"Pump Up the Jam" by Technotronic

Top 10 Alert!

Platinum Record Alert!

Song#:  4071

Date:  10/14/1989

Debut:  86

Peak:  2

Weeks:  24

Genre:  House, Dance, Hip Hop

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

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

ReduxRating:  8/10

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

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"Blame It on the Rain" by Milli Vanilli

#1 Alert!

Platinum Record Alert!

Song#:  4067

Date:  10/07/1989

Debut:  65

Peak:  1 (2 weeks)

Weeks:  23

Genre:  Pop

Pop Bits:  Milli Vanilli were definitely on a hot streak. Their debut album Girl You Know It's True had just spent a couple weeks at #1 in September of '89 and the previous two singles from the LP had also topped the Pop chart and gone gold. It seemed like things couldn't get any better, but then this fourth single was issued out. It would catch on quickly and become the duo's third straight #1 on the Pop chart. It also topped out at #14 R&B and #27 AC. It sold well enough to become their second platinum single. The hit drove sales of the album and it would return to the #1 spot in November where it would stay for an additional five non-consecutive weeks. As 1990 began, the LP would reach the 6 million sales mark. It seemed the duo were unstoppable, but it ended up they were...in a very big, bad way.

ReduxReview:  By this point in time, I really didn't care for Milli Vanilli. While I liked "Girl You Know It's True," their next two singles didn't do it for me at all and I proceeded to ignore the duo. So when this single came out, I didn't give it much attention. However, listening to it now I can hear that it was a nicely penned track from Warren (see below). The mid-tempo tune has a nice feel and features a solid, catchy chorus. Now, why Warren put in that quirky key change in the pre-chorus I do not know. When first listening to the song it kind of threw me for a loop and made my ears twitch. It was like - where the hell is this tune going? Then on later listens, it became a twisty part that I kind of look forward to and when it happens I have to chuckle a bit. Odd changes like that are not really common in big pop hits but leave it to Warren to toss a curve ball. I also don't mind Farian's production on the track. It fit the song well for the time period. Is it something I want to keep hearing? No. But I can listen to it differently now and appreciate Warren's work.

ReduxRating:  6/10

Trivia:  This song was written by Diane Warren who had been on a hot streak since hitting #1 for the first time with Starship's "Nothing's Gonna Stop Us Now." She would hit a milestone and set a record when this Milli Vanilli track topped the chart. The two weeks prior, the #1 song was "When I See You Smile" by Bad English, which was written by Warren. So when "Blame it on the Rain" replaced that song at the top of the Pop chart, Warren became the first female songwriter to have two consecutive #1s on the chart. Warren's hit streak would continue well into the 90s and as of this posting date she has amassed a whopping 32 Pop Top 10 hits including 9 #1s. Milli Vanilli ended up with this song by chance. Warren had written the tune for The Jets, but they ended up turning down the song. Warren then took the tune to Arista's Clive Davis. Davis had just signed Milli Vanilli for US distribution and along with that came certain demands from Davis. Instead of just releasing MV's European debut album All or Nothing as it was, Davis wanted to repackage it and include two new tracks. One was a remake of The Isley Brothers' 1969 #2 Pop/#1 R&B hit "It's Your Thing." The other was this Diane Warren track that she had just submitted. Producer and Milli Vanilli creator Frank Farian acquiesced and the two tunes were included on the duo's US debut album Girl You Know It's True. Through Davis, Warren earned her fourth #1 Pop hit when "Blame It on the Rain" got issued out.

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

Top 10 Alert!

Platinum Record Alert!

Grammy Alert!

Song#:  4047

Date:  09/23/1989

Debut:  70

Peak:  4

Weeks:  28

Genre:  R&B, Soul

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

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

ReduxRating:  8/10

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

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"Miss You Much" by Janet Jackson

#1 Alert!

Platinum Record Alert!

Song#:  4024

Date:  09/02/1989

Debut:  42

Peak:  1 (4 weeks)

Weeks:  20

Genre:  R&B, Dance-Pop

Pop Bits:  Jackson certainly made a statement with her third solo album Control. Headed up by the production team of Jimmy Jam & Terry Lewis, the LP was a major breakthrough reaching #1, spawning five Pop Top 5 hits, and selling over 5 million copies. Next came the task of trying to follow up that success. Of course Jackson's label, A&M Records, wanted a rinse and repeat effort, but she wasn't having it. Jackson wanted to expand her vision and do songs that had more depth and a bit of social commentary. She headed back into the studio late in '88 with Jam & Lewis and near the end of summer Janet Jackson's Rhythm Nation 1814 was finished. Anticipation was high for the LP and so a lot of focus was put on this first single. Luckily it met expectation. The tune would debut just outside of the Pop Top 40 and then make a beeline to the top spot where it remained for four weeks. It also made it to #1 at R&B and at Dance. The album would also zoom to #1 and stay there for four weeks. A month after this song ended its run at the top of the chart, the album would be certified double-platinum.

ReduxReview:  Although several tracks on the album discussed social issues, there were a few that kept up the commercial-leaning dance-pop found on Control. This initial single was one of them and it was the perfect choice to kick off the album. The slammin' track was hard to ignore with all its hooks and beats. When it came on the radio, you knew exactly what it was. Jam & Lewis' production skills had improved since Control and it showed on meaty tracks like this one. It would spend four weeks at #1 on the Pop chart, which would be the longest reign at the top for any single in '89. With Control, Jackson said "hey - I'm here." With Rhythm Nation, she basically said, "now listen up, bitches!"

ReduxRating:  9/10

Trivia:  When the album first came out, the 1814 part of the title seemed a bit odd and cryptic to many folks. What did it mean? Was it a date or something else? Some people went so far as to say the "R" in rhythm was the 18th letter of the alphabet and the "N" in nation was the 14th.  While that was true, it was just a happy accident. Jackson herself was cagey about what 1814 meant, but then later spilled the beans. It seems that while recording "Rhythm Nation," Jackson told Jam & Lewis that the tune could be a national anthem of sorts for the 90s. That spurred them to find out when "The Star-Spangled Banner" was written. After seeing that Francis Scott Key wrote the anthem in 1814, they decided to tag that on to the album's title.

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"Bust a Move" by Young MC

Top 10 Alert!

Platinum Record Alert!

Grammy Alert!

Song#:  3982

Date:  07/29/1989

Debut:  81

Peak:  7

Weeks:  39

Genre:  Rap

Pop Bits:  Born as Marvin Young in London, but raised in Queens, New York, this rapper got signed by Delicious Vinyl while attending USC. He would record a couple of tracks that were released in '88, but they failed to chart. During that time he also worked with labelmate Tone Lōc on his debut album co-writing two big hits, "Wild Thing" (#2) and "Funky Cold Medina" (#2). With those smashes under his belt, Young MC then recorded the track "Bust a Move" and it got pushed out. The tune slowly began moving up the charts finally peaking at #7 Pop, #7 Dance, and #9 R&B. However, the single stayed quite popular and made a very slow decent. It would eventually spend 39 weeks on the Pop chart, which was quite unusual. It would also hit the platinum sales mark. When the track began to shape up as a hit, Young MC quickly recorded a debut album that would be titled Stone Cold Rhymin'. Released in September when "Bust a Move" was still climbing the Pop chart, the LP would get to #9 Pop and #8 R&B. By the end of '89 it was certified platinum. The song would go on to earn Young MC the Grammy for Best Rap Performance.

