Freestyle

Pop Bits:   The British band's third album, Mad, Bad and Dangerous to Know, performed fairly well getting to #52. It got a boost from the #1 Dance/#15 Pop hit "Brand New Lover." This album and its gold selling predecessor Youthquake were produced by the Stock Aitken Waterman team. For their fourth album, Nude, the band decided to handle the production themselves. In the UK, the LP was preceded by a first single, "Turn Around and Count 2 Ten." It was a minor entry at #70 in the spring of '88. After that result, it seems the band may have take a little time to regroup. Two members would leave the band and it basically left Dead or Alive as a duo. Finally in the summer of '89, Nude would get a second push with this next single. In the UK the song would top out at #62. In the US, the tune would do about the same on the Pop chart, however, it would become the band's second song to reach #1 on the Dance chart. A follow-up single, "Baby Don't Say Goodbye," would make it to #6 Dance. Thank mainly to the action on the Dance chart, the album was able to make a minor showing at #106.

ReduxReview:  Despite not working with SAW on the album, it seems like the band wanted to continue with the sound that team had provided for them on their previous hits and came up with this track. While it was not a full clone, the tune did have that SAW feel combined with a bit of freestyle. It was a good combo for US dance clubs and the band was able to score a hit. However, it just wasn't a good single candidate for pop radio at the time.

ReduxRating:  4/10

Trivia:  While the band's audience dwindled quickly in the US and the UK, they maintained a huge following in Japan. "Turn Around and Count 2 Ten" was a significant hit there and the album sold well. Because of that, the band's next albums were initially only released in Japan. They would continue to record and tour over the years, but it all came to an end in 2016 with the death of lead singer/songwriter Pete Burns.

_________________________________________________________________________________

"Comin' Down Tonight" by 38 Special

Song#:  3945

Date:  06/24/1989

Debut:  83

Peak:  67

Weeks:  7

Genre:  Rock

Pop Bits:  The Southern rock band scored a left-field hit with the ballad "Second Chance," the second single from their album Rock and Roll Strategy. The song would hit #1 at AC and #2 Rock while becoming the band's second and final Pop Top 10 (#6). A follow up single was necessary and this next track was selected. It didn't get very far topping out at #43 Rock and stalling in the bottom half of the Pop chart. Despite "Second Chance" doing well, the album didn't sell as well as expected haltimg at a minor #61.

ReduxReview:  While this tune was just ever so slightly closer to the band's Southern rock sound, it was still a slick pop-leaning track that didn't do much for the band. By this point in time the band had lost their mojo and it showed in songs like this forgettable effort.

ReduxRating:  4/10

Trivia:  After Rock and Roll Strategy, the band left their long time home label A&M and signed up with the British label Charisma. Their first LP for the label, Bone Against Steel, would be released in 1991. Its first single, "The Sound of Your Voice," co-written by former Survivor member Jim Peterik, would be a hit at Rock getting to #2. It would do fairly well at Pop making the Top 40 (#33). It would be the band's final Pop chart single. While the song got some attention, it wasn't enough to sell the LP, which faded quickly after peaking at a very minor #170. The band would go through several lineup changes over the years. They would continue to tour and would issue out a couple of studio LPs along with a holiday effort.

_________________________________________________________________________________

"Nothin' (That Compares 2 U)" by The Jacksons

Song#:  3920

Date:  06/03/1989

Debut:  93

Peak:  77

Weeks:  7

Genre:  R&B, New Jack Swing

Pop Bits:  The last time the Jacksons were together was for the 1984 album Victory. while that LP would reach #4 and go double-platinum, it wasn't necessarily considered a huge success especially following Michael Jackson's blockbuster Thriller. After Victory and its associated tour, Michael would choose to leave the family group and return to his solo career. He would then release Bad in '87. Brother Marlon would also choose to leave and try for a solo career. The remaining four brothers would soldier on, but it seemed their label, Epic, lost interest in the group after the departures. Still, they went on and recorded a couple of songs and presented them to the label, who finally got on board. The Jacksons would then record the album 2300 Jackson Street. In addition to writing and producing some of their own tracks, they also worked with songwriter Diane Warren, producer Michael Omartian, and the team of L.A. Reid and Babyface, who wrote and produced this first single. The song would do well at R&B reaching #4. However, it wouldn't catch on at Pop and it fizzled near the bottom of the chart. The album's title track would be the second single and it would get to #9 R&B. It would not make the Pop chart. The album would then peak at #14 R&B/#59 Pop. It would fail to reach gold level sales. And that would pretty much wrap things up for The Jacksons. They would not record another album together. In 2012, Jackie, Tito, Jermaine, and Marlon would reunite for the Unity Tour.

