"Let the River Run" by Carly Simon

Oscar Alert!

Song#:  3821

Date:  03/04/1989

Debut:  95

Peak:  49

Weeks:  10

Genre:  Pop, Soundtrack

Pop Bits:  Following the success of her '87 album Coming Around Again and its #18 Pop/#5 AC title-track hit, Simon was given the opportunity to write a theme song for an upcoming comedy-drama film titled Working Girl that was to star Melanie Griffith, Sigourney Weaver, and Harrison Ford. The movie was set in New York City, so Simon took inspiration from the city and the film's script and came up with "Let the River Run." In addition to the theme, Simon would write a few other songs/instrumentals that would be used in the film and appear on the soundtrack album. The film would be released late in '88 to good reviews and in time for the Oscar cycle. It would be nominated for six awards including one for Simon for Best Original Song. A few weeks before the awards show, "Let the River Run" was issued out as a single. Thanks to the Oscar nod and the film being a hit, the song started to get some attention. A few weeks later, Simon would end up winning the Oscar for Best Original Song and that helped the single crack the top half of the Pop chart while getting to #11 AC. The soundtrack album would then be able to get to #45. While the tune wasn't a huge hit for Simon, it became a very recognizable tune in her catalog. Unfortunately, it would end up being Simon's final solo effort to reach the Pop chart.

ReduxReview:  I remember hearing this for the first time thinking that I liked the rolling rhythm under the tune along with the chorus/bridge sections, yet I felt like it was all trying to lead somewhere, but it didn't quite make it. I wanted a bigger payoff by the end and it didn't come. I also thought that while it was perfect for the film, it wasn't necessarily a good single. It was a very weak year for Best Original Song nominees at the Oscars. There were only two other songs competing, Phil Collins' "Two Hearts" and "Calling You" from the film Bagdad Cafe sung by Jevetta Steele. Collins and Simon tied for the Golden Globe so either one could win, but I think because Working Girl was up for Best Picture and four other awards, Simon edged out Collins (he'd get his Oscar later for the gooey 1999 Tarzan tune "You'll Be in My Heart"). I think it was the right call as Simon's song has been more impactful than Collins' Motown throwback. I've become more fond of Simon's tune over the years, but even now I'm still missing a big splashy finale. The song deserved one and I think it would have really taken it to the next level.

ReduxRating:  7/10

Trivia:  Double Shot!  1) In addition to winning the Oscar, Simon and her song would also win a Golden Globe and a Grammy in their respective film song categories. In doing so, Simon became the first artist to have solely written and performed a song that won all three awards. To-date, the only other artist to do that has been Bruce Springsteen with "Streets of Philadelphia" (from Philadelphia in '93). There have been other artists that have won all three awards, but they co-wrote their songs with other composers whereas Simon and Springsteen were the sole composers.  2)  Around the same time that this single was released, Simon issued out a new album titled My Romance. It was an album of standards and therefore did not include "Let the River Run." There were no singles pushed out from the album, but it still did fairly well reaching #46. Her return to doing pop originals that she wrote came in the fall of '90 with Have You Seen Me Lately. Its first single "Better Not Tell Her" would be a #4 AC hit, but it would fail to make the Pop chart. The album would top out at #60. Simon would have one final appearance on the Pop chart. She would be a guest performer on Janet Jackson's 2001 track "Son of a Gun (I Betcha Think This Song Is About You)." Originally, Jackson had asked to sample Simon's 1972 #1 "You're So Vain," but then Simon offered to do a new vocal and even some new lyrics. Simon recorded vocals that included some spoken word sections at her studio and forwarded them to Jackson to use. Jackson liked what Simon sent and incorporated most of it into the track. Later on, Jackson wanted to do a remix of the song for single release and got Missy Elliott to provide a rap. The remix would be pushed out as the third single from Jackson's All for You album. It would peak at #28 Pop/#26 R&B/#7 Dance. In 2005, Simon would grab her first Top 10 album since 1978 with her fourth standards album "Moonlight Serenade." It would reach #7.

_________________________________________________________________________________

"(I've Had) The Time of My Life" by Bill Medley & Jennifer Warnes

#1 Alert!

Gold Record Alert!

Grammy Alert!

Oscar Alert!

Rated 10 Alert!