ReduxReview:  Co-writers and producers Matt Dike and Michael Ross assembled a slammin' groove for this track. It was a great vehicle for Young MC's lyrics and rap. It also featured excellent enhancements via a female singer and a hip bass player (see below). This definitely had "hit" written all over it. The track was just too catchy to ignore. It's platinum status and lengthy time on the Pop chart made it one of the most popular and memorable rap hits of the late 80s.

ReduxRating:  8/10

Trivia:  Double Shot!  1) This track was built from several samples, but the most prominent one came from a semi-obscure 70s San Francisco jazz-rock band named Ballin' Jack. Formed in 1969, the band was signed to Columbia Records and issued out a self-titled debut album in 1970. A mid-section portion of the opening track on that LP, "Found a Child," would be sampled and used as the driving beat behind "Bust a Move." Ballin' Jack would only place one single on the Pop chart. "Super Highway" from their debut album would hit a minor #93. The LP would get to #181. The band would record one more album for Columbia and two more for Mercury, but they didn't attract much attention. The band would break up in '75.  2) The female vocal on this track was provided by Crystal Blake, a session singer and songwriter who these days it seems works in the hospitality industry as a caterer/chef. The bass was performed by Red Hot Chili Peppers member Flea. Both would appear in the music video for the song.

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"Hangin' Tough" by New Kid on the Block

#1 Alert!

Platinum Record Alert!

Song#:  3965

Date:  07/15/1989

Debut:  71

Peak:  1 (1 week)

Weeks:  17

Genre:  Pop

Pop Bits:  It took a while, but the boy band finally started to break through with the first two singles from their second album Hangin' Tough, both of which made the Pop Top 10. However, it would be the third single, "I'll Be Loving You (Forever)," that would get to #1 and kick NKOTB mania into high gear. They would follow up that hit with this title track single. It would end up replicating the success of their previous single by spending a week at the top of the Pop chart. However, it would sell twice as many copies and would end up going platinum. The week this song reached its peak, the album would also made it to #1. It did so after having been on the chart for over a year (it hit the top spot in its 55th week). It would stay at #1 for two weeks. With those results, NKOTB became the first teen group to have a #1 single and a #1 album in the same week.

ReduxReview:  Okay, I admit their previous hits, especially in retrospect, were pretty good. I wasn't a fan, but recognized that they along with producer/songwriter Maurice Starr were tossing out some fluffy teen ear candy. However, I drew the line at this one. At the time I thought it was awful and was amazed that it actually went to #1. I blame MTV and teen girls for that. By the point this single came out, the group had become huge teen idols and they were boiling hot, so most anything they put out was going to do well; and it was proven with this track. With a lead vocal by Donnie Wahlberg, this lumbering, goofy thing I think was supposed to give them a little more street cred and sort of take a little shine off of their glimmering teen image. It came off like kids pretending to be something they were definitely not. From the music, to the horrible lyrics, to the thin production, to the pseudo rap sections, this tune was only for a certain crowd and that crowd did not include me. It's still just as cringe-worthy today as it was back then. I'm glad they got a #1 out of it and that many folks enjoyed it, but it was a painful listen for me.

ReduxRating:  1/10

Trivia:  The group would receive a lone Grammy nomination during their career. They would get a nomination in the Best Music Video - Long Form category. It was for the Hangin' Tough tape, which included the videos for four of their hits along with behind the scenes footage. Released in the summer of '89 just as this title track single was taking off, it would be a big seller going 11x platinum (roughly the equivalent of 1.1 million copies). The boys would lose the Grammy to the long form video for Janet Jackson's Rhythm Nation 1814 album.

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"Right Here Waiting" by Richard Marx

#1 Alert!

Platinum Record Alert!

Song#:  3963

Date:  07/08/1989

Debut:  44

Peak:  1 (3 week)

Weeks:  21

Genre:  Soft Rock

Pop Bits:  Marx's second album Repeat Offender got a big boost when its first single, "Satisfied," became his second #1 Pop hit. Hot on the heels of that success came this second single. The ballad would end up being Marx's biggest hit spending three weeks at #1 on the Pop chart while hitting #1 at AC. It was Marx's third consecutive Pop #1. The single would sell well enough to go platinum. The hit certainly boosted album sales and the week after this song ended its run at #1, the album would finally top the chart for a week. Two months later it would reach the triple-platinum sales mark. The song would earn Marx a Grammy nomination for Best Pop Vocal Performance, Male.

ReduxReview:  I knew this quiet ballad was going to be an easy chart topper. It was a nicely written tune with an indelible chorus. It was a perfect choice to follow up his #1 rocker "Satisfied." The opening piano riff, which was the melody of the chorus, was a great arrangement choice and it made the song instantly recognizable. The song would provide Marx with the peak moment of his career.

ReduxRating:  8/10

Trivia:  This song nearly was recorded by a legendary singer. Marx has relayed the story of this song in several interviews. He wrote the intimate piano ballad while out on tour as more or less a cathartic exercise. His girlfriend at the time (and soon to be wife), actress/singer Cynthia Rhodes, was out of the country working on a film and Marx was making plans to see her, but things fell through and he was unable to go. Having not seen her for a couple months, Marx sat down and wrote this tune. He didn't think much of his little song and had zero intentions on recording it. Later on, he was contacted by Barbra Streisand's manager. She wanted to meet him and when the pair got together, she asked if he would write her a song. Not long after their meeting, Marx remember the piano ballad that he had set aside and thought it would be a good option for Streisand. He sent her the demo and the next day she called Marx and left him a voice message about the song. She said that she thought the music and melody were just beautiful, but that the lyrics would have to be change as she wasn't going to be right here waiting for anybody! Marx opted to not rewrite the lyrics and so Streisand passed on the song. Marx maintained that he wasn't going to record the song, but then after some friends heard it, they encouraged him to give it a try. He finally did and it would later go on to become his biggest hit. Marx said he has thanked Streisand several times for passing on the song. Later on for her 1999 album A Love Like Ours, Streisand would record a Richard Marx song. Streisand would duet with country star Vince Gill on "If You Ever Leave Me," a song written by Marx and produced by him along with David Foster. The song was pushed to country radio and it was able to reach #62 on the Country charts. It was Streisand's second time on the Country chart. The first was when her 1977 duet single with Neil Diamond, "You Don't Bring Me Flowers" (#1 Pop/#3 AC), got to #70 Country.

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"Keep on Movin'" by Soul II Soul

Platinum Record Alert!

