"Dangerous" by Roxette

Top 10 Alert!

Song#:  4144

Date:  12/16/1989

Debut:  65

Peak:  2

Weeks:  21

Genre:  Pop

Pop Bits:  The Swedish duo scored their second #1 US Pop hit with the power ballad "Listen to Your Heart" (#2 AC). It was the third single from their album Look Sharp! and to keep the ball rollin', this next single was issued out. It would just miss out on becoming the duo's third #1 at Pop (#21 AC), but they would rectify that with their next single. Meanwhile, the album would turn platinum after peaking at #23.

ReduxReview:  This was another catchy track from the duo. It didn't have as long of legs as their other big hits as you never hear it these days, but it was still a quality pop tune. The album had plenty of gems mainly supplied by duo member Per Gessel. With both Look Sharp! and Joyride he was really at the peak of his powers dishing out well crafted pop tracks. It came to an end in the US when the more conceptual Tourism didn't spark interest. Still, the duo certainly made their mark in the US with six Pop Top 10s including four #1s.

ReduxRating:  7/10

Trivia:  Double Shot!  1) While on a hot streak, Roxette was tapped to contribute a song for the soundtrack to the upcoming rom-com film Pretty Woman starring Julia Roberts and Richard Gere. Instead of writing a brand new song, Roxette reached back a couple years to a Christmas themed song they released in Sweden in 1987. Titled "It Must Have Been Love (Christmas for the Broken Hearted)," the single got to #4 in Sweden. For the Pretty Woman soundtrack, the duo would alter the lyrics to take out any Christmas references and give the track a remix. Roxette's track would be the second single lifted from the soundtrack and it would be a #1 Pop/#2 AC gold seller. Of course it didn't hurt that the film became a huge box office success with Julia Roberts later winning a Golden Globe and getting an Oscar nod for her role.  2) Roxette would return with a new album in '91 titled Joyride. It would be another platinum success that reached #12. That was thanks to a pair of hit singles, the #1 title track and the #2 "Fading Like a Flower (Every Time You Leave)." Unfortunately, the duo's luck faded quickly after that album. Their next effort, '92's Tourism, would scrape the chart at #117 with none of its singles able to make the top half of the Pop chart. They would get two more minor singles on the Pop chart and that would be it for them in the US. However, Roxette would remain very successful in Europe and especially in their home country of Sweden. In 2002, one-half of the duo, Marie Fredriksson, was diagnosed with a brain tumor that was successfully removed. Roxette would be put on hiatus and during that time period she and duo partner Per Gessel would release successful solo albums. They would reunite in 2009 for performances, which led to a new album and tour. They would continue to record an perform over the years, but that would end in 2016 when she could no longer perform due to her health condition after battling cancer stemming from the brain tumor. She died in 2019.

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"Foolish Heart" by Sharon Bryant

Song#:  4140

Date:  12/16/1989

Debut:  90

Peak:  90

Weeks:  5

Genre:  R&B

Pop Bits:  This former Atlantic Starr vocalist was finally able to issue out a debut solo album five years after leaving the band. A single from the LP, "Let Go," would become a hit at R&B reaching #2. The tune would also do fairly well at Pop where it got inside the Pop Top 40 (#34). Next up for release was this follow up single. Again, it would crack the R&B Top 10 peaking at #7. The ballad would get on the Pop chart, but it would end up peaking where it debuted and would disappear after a few weeks. Another single, "Body Talk," would only get to #38 R&B. The album was able to reach #27 R&B and #139 Pop. Despite scoring a couple of R&B Top 10, it seems it wasn't enough for her label, Wing Records, to keep her on the roster. Bryant would then move on to work as a background singer on record an on tour with many artists including Celine Dion, Mary J. Blige, Seal, and Vanessa Williams, who was Bryant's labelmate at Wing Records.

ReduxReview:  This was an interesting choice for a cover and it worked out quite well. With its 80s quiet storm arrangement, the track was quite different from the original's soft rock sound (see below), which I think benefited the song. I also liked Bryant's vocal take. She didn't overdo it and knew the right times to give a little zest. Overall a very nice cover that should have done a lot better at Pop and also should have been promoted at AC.

ReduxRating:  7/10

Trivia:  This is a remake of a song originally recorded by Journey frontman Steve Perry. Released as the fourth single from Perry's 1984 double platinum solo debut album Street Talk (#12), the song would become a #2 AC/#18 Pop hit. The tune was co-written by Perry along with Randy Goodrum.