Song#:  3278
Date:  09/26/1987
Debut:  73
Peak:  1 (1 week)
Weeks:  21
Genre:  Pop, Soundtrack



Pop Bits:  In the fall of '86, filming began on a little movie titled Dirty Dancing. With a small budget of $5 million, cameras rolled with Patrick Swayze and Jennifer Grey in the lead roles. The film would incorporate quite a bit of music and the filmmakers wanted to use a mix of old and new tunes. For the newer material, Frankie Previte (of Frankie & the Knockouts fame) was asked to contribute a couple of song. Previte along with John DeNicola and Donald Markowitz then co-wrote "(I've Had) The Time of My Life." Previte recorded a demo version of the tune with Rachele Cappelli and ultimately it was selected to be used in the film's final scene. Of course the producers wanted bigger names to record the tune and in the end Bill Medley and Jennifer Warnes agreed to perform the song. The film hit theaters in late August of '87 to mixed reviews, but audiences took notice and eventually it hit #1 at the box office. The soundtrack was issued out along with this first single. Like the movie, it got off to a slow start, but then headed to #1. It would be Medley's first #1 hit outside of the Righteous Brothers and Warnes' second soundtrack duet to hit #1 following 1982's "Up Where We Belong" with Joe Cocker. That song would go on to win a Grammy and an Oscar and this Dirty Dancing theme would follow suit. The track would also spend four weeks at #1 on the AC chart. The success of the song and the film led to the soundtrack album spending 18 non-consecutive weeks at #1. Eventually, it would sell over 11 million copies in the US alone.

ReduxReview:  I admit that I'm not a big fan of Dirty Dancing. I thought it was just meh. However, there are moments in films where the scene and the music perfectly combine to create a little magic and the flick's finale was one. That last lift has been mimicked and parodied tons of times over the years. It became an iconic film moment and a big reason for that was this song. Well-written, smartly arranged and produced, and impeccably performed by Medley and Warnes, there was just no doubt the song was going to be a big hit. The film gave the song a big boost, but I think the song was strong enough that it would have done well on its own. It's also a tune that has remained popular over the years and it sounds just as good now as it did then.

ReduxRating:  10/10

Trivia:  Double Shot!  1) The final scene of the movie was one of the first to be shot. At the time, the Medley/Warnes duet hadn't been recorded, so to motivate everyone in the scene, Previte's original demo was used. It would then be replace in the completed film with the Medley/Warnes version. Previte's demo would later be released as a bonus track on the 1998 reissue of Frankie & the Knockouts' self-titled 1981 album.  2) Medley and Warnes were not the first artists consider for the song. Initially, Donna Summer and Joe Esposito were approached for the job. Summer apparently turned it down because she didn't like the title of the film (remember, she was in her born-again days). The music coordinator for the film, Jimmy Ienner (who also ran Millennium Records), then tried to get Bill Medley, but Medley decline because his wife was about to give birth and he also didn't like the title of the film. For about three months, Ienner pestered Medley. In the meantime, Medley's wife had given birth and Ienner had contacted Jennifer Warnes who showed interest in doing the song, but only if Medley would. With news that Warnes was on board, Medley then agreed to sing on the track.

_________________________________________________________________________________

"Take My Breath Away" by Berlin

#1 Alert!

Gold Record Alert!

Oscar Alert!

Song#:  2766
Date:  06/21/1986
Debut:  96
Peak:  1 (1 week)
Weeks:  21
Genre:  Synthpop, Soundtrack



Pop Bits:  The movie Top Gun was shaping up to be the hit of the year and its associated soundtrack was on its way to doing just as well with it's first single, Kenny Loggins' "Danger Zone," closing in on the Top 10. For the second single, this ballad that was written for the film by Giorgio Moroder and Tom Whitlock was selected. Performed by the band Berlin, who reached #23 two years earlier with "No More Words," the song was a slow starter debuting low on the Pop chart. It seemed the tune was going to stumble, but then it started to catch on and proceeded to make a steady climb to the #1 spot. It would also get to #3 at AC and eventually go gold. When awards season arrived, it was a big winner taking both the Golden Globe and Oscar for Best Original Song. Unfortunately, it would be Berlin's first and last time in the Pop Top 10. The distinctive ballad cast a shadow over their career and after one more album, 1986's Count Three and Pray, the band would break up.