Song#:  3946

Date:  06/24/1989

Debut:  82

Peak:  11

Weeks:  20

Genre:  R&B, Soul

Pop Bits:  This British group was initially developed by DJ/producer Jazzie B (Trevor Beresford Romeo) as a "sound system" (a group of DJs/engineers that performed together) sometime around 1982. The group gained an audience over the years through their performances and as the late 80s approached a more distinct lineup was developed. Jazzie B began writing tunes on his own and with other group members and in '88 they were able to sign with 10 Records and issue out a couple of singles that were mid-charters in the UK. But then this third single changed everything. Released early in '89, it quickly caught on in the UK and reach #5. That prompted the assembly and release of a debut album titled Club Classics Vol. One. It would reach #1 in the UK. The success would prompt a deal for US distribution. This single would be issued out and it would become a major success reaching #1 R&B and #1 Dance while nearly cracking the Pop Top 10. It also made the AC chart at #37. Thanks to the cross format action, the single sold very well and would be certified platinum. The album, which was re-titled Keep on Movin' for the US release, would take off and go gold by mid-August. It would sell even more after the release of a second single.

ReduxReview:  This rich, silky, sophisticated track was something different at the time and folks latched on to it. It was easy to be seduced by the tune's relaxed groove and Caron Wheeler's voice. I found it to be a soul-packed extension of some of the British sophisti-pop that had been coming out in the late 80s. It really should have made the Pop Top 10, but it unfortunately stopped at the dreaded #11 spot. Still, it sold a lot as would the group's next single. Both would be influential tracks from the late 80s.

ReduxRating:  8/10

Trivia:  The lead vocal on this song was performed by Caron Wheeler. Her parents were from Jamaica and the music from that country would certainly influence her later. While in school, she began to sing with a friend of hers Pauline Caitlin. Initially they did it for fun, but they began to take it more seriously and started practicing and performing. While still teenagers, he pair entered a talent contest at a local nightclub and won. Encouraged by that, the pair decided to expand to a trio and included Carol Simms. Now known as Brown Sugar, they recorded songs for a new reggae label called Lover's Rock. Their first single, 1977's "I'm in Love with a Dreadlocks," would do well on the UK Reggae chart. A couple more singles would follow, but it seems before the trio could record a full album, they decided to split blaming it on the way they were treated by the new label. They would get back together in '78 for a tour with famed reggae star Dennis Brown and release a few more singles, but by '83 they called it a day. Wheeler then paired up with singer Claudia Fontaine to form the backing vocal/session duo Afrodiziak. They would pick up some high profile gigs including performing on tracks by The Jam and Elvis Costello. The duo would turn into a trio with the addition of Naomi Thompson. More studio and tour work came their way via artists like Madness, Howard Jones, Maxi Priest, Aswad, and others. They would split in '88 with Wheeler joining up with Soul II Soul.

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"Batdance" by Prince

#1 Alert!

Platinum Record Alert!

Song#:  3939

Date:  06/17/1989

Debut:  53

Peak:  1 (1 week)

Weeks:  18

Genre:  R&B, Funk, Pop, Soundtrack

Pop Bits:  In mid-1988, Prince wasn't really in a good spot. His album Lovesexy was not received well and by Prince standards it tanked missing the Top 10 and only going gold. Due to that and a costly tour, Prince's finances were not in good shape. He began working on songs for another album, but his manager didn't think a new LP was going to right the ship. Prince needed a commercial win to boost his career and finances. An opportunity came when his label, Warner Bros., took on the job of making a film version of Batman. Tim Burton was to direct and Danny Elfman would do the score. Warner wanted to get a hot artist to contribute songs to the film and the idea of getting Prince came up. Burton, a fan of Prince, wasn't so hot on the idea as he didn't want to be forced to use specific songs in the film, but then the idea was hatched to have Prince write an album of songs that were "inspired" by the film. Elfman could do his full score and then Burton could incorporate some of the Prince songs where it seemed appropriate. Prince saw a rough cut of the film and was left a tape of it. He got to work and fleshed out a set of songs that were based on the characters in the film. Burton liked what he heard, but asked for a couple of replacements and Prince obliged. When the film was set for release, there were two soundtrack albums ready to go. One was Elfman's original score and the other was Batman by Prince. One of the first tracks Prince recorded for the LP was this initial single. Prince took parts of other songs he had been working on along with snippets of raw dialog from the rough cut of the film to create a sort of promo track for the movie. An edit of the 6-minute song would be pushed out as a single prior to the film's opening. Thanks to the film taking off at the box office, the song quickly ran up the chart and reached #1 in a short eight weeks (#1 R&B/#1 Dance/#18 Modern Rock). The album would then get to #1 and remain there for six weeks (#5 R&B). It would end up being a double-platinum seller. The tactic to get Prince back on top had worked.

ReduxReview:  The Batman movie ushered in a few things that still are happening today. While there had been a few superhero movies prior, like Superman, Batman took things to a new level. The franchise would continue while others would soon follow. The film also introduced the concept of having an album of "inspired by" music along with a separate release for the actual film score. Batman was influential as was Prince's LP at the time with this nearly avant garde promo single leading the way. However, in the long run, the LP and especially this song are looked at as curiosities in Prince's catalog. This song worked at the time, but once the movie's run was done, no one really wanted to hear it. Other songs from the album suffered the same fate as well. The LP got the job done for Prince and the film, but it wasn't nearly in the same league as Prince's classic Purple Rain soundtrack. It is kind of a fun nostalgic exercise to hear the LP once in a great while, but in general it was product for a purpose. This single was just bat-shit crazy (pun intended). It was a weird, messy mash up of songs, dialog, and other things that kind of worked in a Prince-ly way. I'm not sure another artist at the time could have pulled this off and grabbed a #1 hit. Really, I'm not sure any artist had the balls to do this so to Prince's credit, he certainly played into the spectacle of the movie and nailed it. That said, do I really want to voluntarily hear this now? Not really. I might toss it in a playlist as something fun and odd to creep up on you, but other than that, it was a song for a specific time and reason.

ReduxRating:  7/10

Trivia:  While the Batman album was a boost for Prince's career, it wasn't exactly the most perfect situation. Since the movie was a Warner Bros. project, they definitely wanted a share of any music that was to be associated with the film. Therefore, they wanted the publishing rights to Prince's contributions. Weighing the good vs. the bad, Prince and his team agreed to the terms. That meant that if anyone wanted to use any Prince song from the Batman album, they would have to deal with Warner, not Prince. Because of that, none of the charting singles from the album were included on any Prince compilation. It wasn't until after Prince's death that "Batdance" finally was allowed to be on a compilation. It was the only single from Batman to make 4Ever, the first release of any kind that came out after Prince's death in April of 2016.

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"On Our Own" by Bobby Brown

Top 10 Alert!

Platinum Record Alert!

Song#:  3930

Date:  06/10/1989

Debut:  64

Peak:  2

Weeks:  20

Genre:  R&B, New Jack Swing, Soundtrack

Pop Bits:  By this point in time, Brown's second album Don't Be Cruel had become a 4x platinum seller that had spawned four big singles including the #3Pop/#1 R&B/#1 Dance hit "Every Little Step." While that hit streak was going on, Brown's label, MCA, was approached to provide the soundtrack to the sequel flick Ghostbusters II. MCA was specifically sought out because the film's music supervisor wanted to nab newly hot star Bobby Brown for a couple of songs. MCA took on the task and Brown would agree to recording a couple songs, but on the condition that he appeared in the film. Most of the film had already been shot by that point, but he was able to make a cameo as a doorman. L.A. Reid, Babyface, and Darryl Simmons would write "On Our Own" for Brown with Reid and Babyface producing. The song would be released as a single a couple week prior to the film's opening. The timing was perfect as the tune debuted on the Pop chart the week "Every Little Step" peaked. The single quickly made the Pop Top 10 eventually spending three weeks at #2. It would reach #1 at both R&B and Dance. It would be Brown's first and only single to reach the platinum sales level. The hit helped the soundtrack album get to #14 and go gold.