ReduxReview:  To boost their sound and credibility for the late 80s, the Jacksons got together with L.A. Reid and Babyface who supplied this new jack track. It was a good tactic and it ended up working out at R&B, but it seems pop radio just wasn't interested in a new jack song from the Jacksons. I think the problem was that the Jacksons got lost behind a wall of new jack production. Really, any pop/R&B boy band could have recorded this and it would have sounded nearly the same. There was just a lack of identity. The autobiographical "2300 Jackson Street" had a much better Jackson sound, but as sweet as the tune was, it didn't have mainstream appeal. The album was a last gasp effort for relevancy by the remaining participating Jackson brothers that just couldn't compete or even compliment their classic legacy recordings.

ReduxRating:  4/10

Trivia:  Double Shot!  1) This single was the only one in the group's history to not feature or include Michael Jackson. For the title track song, which was about the family's childhood home in Gary, Indiana, Michael and Marlon joined in along with sisters Rebbie and Janet. It has remained the last charting single from the Jacksons.  2) As mentioned above, Marlon left the group after the Victory tour. He did go for a solo career and in '87 released the album Baby Tonight for Capitol Records. Marlon would mostly write and produce the album himself. It would get to #22 R&B/#175 Pop mainly on the strength of the #2 R&B single "Don't Go." It would end up being Marlon's only solo effort. All the brothers would record their own albums at some point in time. Obviously, Michael had the greatest success followed by Jermaine who would earn two gold albums along with six Pop Top 20 hits and five R&B Top 10s including two #1s.

_________________________________________________________________________________

"Joy and Pain" by Rob Base & DJ E-Z Rock

Song#:  3910

Date:  05/27/1989

Debut:  90

Peak:  58

Weeks:  13

Genre:  Hip-Hop

Pop Bits:  This hip-hop duo scored a platinum single in '88 with the memorable "It Takes Two" (#36 Pop/#17 R&B/#3 Dance). The track was taken from their debut album of the same name, which got to #31 Pop/#4 R&B and would turn gold in November '88. Their follow-up single "Get on the Dance Floor," would actually top the Dance chart while getting to #11 R&B and #6 Rap. However, it would fail to make the Pop chart. Next up from the duo was this third single. Once again, it would do well at Dance (#6), R&B (#11), and Rap (#5), but this time around the song was able to get a little action on the Pop chart where it peaked just outside the Top 50. That extra boost helped the album reach the platinum sales level.

ReduxReview:  As it was with "It Takes Two," it was the sampled parts of this song that were the most memorable, although less so with this track. The beats were fairly basic and the rap just wasn't all that engaging. However, what it did do was drive me back to the original silky and sleek Maze track. A bit o' Maze is always a good thing in your musical diet.

ReduxRating:  4/10

Trivia:  Double Shot!  1) This song is not only titled after one by the soul/funk group Maze, but it also samples the chorus of it as well. "Joy and Pain" was written by Frankie Beverly and recorded by his group Maze for their 1980 album of the same name. It would be released as the third single from the LP, but it failed to chart. The album would reach #5 R&B/#31 Pop and become the band's fourth gold-seller in a row. The main hit from it was the #9 R&B "Southern Girl." Maze's "Joy and Pain" would get covered by dance-pop/R&B singer Donna Allen. It would be released as a single early in '89 and hit #3 on the R&B chart, not long before Base and Rock's hip-hop sampled version of the tune was issued out.  2) Instead of working with DJ E-Z Rock on a follow-up album, Rob Base chose to go solo for his next effort. Late in '89 he would release The Incredible Base. It's first single "Turn It Out (Go Base)" would only get to #23 on the Dance chart while missing both the R&B and Pop charts. Still, the album sold well and after peaking at #20 R&B/#50 Pop, it would go gold. The duo would reunite for '94's Break of Dawn, but it failed to make an impression. It seems neither recorded together or separately again. DJ E-Z Rock, aka Rodney Brice, would die from a diabetic seizure in 2014.

_________________________________________________________________________________

"The Doctor" by The Doobie Brothers

Top 10 Alert!

Song#:  3907

Date:  05/20/1989

Debut:  62

Peak:  9

Weeks:  14

Genre:  Rock

Pop Bits:  By 1982, the Doobies sort of imploded in a way. The band had been shedding personnel and it got to the point where there were no original members remaining. With Michael McDonald itching for a solo career, it became obvious that the band was done. They would go their separate ways after a final farewell tour. But like many bands, circumstances would draw former members back together and after a brief reunion tour in '87, an incarnation of the early 70s Doobies decided to reform. They would sign on with Capitol Records and record a new album titled Cycles. This first single was issued out and it received a warm welcome. The song would reach #1 at Rock while also making it to #31 AC. On the Pop chart, the single would crack the Top 10 becoming the band's fifth and final song to hit that mark. The album would make it to #17 and go gold.