ReduxReview:  As a big fan of Berlin, it was great that they were truly hitting the big time with this song. I was happy for them and was hoping it would make their career really take off. Yet I have to admit that I really didn't like the song all that much. The arrangement and Terri Nunn's vocals kept me interested, but I thought the song just kind of droned on and on. It also wasn't the type of material I was used to hearing from the band. A gooey pop love song just wasn't what they were know for and it set up unreal expectations from listeners who loved this tune. When Berlin's LP Count Three and Pray came out with big rockin' tunes such as "Like Flames," folks weren't biting. They wanted the lovely synthpop of "Take My Breath Away." It was great they had a huge Oscar-winning hit, but it really bit them in the ass later. The song was included on Count Three and Pray (one of my fave albums), but it is so out of place. I usually hit the skip button when this track comes on. With the band at a crossroads for direction, thanks to this tune, they split up. I was bummed. Nunn revived the Berlin name for 2002 album Voyeur, but without the band's main songwriter John Crawford, it just didn't work. I love Berlin and I appreciate this song, but it is definitely not a favorite. (P.S.: I saw Berlin in concert twice - once before the hit and once after. It was two of the loudest concerts I had ever seen. They were awesome though.)

ReduxRating:  7/10

Trivia:  Double Shot!  1) When Top Gun wrapped up filming, it did not include a love scene between Tom Cruise and Kelly McGillis. After test audiences felt let down that there was little in the way of romance between the characters, the producers decided to add one in. They needed a song for the scene and Moroder and Whitlock offered up this tune. Moroder originally wanted to get The Motels to do the song. Lead singer Martha Davis did a demo of the song, but that's as far as it went (the demo is available on the band's Anthologyland collection). Davis' take didn't make the grade with the film's producers so Moroder reached out to Berlin with whom he had worked with previously on a couple of tracks from their Love Life album including "No More Words." The band disagreed on whether to record the track or not as it wasn't reflective of their normal sound or material. They decided to give it a shot and ended up with a #1 song. It was a blessing and a curse as the hit would eventually lead to the breakup of the band.  2) In 2004, singer Jessica Simpson would do a cover of this song. It would do well getting to #10 at Dance, #20 Pop, and #23 AC. Like the original, it would be certified gold.

_________________________________________________________________________________

"Say You, Say Me" by Lionel Richie

#1 Alert!

Gold Record Alert!

Oscar Alert!

Song#:  2530
Date:  11/09/1985
Debut:  40
Peak:  1 (4 weeks)
Weeks:  20
Genre:  Pop, Adult Contemporary, R&B, Soundtrack



Pop Bits:  As Richie was basking in the glow of his Grammy-winning #1 album Can't Slow Down, he got offered the chance to write a song for an upcoming film directed by Taylor Hackford. Hackford's two previous films both generated #1 songs so with Richie's star power at the time, it seemed a third one was not out of the question. Richie accepted the challenge and set out to write a song based on the film's title White Nights. When that proved too difficult of a task, he wrote this ballad for the film. By this point in time, another song from the movie, "Separate Lives" by Phil Collins and Marilyn Martin, was already out and headed to #1. With that song doing well, Richie's tune was then pushed out just a couple weeks prior to the film's release. The single debuted in the Top 40 and then quickly made its way to the top spot becoming Richie's 10th straight solo Top 10 and 5th #1. It would later earn Richie both the Golden Globe and Oscar for Best Original Song.

ReduxReview:  Yes, it was a big #1 hit, it was a gold record, it won an Oscar (but to note - no Grammy nominations), and folks loved it, but I just did not like the tune at all. Richie is basically a pop song writer so I don't expect literary prose, but I had a hard time figuring out what this song was trying to be about. Even today, I still can't tell you what "say you, say me, say it together, naturally" means. And "believing who you are - you are a shining star" makes "tutti frutti" sound like Chaucer. Then two-thirds of the way through, Richie jump-shifts the thing into a dance tune. WTF? It made no sense at all. It was almost like Richie was trying to do a Paul McCartney "Live and Let Die" kind of thing, but it did not work. There are song that can get away with big tempo changes and it can be effective, yet this is not one of them. A tinkly, treacly AC ballad does not need to get all dance-popped up out of nowhere. For me, this is where Richie jumped the shark. I lost interest in his music after this.