ReduxReview:  This was the best thing that came about from Ghostbusters II. I have to admit that while I liked the original Ghostbusters, I didn't love it. I wasn't as gaga about it as everyone else. Still, it was a fun flick. I really didn't have any urge to see the sequel, but ended up going. That was a mistake. I thought it was awful. Yet on occasion something bad can spawn something good and for GBII it was this Bobby Brown track. While it wasn't quite as good as a couple of his previous hits, it did showcase Brown, Reid, and Babyface at the peak of their new jack powers. I could do without the film-related rap (the single's b-side did have a non-rap version), but other than that it was a quality track.

ReduxRating:  7/10

Trivia:  Double Shot!  1) In addition to "On Our Own," Brown contributed another song to the soundtrack. He would co-write the track "We're Back" with Dennis Austin. Brown would serve as producer. It would not be released as a single. Also for the soundtrack, the original #1 theme from Ray Parker, Jr. would get a hip-hop update from Run-DMC. It would be issued out as a single, but it would fail to chart.  2) Ghostbusters II arrived five years after the original hit film. The same director, writers, and cast would return for the sequel. Expectations were that it would surpass the results of the original film, but that did not happen. While it was no box office slouch, the sequel made less money than the original. It also had a higher budget than the original, which ate into the box office take. It didn't help that critics were negative towards the film and that what would be the year's biggest hit, Batman, premiered on its heels. Even though a sizable audience showed up for the movie, in the long run it was considered a critical and commercial failure. The outcome pretty much killed off the film franchise. However, the animated series The Real Ghostbusters, which began to air in 1986, would continue to be popular and last for seven seasons. A 2009 video game was also successful. It wouldn't be until 2021 that an "official" sequel to the original film series would be released. Ghostbusters: Afterlife would do fairly well at the box office and with critics. It came after a 2016 attempt to reboot the series with an all female cast, which made it the target of unexpected and unwarranted controversy. That uproar along with some mixed critical reaction let to a final box office tally that didn't recoup costs. While the director and cast signed on for two sequels, following the weird uproar about the cast and the box office results, plans for the sequels were quashed.

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"Like a Prayer" by Madonna

#1 Alert!

Platinum Record Alert!

Rated 10 Alert!

Song#:  3841

Date:  03/18/1989

Debut:  38

Peak:  1 (3 weeks)

Weeks:  16

Genre:  Pop

Pop Bits:  Over the course of three studio albums, Madonna became a music and cultural icon. Yet she didn't follow the path that some suddenly successful pop artist do and simply pump out songs similar to the ones that made them famous. Madonna paved her own road that took her into new territories. No one could really predict where she was headed to next and that was key to her continued success. After the #1 multi-platinum showing of her third studio album, 1986's True Blue, Madonna took a little time to do other things like film and stage work, but there would be the inevitable return and as the spring of '89 came along, she was ready to unleash her next effort Like a Prayer. To kick things off, the title track would be released as the LP's first single. It was treated like an event with a Pepsi promotion and heavy coverage on MTV. The song made an immediate impact on the Pop chart debuting inside the Top 40 and then making a beeline for the top spot where it would remain for three weeks. It was Madonna's seventh #1 and her first single to go platinum. The album debuted at #11 and two weeks later would reach #1. It remained there for six weeks, which still remains the longest run at the top spot for a Madonna album. By the end of May, it would already be certified at double-platinum.

ReduxReview:  Like a Prayer was Madonna's most introspective and mature album to-date. She was already a music star, but it was this LP that folks began to truly regard her as an artist. Filled with personal themes, it was certainly a lot different from her previous works with even the music and arrangements taking steps forward. This dark track was certainly the highlight. From its dramatic opening to the stop/start of beats between the verses and the chorus to the joyful gospel choir section, it wasn't like anything that Madonna had previously done. It was art pop as were several other tracks on the album. Yet Madonna was smart enough to make sure there was still some juicy commercial hits among the songs, but even those had a more mature feel. After this, there was no going back. She laid down her artistic statement and set a new bar for herself that for me she wouldn't hit again until '98's Ray of Light. I still think this song easily remains as one of Madonna's career and artistic high points.

ReduxRating:  10/10

Trivia:  Madonna was certainly not a stranger to controversy and it accompanied her when "Like a Prayer" came out. Prior to its release, Pepsi entered into a deal with Madonna for a cross promotion. They would not only be the sponsor of her upcoming Blond Ambition tour, but they would feature her and the song in a commercial. Madonna wanted to use the ad for the launch of the single and so a two-minute ad was created. The commercial even had a title ("Make a Wish") and a storyline that had Madonna revisiting her childhood. The ad was treated as an event and made its debut during the Grammy telecast in February of '89, then again during an airing of The Cosby Show, which was the biggest show on TV at the time. It all was going great until the actual music video for "Like a Prayer" was released. Religious groups were immediately up in arms saying that the video's use of Christian imagery was blasphemous. Even the Vatican protested the video. Groups began to organize protests against Pepsi for endorsing Madonna and eventually they folded under and chose to cancel their deal with Madonna (although she got to keep a $5 million advance they had already given her). Regardless of the reactions from religious organizations, MTV supported Madonna and the video and it went immediately into heavy rotation. Of course the controversy only sparked more interest in Madonna, the video, and the song, all of which came out pretty much unscathed.

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"Funky Cold Medina" by Tone Lōc

Top 10 Alert!

Platinum Record Alert!

Song#:  3827

Date:  03/04/1989

Debut:  60

Peak:  3

Weeks:  18

Genre:  Rap

Pop Bits:  This California rapper made a big, unexpected splash with his first single, "Wild Thing." The song would get to #2 Pop/#3 R&B/#1 Dance and go double-platinum. It was taken from his debut album Lōc-ed After Dark as was this follow-up single. It would be another smash getting to #3 on the Pop chart while hitting #7 R&B and #8 Dance. The single would also sell well enough to go platinum. The hit would help the album top the Pop chart for a week in mid-April. Eventually it would go double-platinum. A third single, "I Got It Goin' On," wouldn't do nearly as well. It could only manage to reach #59 R&B while missing the Pop chart.

ReduxReview:  This was pretty much the perfect follow-up to "Wild Thing." It was another party-leaning track that cleverly used familiar riffs from older rock tracks. Basically if you liked "Wild Thing" you were going to like this song as well. I wasn't a big fan of that tune, so this one didn't really thrill me either. However, for some reason I found this one a bit more listenable. Maybe it was the Foreigner guitar riff or perhaps the cowbell or just the fact that it is fun to say funky cold medina.