ReduxReview:  I think the biggest draw to this song was that it was quite similar to the band's 1973 hit "China Grove" (#15 Pop). That song had long been a staple on rock radio and I think the nostalgia factor from the similarity along with the band's reunited lineup from that era helped drive the tune up the chart. I wasn't a big fan of the track. Frankly, there was already one "China Grove," which was a rock classic, so not sure I needed a second one. I mean, I know they are not exactly the same, but the feel of it, the piano, etc. made it sound like "China Grove, Pt. 2." It was a surprise hit, but it wasn't surprising that they couldn't follow it up. It was just one last nostalgic blast from the Doobies and it paid off pretty well.

ReduxRating:  4/10

Trivia:  On board for the reunion was original guitarist and co-lead vocalist Tom Johnson. He co-wrote "The Doctor" and performed the lead vocal. Johnson had started writing a song prior to the Doobie's reunion and when the band assembled to began recording songs for a new album, he finished it off with songwriters Charlie Midnight and Eddie Schwartz. Earlier in '87, Johnson found himself contributing a song to one of the biggest film soundtracks of the decade. Johnson recorded "Where Are You Tonight?" for the hit flick Dirty Dancing. It would be included on the soundtrack album and server as the b-side to Eric Carmen's hit from the LP "Hungry Eyes" (#4 Pop). The soundtrack would spend 18 weeks at #1 and sell over 14 million copies. While it was great that Johnson was able to sing and perform a song for the hit film and LP, the unfortunate part is he didn't write it.  A songwriter by the name of Mark Scola provided the tune (a big chunk of royalties goes to composers and publishers). Hopefully, Johnson had a good enough deal that he was able to grab some dough from the album's massive success.

_________________________________________________________________________________

"Crazy About Her" by Rod Stewart

Song#:  3899

Date:  05/13/1989

Debut:  74

Peak:  11

Weeks:  17

Genre:  Rock

Pop Bits:  Stewart's fifteenth studio album Out of Order would be his best selling of the 80s reaching the double-platinum mark. It got there thanks to a pair of #12 Pop singles along with the #4 "My Heart Can't Tell Me No." To keep up momentum, this fourth single was lifted from the LP. It would nearly crack the Top 10 stopping at the dreaded #11 spot. With that result, Out of Order became Stewart's first and only album to generate four Pop Top 20 hits. A fifth single was not released, however the album track "Dynamite" did get enough airplay to reach #16 at Rock.

ReduxReview:  After "My Heart Can't Tell Me No," the label kind of needed to release a follow up and this track was selected. There wasn't much left on the LP that made for a good single candidate and this one was probably the right pick. It had a sort of Stones "Miss You" meets The Power Station kind of groove and a hooky chorus. Still, I didn't think it would even crack the Top 40. It just didn't sound like a hit to me, yet it nearly made the Top 10. However, the song certainly didn't have lasting impact. It kind of came and went and then stayed away. A lot of Stewart hits have continued to get airplay, but this is one you just never hear, which is kind of appropriate as it wouldn't get close to being on a list of Stewart's best singles.

ReduxRating:  4/10

Trivia:  For Out of Order, Stewart would record a version of the old blues standard "Nobody Knows You When You're Down and Out." Composed by Jimmie Cox in 1923, the song would later become most associated with singer Bessie Smith. Her 1929 version would be a major hit. Oddly, the record was released just a few weeks prior to the Wall Street market crash of 1929, which was a catalyst of The Great Depression. The only artist to reach the Pop chart with a version of the song was in 1960 when Nina Simone got to #93 (#23 R&B). Stewart had covered several rock, soul, and blues tunes for his albums over the years, but in 2002 he would go all-in on recording a full album of oldies. It Had to Be You: The Great American Songbook would be an unexpected game changer for Stewart. His previous two albums had sold poorly and it seemed like Stewart's career as a viable recording artist might be over after 33 years. But then he signed on with J Records, Clive Davis' new label after being pushed out from Arista. Davis had great success helping to revive Santana's career with 1999's Grammy-winning Supernatural and had thoughts about getting Stewart back on track. Yet instead of pairing Stewart with young, hip singers and writers, Davis suggested a covers album. Instead of doing something like a 60s throwback, Stewart wanted to sing the old standards he knew via his parents. He worked with producers Phil Ramone and Richard Perry and came up with It Had to Be You. The album became an unexpected hit reaching #4 and going triple-platinum. Stewart would also received a Grammy nod for the work. The success kicked of a string of cover albums for Stewart that would all make the Top 10. He would release five volumes of The Great American Standards along with an album of soul covers and one of rock covers. His 2004 LP Stardust: The Great American Songbook, Volume III would hit #1, go platinum, and earn Stewart his first and to-date only Grammy win. The LP would win for Best Traditional Pop Album. The other four LP's in Stewart's standards series would be nominated in the same category.

_________________________________________________________________________________