ReduxRating:  2/10

Trivia:  Although Richie wrote this song specifically for the film, he recorded and released the single via his home label, Motown. However, the soundtrack album for the film was going to be released by Atlantic. Usually deals are made between labels for the usage of songs and artists, but for this song it didn't happen. Apparently Motown didn't want Richie's first single following his mega-successful Can't Slow Down to be on another label, most likely because they smelled a big hit coming and didn't want to share it with another label. They also wanted to parlay this into being the first single from Richie's next album, which he was working on. With Motown not really willing to deal, the song was not included on the film's soundtrack album. It was an unusual move, but ultimately one that seemed to pay off for Motown and Richie.

_________________________________________________________________________________

"I Just Called to Say I Love You" by Stevie Wonder

#1 Alert!

Gold Record Alert!

Oscar Alert!

Song#:  2024
Date:  08/18/1984
Debut:  58
Peak:  1 (3 weeks)
Weeks:  26
Genre:  Pop, R&B, Adult Contemporary, Soundtrack



Pop Bits:  It had been two years since Wonder had a significant hit (1982's "Do I Do", #2 R&B/#13 Pop) and four years since his last proper studio album (1980's Hotter Than July). Before he could return to the studio for a follow-up album, he was sidetracked into working on a movie project. The film, direct by and starring Gene Wilder, was titled The Woman in Red and Wonder ended up in charge of the songs for the soundtrack. It featured seven Wonder compositions plus an instrumental written by Wonder's guitarist at the time, Ben Bridges. Two of the songs would be duets between Wonder and Dionne Warwick while one song was a Warwick solo. To get things started this solo effort by Wonder was released. It quickly took off and before long it was sitting atop the Pop, R&B, and AC charts. It was also a smash hit worldwide hitting #1 in many countries including the UK, where it would be the second best-selling single of the year (behind Band Aid's charity single "Do They Know It's Christmas"). It would also win the Oscar for Best Original Song while grabbing three Grammy nominations including Song of the Year. The hit would push the soundtrack album to #4 Pop/#1 R&B and it would eventually be certified platinum. Although the movie was somewhat successful, it wasn't a major box office hit and most critics panned the film. However, this song certainly lived on and it still ranks as one of Wonder's biggest hits.

ReduxReview:  Let the hate mail begin! I cannot stand this song. Never could. From the very first listen, I developed a deep dislike for the song. I didn't like the lyrics, the simplistic melody and structure, and especially the production, which sounds like Wonder recorded it all on a little Casio in his living room. (BTW - Wonder does play/do everything on this track.) I was also filled with disappointment because I didn't expect something so dorky from an amazing writer like Wonder. Yes, most artists have their duds, but this one was an explosion of treacly crap. It really irritated me to no end. I couldn't fathom why Wonder would let this ditty out into the public and then why folks absolutely loved it. I kind of realize that second part now. It's one of those cross-generational, simple to sing, sentimental songs that pleases a wide audience. And as much as I absolutely hate the song, I have to give props to Wonder for coming up with it. Even though I think this song is so slight that Wonder could probably fart it in his sleep, it takes a kind of genius to come up with that perfect, simplistic tune that nearly enraptures everyone who hears it. Despite that, I still dislike the song and what makes it even worse is the album version of the song that is a dreadful 6+ minutes! Are there worse charting songs? Absolutely. Are there worse charting songs by huge artists like Wonder? Maybe. But I thought Wonder jumped the shark with this tune and I had a hard time listening to anything he did after this. Sorry folks - it's only my personal opinion. If you love the song, please continue to enjoy it. I'll just cover my ears until it is over.