ReduxRating:  6/10

Trivia:  Double Shot!  1)  This song contained several samples. Perhaps the most prominent one was the guitar lick, which came from Foreigner's 1978 #3 hit "Hot Blooded." Also included were samples from Funkadelic's 1975 "Get Off Your Ass and Jam" and Kiss' 1977 #25 "Christine Sixteen."  2) With two big party hits and a #1 album to his credit, Tone Lōc's next album was highly anticipated. Cool Hand Lōc would be issued out in the fall of '91 along with a first single "All Through the Night." Both landed with a thud. The single, which featured El DeBarge, stopped at #16 R&B and #80 Pop. A follow-up single failed to chart. With those results, the album was only able to reach #46 R&B while completely missing the Pop chart. It was a major disappointment that basically brought an end to Lōc's recording career. It happens. A star quickly ignites and shines bright, but then fizzles just as fast. In some ways, that may have been fine with Lōc. According to a couple of articles, he didn't necessarily set out to be a big music star and wasn't all that ambitious in trying to keep it going. However, the success of his debut album afforded him more opportunities. He was able to act in a few films including 1993's Poetic Justice and got work as a voiceover artist. His raspy delivery got him work on such shows as King of the Hill, Bébé's Kids, and in the 2022 reboot of the Disney show The Proud Family. He has also been able to keep on performing and has appeared on various 90s music nostalgia tours.

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"Wind Beneath My Wings" by Bette Midler

#1 Alert!

Platinum Record Alert!

Grammy Alert!

Song#:  3820

Date:  03/04/1989

Debut:  97

Peak:  1 (1 week)

Weeks:  29

Genre:  Pop, Adult Contemporary, Soundtrack

Pop Bits:  Midler started the decade with a bang and ended it with an even bigger one. In 1980, Midler scored her second Pop Top 10 hit with "The Rose" (#3). It was a song from the movie of the same name that starred Midler. She would receive an Oscar nod for Best Actress and win a Grammy for her performance of the song. Her career was at a new high, but then things went a little awry. Her next film was a major flop and her 1983 album No Frills was a modest seller. She even tried her hand at stand-up comedy with the '85 album Mud Will Be Flung Tonight. Nothing was really gelling, but then she got a multi-film deal with Disney and began starring in a streak of hits that started with '86's Down and Out in Beverly Hills. By '88 her star had reclaimed its spot in the sky, yet she hadn't recorded any new music since No Frills. She would get an opportunity to do that when she took on her next role in the comedy-drama Beaches. Cast alongside Barbara Hershey, the film has Midler as an aspiring entertainer and that gave her the chance to record songs for the film. The soundtrack to Beaches would be released prior to the movie's opening along with a first single "Under the Boardwalk," Midler's take on the 1964 #4 hit by The Drifters, which was used to promote the film. The single didn't get anywhere, but then the movie hit theater's soon after and began to do well. This next single was then released and as the film grew into a hit, the song gained attention. It debuted low on the Pop chart, but steadily climbed until it reached the top spot becoming Midler's first #1. It would also reach #2 AC. The hit helped the soundtrack get to #2 and eventually it would become Midler's best selling album going triple-platinum. A third single from the LP, "I Know You By Heart," a duet with David Pack, would not chart. While Midler would not receive an Oscar nod for her performance in the film, "Wind Beneath My Wings" would net her a third Grammy when it won for Record of the Year (it also won Song of the Year for its writers Larry Henley and Jeff Sibar. Midler also got a Grammy nod for Best Pop Vocal Performance, Female. It was a grand way for Midler to end the decade.

ReduxReview:  Okay, yes, this song has more sap in it than a gallon of Log Cabin. It's been both adored and derided (at the record store I worked at we called it "The Wind Between My Cheeks"). Previous versions may have been admirable, but were unable to truly capture the spirit of the song. Leave it to Midler to wring every ounce of emotion out of the tune. She has always been a world-class interpreter of songs and this one became one of her best. The arrangement, which sounds a tad karaoke-ish now, was just right for the time period as well. Add to that its use in Beaches and a hit was born. The song was all over the place. I even had to sing it at a wedding. It was a well-deserved and long overdue hit for Midler. These days, it's not a song that I need to hear or would voluntarily call up, but if it happens to come on it does bring on bursts of nostalgia and maybe even a tear or two. Other artists will cover this song, but no one will ever top this version by Midler.

ReduxRating:  8/10

Trivia:  Double Shot!  1) This was a remake of a song first recorded and released in '82 by British singer/songwriter Roger Whittaker. It served as the title track to a 1982 album, but it was not released as a single. Sheena Easton would also record it in '82 for an album and country singer Lee Greenwood would put it on one of his in '83. Neither artist released it as a single. The tune's first chart appearance anywhere appears to have been in Australia by singer Colleen Hewett. Her '83 version got to #52. In the US, the first artist to reach the Pop chart with the song was Lou Rawls in 1983. His take went to #65 Pop/#60 R&B/#10 AC.  The same year, Gladys Knight & the Pips would chart with the song (#64 R&B/#23 AC, titled just "Hero") and singer Gary Morris would get to #4 on the Country chart. Other artists would cover the song, but it took Bette Midler to finally make it a #1 hit. It has been reported that Australian singer Kamahl was the first artist to actually record the song, but then it didn't fit the country and western theme of the album he was working on, so he did not release it. Whittaker is then credited as the first artist to record and release the tune.  2) After the success of this song, Midler chose to keep her music career going and in 1990 release the album Some People's Lives. It's first single, "From a Distance," became another platinum single reaching #2. Written by Julie Gold and originally recorded by Nanci Griffith, Midler's version came out during the Gulf War and it resonated with many folks. The song and Midler would be nominated for Grammys in the same categories as "Wind Beneath My Wings" and would end up winning one for Song of the Year. Some People's Lives would get to #6 and go double-platinum. Four of her next five albums would go platinum or gold including another soundtrack, 1991's For the Boys (#22 Pop). She also earned a further four Grammy nominations.

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"Straight Up" by Paula Abdul

#1 Alert!

Platinum Record Alert!

Song#:  3737

Date:  12/03/1988

Debut:  79

Peak:  1 (3 weeks)

Weeks:  25

Genre:  Dance-Pop, New Jack Swing

Pop Bits:  By this point in time, Abdul's debut album Forever Your Girl wasn't flying off record store shelves. Its first two singles each broke through to the R&B Top 10, but neither single could reach the Pop Top 40. The results left the LP peaking at a very minor #155 Pop. It seemed that Abdul's bid for mainstream success was not gonna happen, but then a DJ in San Francisco started to spin the album track "Straight Up." It gained enough momentum that Abdul's label, who didn't think the song was a hit, decided to give it a go as the LP's third single. With a more national push, the song began to take off. It would become her third and biggest hit at R&B reaching #2 while also making it to #3 at Dance. More importantly, the tune wound its way to the top of the Pop chart and remained there for three weeks. The hit would also do well enough to become a platinum seller. The album would then rebound and crack the Top 20 for the first time. By March of '89, it would go platinum. The third time was certainly the charm for Abdul who went from a former cheerleader and choreographer to a platinum-selling singer in a matter of a few short months.

ReduxReview:  How the label didn't hear this as a hit is just crazy. The honking synth line is one hook, then the synth whistle line is another, then the bridge with the "please, please" was another and that was all before the main chorus even started! Add to that the timely new jack feel and there was no question that the song was a hit. Abdul lobbied for the tune (see below) because she heard something and she was exactly right. While it should have been her first single, I don't think it was necessarily bad that it came later. Her first two singles got her established at R&B and Dance, so that put her name out there. Then this third hit took her to a whole new level and it was as if she got a second, bigger start. I've always waffled when it came to Abdul. Sometimes I'm a bit of a fan, then sometimes not. However, I applaud her for knowing what she wanted and going for it. She basically became a huge star mainly on instinct. It certainly wasn't her vocal ability (although she had a capable, interesting voice), but she had a vision as to what made a pop star and it worked out. It all more or less started with this massive hit.

ReduxRating:  8/10

Trivia:  Double Shot!  1) Since Abdul's label, Virgin Records, hadn't even considered "Straight Up" for single release, a video for the song wasn't available once it began to climb the charts. They had to scramble to arrange one and paired Abdul with music video director (and later Oscar nominated director) David Fincher. Shot in black and white and choreographed by Abdul, the video started off with a tap dance from Abdul before it broke into the song. The video would also feature an appearance by her friend, comedian Arsenio Hall whose syndicated TV talk show was set to debut in January of '89; just as this song was shaping up to be a hit. Also seen in the video was model/actor and future two-time Oscar nominee Djimon Hounsou. It was his first video gig and he would go on to do more with Fincher before beginning to land film and TV roles. The video for "Straight Up" would later be nominated for six MTV Music Video Awards. It would end up winning four including Best Female Video and Best Choreography.  2) This song was written and produced By Elliot Wolff. With a couple writing credits to his name, Wolff was tasked to write a song for a new artist signed to Virgin Records. He came up with "Straight Up." Unfortunately (or fortunately), that artist's deal never got off the ground and that left the song available. The tune found its way to Abdul, who loved it and wanted to record it. The label was less keen on the tune and didn't hear a hit. Abdul persisted though and apparently after agreeing to record a couple songs the label wanted her to do, she was given the green light. The song was actually recorded at Wolff's apartment and Abdul's vocals were recorded in his shower. Apparently, the noise didn't sit well with at least one neighbor who banged on the wall. Abdul said that in the original masters, you could hear someone banging and yelling "shut up!"

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"Kokomo" by The Beach Boys

#1 Alert!

Platinum Record Alert!

Song#:  3630

Date:  09/03/1988

Debut:  96

Peak:  1 (1 week)

Weeks:  28

Genre:  Pop, Soundtrack

Pop Bits:  Like their 70s period, the 80s were a little rough for The Beach Boys. While they did manage to get three songs in the Pop Top 20, none of them truly reignited their career. They got a bit of a boost guesting on The Fat Boys' "Wipeout! (#12), but it didn't generate enough interest for them to pursue a new album (they hadn't released one in four years). Then they got an opportunity to write and record a song for an upcoming Tom Cruise flick titled Cocktail. The filmmakers wanted a song for a scene where Cruise goes from NYC to Jamaica and asked The Beach Boys to supply one. Working with producer Terry Melcher, the group (minus Brian Wilson) came up with "Kokomo" and it would be used in the film and placed on the soundtrack album. It would be issued out as a single in July of '88 prior to the film's release, but it didn't get any attention. Then the film turned into a box office hit and people picked up on the track. It would debut low on the Pop chart, but it quickly gained speed and ended up making it to #1. The last time The Beach Boys had a chart topper was with 1966's "Good Vibrations." At the time they set a record for the longest time between #1 hits (Cher would later break that record with her #1 "Believe" in 1999). The single would sell well enough to go platinum and it would help send the Cocktail soundtrack to #4. It would eventually sell over four million copies. The unexpected hit put the band in the spotlight once again it afforded them the opportunity to assemble a new album, which would be release nearly a year later in '89. Unfortunately, their sudden resurgence faded just as quickly and this song would be the band's last to make the Pop Top 40.

ReduxReview:  This is a tune that I think is both loved and reviled. While a ton of people have enjoyed the breezy, Caribbean feel of the track with its sing-a-long lyrics, many folks have hated it with the tune even ended up on a few "worst" lists. I'm sort of half 'n' half. Sure, it's a goofy tune and when compared to a lot of The Beach Boys' catalog it pales in comparison. However, it is catchy ear candy and I find it difficult to not get caught up in its escapist sound and theme. It's fun to hear, but definitely not all the time. Once in a great while I'll get a kick out of the tune, but frankly I'd rather listen to most anything in the band's earlier catalog, especially Pet Sounds.

ReduxRating:  7/10

Trivia:  Double Shot!  1) Many folks have heard of the town in Indiana by the name of Kokomo, but the song alludes to it being a place in the Florida Keys. Well, that place does not exist. The song's co-writer, John Phillips (of the Mamas & the Papas) thought Kokomo fit the tune well and chose it to represent a tropical paradise where folks could escape.  2) While Cocktail did do well at the box office, it was pretty much savaged by critics. It would go on to win two Golden Rapsberry Awards; Worst Picture and Worst Screenplay. Cruise was nominated for Worst Actor. Oddly, later in '88 Cruise starred in Rain Man with Dustin Hoffman. The film went on to win the Oscar for Best Picture. That made Cruise thus far the only actor to star in a Worst Picture and Best Picture in the same year.

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"It Takes Two" by Rob Base & DJ E-Z Rock

Platinum Record Alert!

Song#:  3620

Date:  08/20/1988

Debut:  92

Peak:  36

Weeks:  16

Genre:  Hip-Hop

Pop Bits:  Robert Ginyard, aka Rob Base, and Rodney Bryce, aka DJ E-Z Rock, first began performing in a band when in school together in Harlem. Following graduation, band members went their own ways, but Base and Rock decided to stick together and shoot for a career in music. Their first effort together was a track called "DJ Interview." It appeared on a 1986 indie compilation LP titled Fast Money. The song was credited only to Rob Base, but Rock and Chill Will were credited as co-producers. Next up was a 1987 indie single on the World to World label titled "Make It Hot." Once again it was credit solely to Rob Base with Rock co-producing. The two tracks were enough to get the larger Profile Records interested and they signed on Base and Rock as a duo. The first song they recorded for the label was "It Takes Two." The tune was issued out as a single and it made the R&B chart earlier in '88. By July it had peaked at #17. It would then become popular in clubs and in early September it would peak at #3 Dance. Just before reaching that peak.the single got on the Pop chart and eventually made the Top 40. Although the tune would complete its chart run by the end of the year, the song remained popular and folks kept buying up the single. In February of '89 it would go gold. By the end of '89 it would be platinum. Due to the success of the single, the duo had to quickly get into the studio and record a debut album. Titled after the song, it would be released in the late summer of '88. The LP would peak at #4 R&B and #31 Pop. It would end up being a platinum seller.

ReduxReview:  This was a big party tune back in the day. Base and Rock assembled a funky groove through samples adding a couple that were extremely memorable (see below). Frankly, the sampled parts were so strong that they nearly overpower the rap sections. It was expertly done and has been considered one of the best hip-hop tracks of all time. For me it was one of those songs that caused me to awkwardly dance after a couple of cocktails, but it wasn't one that I wanted to hear a lot. For certain times and places, the song works perfectly. Outside of that, I'm okay not hearing it.