ReduxRating:  2/10

Trivia:  Double Trouble!  1) Just like another movie hit from the same year, "Ghostbusters," this song got embroiled in a lawsuit. Lee Garrett, who had previously written songs with Wonder, and Lloyd Chiate filed suit against Wonder claiming they were the writers of the song, not Wonder. Apparently, they had written a song called "I Just Called to Say" back in 1976 and played it for Wonder in 1977.  Wonder said he got the idea for the song in 1976 and recorded an initial demo for it soon after, but didn't finish the song until 1984. At a jury trial in 1990, the verdict came out in Wonder's favor. The jury heard both versions of the song and besides the title line, they found no other similarities. Prior to the trial, Garrett drop his claim to the lawsuit and ended up testifying on behalf of Wonder.  2) Wonder's Oscar win was slightly controversial as well. The Academy rules at the time stated that in order to receive a nomination, the song had to have been written specifically for the film. As Wonder later stated, which was also a part of the above trial, the song had been written long before the film and was not inspired by or written expressly for the film. If that had been known early on, the song would most likely have been disqualified from Oscar contention. However, it skipped through and won. Despite the minor kerfuffle, the win was considered valid and Wonder retained his statue.

_________________________________________________________________________________

"Flashdance...What a Feeling" by Irene Cara

#1 Alert!

Gold Record Alert!

Grammy Alert!

Oscar Alert!

Rated 10 Alert!

Song#:  1402
Date:  04/02/1983
Debut:  77
Peak:  1 (6 weeks)
Weeks:  25
Genre:  Pop, Dance, Soundtrack



Pop Bits:  That steel town girl on a Saturday night turned a minor romantic drama into box office gold and along with it, a major hit soundtrack. "Flashdance," starring Jennifer Beales, opened to critical pans in April of 1983. But many folks loved the story of a welder by day, exotic dancer by night trying to get into ballet school and it became a $200 million box office sensation. It also helped that the film had a terrific pop music soundtrack that topped the album chart thanks to this lead single. Co-written by Cara, Keith Forsey, and producer Giorgio Moroder, the song was a smash that would be Cara's first (and only) #1 hit. It would also reach #1 on the dance chart and #4 AC. The tune would go on to score an Oscar for Best Original Song and a Grammy for Cara for Best Pop Female Performance. Although the use of pop songs in films was not a new idea (see "Saturday Night Fever"), the success of the soundtrack (from a movie that technically was not a musical) started a trend. Movie studios recognized the cross marketing appeal of a good pop soundtrack and its potential for making even more money from the film. A slew of pop soundtracks would follow over the years including #1 albums from "Footloose" and "Top Gun." But the spark for the soundtrack explosion began with "Flashdance" and this single.

ReduxReview:  Even my cynical, new wave, rock lovin' BF totally fell for this song. So how can anyone hate on this tune? You just can't. It may not be something you put in your playlists, but I'm sure you have to be boppin' along when this hits the speakers. From it's quiet start and "slow glowing dream" to Cara wailing on the final outro, the song is an iconic piece of 80s pop music. It's as irresistible now as it was then. Slip on your leg warmers and torn sweatshirt and let's get dancin'! I can have it all!

ReduxRating:  10/10

Trivia:  Double Shot!  1) The "Flashdance" soundtrack was hitting its peak during the summer months. At the time, Michael Jackson's "Thriller" had been riding the #1 spot for 17 weeks. The soundtrack finally overtook the top spot from "Thriller" and remained there for 2 short weeks before "Thriller"-mania continued and returned to #1. Oddly, it would be another soundtrack that would finally topple "Thriller" for good. After an additional 20 weeks at #1 (which was interrupted along the way by The Police's "Synchronicity," Quiet Riot's "Metal Health," and Lionel Richie's "Can't Slow Down), "Thriller" relinquished the top spot for the final time to the soundtrack from "Footloose."  2) Originally this song was recorded by vocalist Joe Esposito, who had worked with Moroder before on songs for Donna Summer. However, after hearing the song the movie studio wanted it done by a female singer. Irene Cara was contacted for the work. She helped to reform the lyrics into something from a female perspective and then recorded the tune. Although Esposito lost on out this tune, he still got a song on the soundtrack. He sang the ballad "Lady, Lady, Lady."

_________________________________________________________________________________

"Up Where We Belong" by Joe Cocker & Jennifer Warnes

#1 Alert!

Platinum Record Alert!

Grammy Alert!

Oscar Alert!