ReduxRating:  7/10

Trivia:  Arguably the most memorable parts of this song are the "Whoa!...Yeah!" shouts and the female voice singing "It takes two to make a thing go right, it takes two to make it outta sight." Both were samples take from the 1972 funk tune "Think (About It)" recorded by soul singer Lyn Collins. That song was written and produced by James Brown. It was released as a single and got to #9 R&B/#66 Pop. It would be Collins' biggest hit. The "whoa" (voice of James Brown) and the "yeah" (voice of Bobby Byrd) along with Collins singing the "it takes two" lyric were parts of the drum break within the song. That break helped to make "Think (About It)" one of the most sampled songs in music with reportedly over three thousand tracks featuring portions of the tune. Artists who have used samples from the song include Salt-N-Pepa ("Push It"), Kid Rock ("The Upside"), Janet Jackson ("Alright"), N.W.A., Kanye West, TLC, Snoop Dogg, and Fergie. Collins would only see the R&B Top 10 once and would only release two albums, both produced by James Brown. Her second album in 1975, Check Me Out If You Don't Know Me By Now would feature the #53 R&B single "Rock Me Again & Again &Again & Again & Again & Again (Six Times)" That tune, written by James Brown and Lee Austin, would be covered by the Human League for their 1984 album Hysteria. It was not released as a single.

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"Push It" by Salt-N-Pepa

Platinum Record Alert!

Rated 10 Alert!

Song#:  3341
Date:  11/21/1987
Debut:  76
Peak:  19
Weeks:  25
Genre:  Rap



Pop Bits:  New Yorkers Cheryl James and Sandra Denton were nursing students who earned money working at Sears. It seemed they had their career paths set, but then one of their Sears co-workers (and boyfriend of James), Hurby "Luv Bug" Azor ended up altering their lives forever. Azor was a music production student who needed some vocals done on one of his class projects. He asked James and Denton to join him in the studio and the three collaborated on a track titled "The Show Stoppa (Is Stupid Fresh)." They released the song under the name Super Nature on a small indie label in 1985 and it started to get some airplay around New York. It did well enough to crack the R&B chart and get to #46. With that success, the three chose to pursue music full-time and develop an act. Azor decided to add a DJ alongside James and Denton and hired on Latoya Hanson. The trio were then renamed Salt-N-Pepa and they signed on with New Plateau Entertainment. Work began on an album with Azor writing/producing the bulk of the tracks. The LP, titled Hot, Cool & Vicious, was released late in '86. Not long after its release, Hanson was replaced by teenager Deidra Roper, aka DJ Spinderella. The album got a little bit of attention with its first two singles, "My Mic Sounds Nice" and "Tramp," peaking at #41 and #21 on the R&B chart, respectively. However, it would be a b-side track that would prove to be the breakthrough for the trio. "Push It" appeared it its original form on the b-side to the 12" single of "Tramp," but on the 7" single a remix version was used. That remix started to turn some ears and it quickly became obvious that the tune had potential. Although it wasn't on the trio's debut album, the "Push It" remix was issued out as a single late in '87. It reached #28 at R&B and #18 Dance. It then crossed over to the Pop chart where it slowly caught on. The track would eventually crack the Top 20. It would end up being a platinum seller, a first for a female rap act. As the song was shaping up to be a hit, Hot, Cool & Vicious (still with Hanson pictured on the cover) was reissued with the "Push It" remix and the remix versions of two other tracks. The hit helped send the album to #7 R&B and #26 Pop. It would end up going platinum, which like the single was a first for a female rap act. "Push It" would also earn them a Grammy nod for Best Rap Performance.

ReduxReview:  This track was just cool as shit back in the day. The beat and the "ahh, push it" grabbed your attention and after that the song was loaded with hooks galore along with a rap that everyone had memorized. From what I've read, Salt-N-Pepa considered this a toss-away track that didn't show off their skills. Therefore, it got pushed to the b-side of a single. Oh how they were wrong. The remix of this tune had just the right elements to catch on in a mainstream way. Rap was still slowly breaking through to a larger audience at the time and still trying to prove it was here to stay and not a fad. It was tracks like "Push It" that helped rap gain another foothold in popularity and acceptance. It really should have gone Top 10 at Pop - really #1 - but not all Pop stations were on board with rap yet. I certainly didn't hear it on our local stations so like a lot of folks (platinum sales), I bought the single. I loved it then and I think I appreciate it even more these days. Classic.

ReduxRating:  10/10

Trivia:  Double Shot!  1) When James and Denton released their first single, it seemed that their name, Super Nature, was not catching on or getting remembered. Apparently, when folks would call in to NYC radio stations to request "The Show Stoppa," they would ask for the song by Salt and Pepa. That stemmed from a line in the song that stated "Right now I'm gonna show you how it's supposed to be, 'cause we, the Salt and Pepa MCs." That name statement stuck in listener's minds more than Super Nature, so when it came time for the debut album, they rechristened themselves Salt-N-Pepa.  2) When "Push It" was originally released, Azor was solely credited as the composer. These days another composer is also listed, Ray Davies (of The Kinks). Davies was later added as composer because a line in the track uses lyrics from a Kinks hit that Davies wrote. Salt-N-Pepa rap "Boy you really got me goin', you got me so I don't know what I'm doin'" near the end of the song. If you replace "boy" with "girl," that is the opening lyric to The Kinks' 1964 #7 hit "You Really Got Me." It seems some legal wrangling took place and the result was the added credit and, most likely, some financial settlement.  3) The famous whispered "ahh, push it" in the track was a sped up sample taken from the song "Keep on Pushin'" by the funk/rock group Coalkitchen. It appeared on their 1977 album Thirsty or Not...Choose Your Flavor. The Illinois band formed in the early 70s and signed on with Full Moon/Epic Records a few years later. Their debut album came and went to little notice and they broke up. However, the "ahh, push it" sample from their song still lives on with Salt-N-Pepa's hit.

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"I Want Your Sex" by George Michael

Top 10 Alert!

Platinum Record Alert!

Song#:  3151

Date:  06/06/1987
Debut:  51
Peak:  2
Weeks:  20
Genre:  Dance-Pop, Electro-Funk



Pop Bits:  Although George Michael had a couple of singles credited to his name while with Wham! and a had supporting role on "I Knew You Were Waiting for Me," the #1 duet with Aretha Franklin, his solo career didn't get fully kicked off until this single was released. The track would do double duty; it would be the third single released from the Beverly Hills II soundtrack while also previewing Michael's debut solo album, Faith, which would get released later in October. The track, especially its title, would elicit controversy, which of course only helped to promote the song and it would end up reaching #2 at both Pop and Dance while getting to #43 at R&B. It would also be a big seller going platinum, a certification that was getting rare by this point in time (the RIAA would change rules for certification in 1989 to address this). It was quite the way to kick off a solo career and it would only go up from here.

ReduxReview:  Michael idolized Prince and this song certainly was a reflection of that adoration. While it certainly had shades of the Purple One, I thought Michael did a nice job incorporating what he'd learned over the years with Wham! and in the end he created something that was a definitive line in the sand between his Wham! days and his solo career. He had decisively moved from teeny-bopper pop to something more groovy and mature. I loved the song and like a lot of people I bought the single. However, I will say that over the years the tune has lost a little bit of its luster. It's not quite as enthralling now as when it was first released. It's still a fun track and a good listen, but the "wow" factor from back in the day has diminished.

ReduxRating:  8/10

Trivia:  Triple Shot!  1) This single was actually just the first part of a longer three-part song. Although all parts were under the "I Want Your Sex" title, each part had a subtitle: "Rhythm One: Lust," which was used for the single, "Rhythm Two: Brass in Love," and "Rhythm Three: A Last Request." Parts one and two would be included on the Faith album while part three would only be available on the 12" single of the song and as a bonus track on the CD versions of Faith. The full three-part song, which clocked in at over 13 minutes, would be tagged as the Monogamy Mix and as of this date is still only available on the 12" single.  2) Since this song was first featured in a film, it was eligible for movie-related awards and it did end up winning one trophy. Unfortunately, it was the Golden Raspberry Award for Worst Original Song.  3) Hard to believe now, but back in the 80s just having a DJ announce a song called "I Want Your Sex" was a little shocking, especially after all the PMRC uproar concerning potentially offensive music. Even American Top 40 host Casey Kasem famously refused to say the song's title on the air. Instead, he would call it George Michael's "latest single". Some folks thought the song promoted promiscuity and that led some stations to banning the track. The BBC would only play it later in the evenings. Even the video had its share of issues with MTV initially refusing to air it. But as the song's popularity grew and folks got used to it, the reins loosened up a bit. Still, the controversy along with lack of airplay in some places helped sales of the single.

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"I Wanna Dance with Somebody (Who Loves Me)" by Whitney Houston

#1 Alert!

Platinum Record Alert!

Grammy Alert!

Song#:  3128
Date:  05/16/1987
Debut:  38
Peak:  1 (2 weeks)
Weeks:  18
Genre:  Dance-Pop



Pop Bits:  Houston's self-titled debut album was a massive success spending fourteen non-consecutive weeks at #1. It contained four Top 10 hits, including three consecutive #1's, and would go on to sell over thirteen million copies in the US alone. When it came time to follow up that LP, Arista Records label head Clive Davis stepped in once again to help guide the process, which included finding suitable material for Houston to record. Davis reached out to songwriters George Merrill and Shannon Rubicam and asked them to come up with a tune for Houston. The pair had previously supplied Houston with the #1 "How Will I Know" and Davis though that perhaps lightning could strike twice. Eventually they came up with this tune, which Davis loved. Not only did it make the album, titled Whitney, but it was issued out as the LP's first single. The song debuted inside the Pop Top 40 and then quickly made its way to the top of the chart becoming her fourth single in a row to reach #1. The tune would also reach #1 at AC and Dance while making it to #2 at R&B. With the album yet to be released, the single sold well enough to go platinum. It would also earn Houston her second Grammy win in the Best Pop Vocal Performance, Female, category.

ReduxReview:  When this song first came out, it was an energetic pop track that was tailor made for mainstream radio. Producer Walden came up with a solid synth/electronic-based arrangement that didn't get in the way of Houston's all-in performance. It was a deserved #1. However, like some critics at the time, I did think it kind of came off as "How Will I Know, Pt. 2." In fact, the whole album was just an extension of her debut. There wasn't anything new or different except that the collection had less R&B influences and leaned heavier towards mainstream pop. That wasn't necessarily a bad thing as Davis was able to corral a few choice tunes, but I think they both knew a third similar album wouldn't be wise and a different path would have to be taken. In the meantime, Houston could enjoy her streak of #1's. I liked this track back in the day, but I must say it has kind of worn on me over the years, especially when contestants on vocal contest shows continue to massacre the tune.

ReduxRating:  7/10

Trivia:  This wasn't the first song that Merrill and Rubicam submitted to Davis for Houston's second album. The first tune they wrote got rejected by Davis. He didn't think it was right for Houston. The writers then went back to the drawing board and came up with "I Wanna Dance with Somebody." That song was then given to Houston and producer Narada Michael Walden. Walden was not all that enthusiastic about the track. Weirdly, he felt it had a country sound to it and thought it would have been a better fit for Olivia Newton-John than Houston. Still, he forged ahead and as the recording developed, he realized that it was the right vehicle for Houston. So what about the first song Merrill and Rubicam wrote for Houston? They kept it for themselves and recorded it under their duo name of Boy Meets Girl. It was released as a single in '88 and ended up becoming the #5 Pop/#1 AC hit "Waiting for a Star to Fall."

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"Shake You Down" by Gregory Abbott

#1 Alert!

Platinum Record Alert!

Song#:  2899
Date:  10/18/1986
Debut:  76
Peak:  1 (1 week)
Weeks:  22
Genre:  R&B, Quiet Storm, Adult Contemporary



Pop Bits:  Although he learned music at a young age, NYC-born Abbott didn't really start honing his skills as a professional musician until his college years. To help pay his tuition, Abbott developed and performed with his own band. After college, Abbott got a job teaching English at the University of California, Berkeley, yet his love for music drove him to pursue a career in music. He built his own studio and began writing, producing, and recording his own music. In 1976, Abbott married soul singer Freda Payne ("Band of Gold," #3 Pop, 1970) and that led to him co-writing a few songs for two of her late 70s albums. The pair split in 1979, but the connection helped Abbott get some other work and by 1986 he signed his own recording contract with Columbia Records. Unusually, Columbia allowed the new artist to fully write and produce his own debut album, Shake You Down. The title track would be issued out as the first single and it would be a major hit at R&B reaching #1. A week prior to the track getting to the top of the R&B chart, the song crossed over and debuted on the Pop chart. It slowly caught fire and eventually topped the chart. It also hit #2 at AC. With the song remaining on the various charts for months, sales stayed strong and the single would eventually become a platinum seller. The album would also do well getting to #5 at R&B and #22 Pop. It would reach gold level sales early in '87.

ReduxReview:  This silky smooth jam was quite irresistible. It was well-crafted by Abbott with an indelible chorus and production that didn't overwhelm the tune. I always thought that the song sounded like a more innocent version of Marvin Gaye's "Sexual Healing" (#3 Pop, 1982). Abbott had a nice voice that fit the song perfectly. It seemed he was on his way to a long, successful career, but then it didn't happen. This debut single would end up being the peak moment of his career. If it wasn't for a couple more R&B Top 10's, Abbott could have easily been considered a one-hit wonder. Even if he was, this was certainly a great song to have as your lone hit.

ReduxRating:  8/10

Trivia:  Abbott had another Hollywood connection early on through his cousin. Diahnne Abbott was a single, divorced mother who decided to try and break into acting. She snagged a small role in the film Taxi Driver, which was shot in the summer of '75. She met the film's star Robert De Niro and the following year they were married. She would go on to have roles in two more De Niro films, New York, New York and The King of Comedy. The pair would have a son and De Niro would adopt Abbott's daughter Drena. The couple would end up divorced in 1988. Abbott would grab a few more film roles and appear in the TV series Crime Story, but her acting career never fully caught fire. Drena De Niro would later catch the acting bug and would begin to take small roles in films starting with 1996's Grace of My Heart. Along the way she would appear in a few of her father's films. She also had a small role in the hit 2018 Lady Gaga remake of A Star Is Born.

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