Song#:  1145
Date:  08/21/1982
Debut:  89
Peak:  1 (3 weeks)
Weeks:  23
Genre:  Pop, Adult Contemporary, Soundtrack



Pop Bits:  Written specifically for the Taylor Hackford film "An Officer and a Gentleman," this duet featuring Cocker's gruff warble against Warnes wispy voice became an unexpected hit earning a Grammy for Best Pop Vocal Performance, Duo or Group, and an Oscar for Best Original Song. Warnes manager recommended her for the song to his friend Hackford, but he balked at her voice calling it too sweet. However, when Cocker got suggested as a duet partner, that changed things. The pair recorded their vocals together and the finished song played behind the final scene of the movie. The film was a big hit which certainly helped this song take off and finally reach #1 (#3 AC). For both Cocker and Warnes, it would be the biggest hit of their respective careers. And for Warnes, the second Oscar-winning song she had sung (following 1979's "It Goes Like It Goes" from the film "Norma Rae").

ReduxReview:  This song really shouldn't have worked. The singers were an odd coupling, the song was pure sentimental pop, and the film's ending was bordering on sticky tree sap. This seemed to indicate potential disaster. But it all worked - quite well. The opening piano line was instantly memorable along with the Beauty & the Beast vocals. It's actually a little sad hearing it as I write this because the news just recently came out that Joe Cocker had passed away. I'm sure many people have said that he is now up where he belongs.

ReduxRating:  9/10

Trivia:  This song almost didn't make it into the film. Producer Don Simpson wasn't a fan of the tune and wanted it removed. He did not think it was a hit. Luckily for the artists, writers, and the film itself, his request was denied.

_________________________________________________________________________________

"Arthur's Theme (Best That You Can Do)" by Christopher Cross

#1 Alert

Gold Record Alert!

Oscar Alert!

Song#:  0717
Date:  08/15/1981
Debut:  71
Peak:  1 (3 weeks)
Weeks:  24
Genre:  Pop, Adult Contemporary, Soundtrack



Pop Bits:  After his self-titled debut album swept the Grammys, Cross co-penned this chart topper that was featured in the hit film "Arthur" starring Dudley Moore and Liza Minnelli. It would be Cross' second #1 and it would end up being his biggest hit. In addition to winning the Golden Globe for Best Original Song from a film, it would win the Oscar as well. The tune would grab Grammy nominations for Song and Record of the Year and also for Best Pop Male Vocalist, but it was shut out of all three categories.

ReduxReview:  Who didn't love the movie "Arthur?" I think I saw it at least twice at the theater. It was a wonderful comedy and this song fit it perfectly. The only unfortunate thing is that Mr. Mumbles (Christopher Cross) does his usual slurring of words and there are parts of the song where you have difficulty figuring out the lyrics. If he was fronting a rock band, I probably wouldn't have an issue. But when you are singing a lush pop tune like this, you gotta enunciate. His vocals just always frustrate me. Otherwise, great tune.

ReduxRating:  8/10

Trivia:  Cross co-wrote this song with Burt Bacharach and Carol Bayer Sager. However, entertainer/songwriter Peter Allen got credit as well. It seems he and Bayer Sager had been working up a song that contained the line "when you get caught between the moon and New York City." Bayer Sager thought the line would be perfect for "Arthur's Theme" and got Allen's permission to use the phrase. That single line got him a co-writing credit and along with it the associated royalties, a Golden Globe, and an Oscar.

_________________________________________________________________________________

"Fame" by Irene Cara

Top 10 Alert!

Academy Award Alert!

Song#:  0207
Date:  06/14/1980
Debut:  88
Peak:  4
Weeks:  26
Genre:  Pop, Soundtrack



Pop Bits:  Cara was practically a 10-year veteran in showbiz by the time she starred in the movie "Fame." She had already done film, theater, and TV work such as "The Electric Company," the soap "Love of Life," and "Roots: The Next Generation." But it was "Fame" that pushed her towards stardom and the title track became her first major hit. The song won the 1981 Oscar for Best Original Song as well as the Golden Globe.

ReduxReview:  "Remember my name! Fame!" Oh how I heard this a thousand times down the high school hallways by the choir geeks. Hearing it now, the production sounds like a can of spray cheez, but it is hard to not get caught up in the rousing chorus.

ReduxRating:  7/10

Trivia:  Cara's role in the movie originally called for her to be a dancer, but after producers heard her sing, they rewrote the part of Coco Hernandez to incorporate her vocals. Although she was offered to reprise the roll in the NBC TV series, she turned it down to continue her music career.

_________________________________________________________________________________