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"Gimme Your Good Lovin'" by Diving for Pearls

Song#:  4131

Date:  12/09/1989

Debut:  96

Peak:  84

Weeks:  6

Genre:  Rock

Pop Bits:  The roots of this band go back to Boston in 1984 when singer/guitarist Danny Malone teamed up with keyboardist Jack Moran. They cut their teeth around the Boston area, but later decided to give it a go in New York City. They filled out the band with three new members and began performing around town. In '88, an A&R rep from Epic Records caught a performance of the band. A deal with the label would follow and work would begin on a self-titled debut album. Upon completion, this first single would be issued out. It would see a bit of action getting to #21 on the Rock chart while spending a few weeks near the bottom of the Pop chart. It seems Epic chose to not officially issue out a second single and with that, the LP quickly came and went. Apparently, the band was scheduled to record a second album, but before that would happen they would end up getting dropped by Epic. Diving for Pearls would then disband.

ReduxReview:  This would have done much better on the chart had it been released years earlier. This style of radio ready rock was popular back when bands like Loverboy and Night Ranger were ruling the airwaves. In the late 80s it practically sounded retro. That doesn't mean it was bad. The track is actually quite fun, catchy, and well done. However, with glam metal ruling the day and alt rock coming up quickly, this style of arena rock just didn't fit in, which was too bad. Diving for Pearls was just a bit too late to the party.

ReduxRating:  7/10

Trivia:  Band member guitarist Yul Vazquez had a little success prior to joining Diving for Pearls. He was a member of the band Urgent, who cracked the Pop chart in '85 with "Running Back." After that band and Diving for Pearls split, Vazquez would embark on a successful acting career. In addition to earning a Tony nomination, Vazquez also appeared in numerous films and TV shows including appearances on Seinfeld as half of the intimidating gay couple. Another member of Diving for Pearls, bassist David Weeks, would set aside the music business to become an attorney. He would get some significant attention in '97 when he would represent Pamela Anderson in the highly publicized lawsuit concerning the infamous sex tape she made with husband Tommy Lee of Mötley Crüe.

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"Lullaby" by The Cure

Song#:  4127

Date:  12/02/1989

Debut:  85

Peak:  74

Weeks:  8

Genre:  Alternative Rock

Pop Bits:  The Cure secured their biggest hit in the US with "Lovesong," the second single from their album Disintegration. It would reach #2 Pop/#2 Modern Rock. The hit would help send the LP to #12. Up next for release was this third single. Over in the UK, the song was the first single released from the album and it would become their biggest hit there getting to #5. However, it didn't quite catch on in the US and it would stall low on the Pop chart while only reaching #23 Modern Rock and #31 Dance. The album had already gone platinum in October of '89 and it would remain at that level until 2004 when it got bumped up to double platinum status. Two further singles from the album would be released with both peaking around the same position as this one.

ReduxReview:  This creepy track from the band had an equally creepy video, which won British Video of the Year at the Brit Awards. Its cool groove wasn't the stuff Top 10 dreams were made of, but the haunting track was certainly memorable in its own way.

ReduxRating:  7/10

Trivia:  Thanks to their breakthrough hit "Lovesong" and platinum sales of Disintegration, anticipation was high for the next album. However, before that would happen, a remix album titled Mixed Up would be issued out in late 1990. It would reach #14 and go gold (later platinum). The Cure would then work on their next studio album. Upon the release, 1992's Wish would debut at #2 and within a couple of months it would go platinum. It got a boost thanks to a pair of Modern Rock #1s including "Friday I'm in Love," which became the band's second biggest US hit reaching #18. The band would continue over the years in various iterations with Robert Smith always at the forefront. All their studio albums from 1996 through to 2008, would make the Top 20. In 2019, The Cure would be induced into the Rock and Roll Hall of Fame.

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"Kickstart My Heart" by Mötley Crüe

Song#:  4116

Date:  11/25/1989

Debut:  90

Peak:  27

Weeks:  16

Genre:  Hard Rock, Glam Metal

Pop Bits:  After cleaning up their act and getting sober, Mötley Crüe recorded what is arguably their best album Dr. Feelgood. Upon its release, the LP would hit #1 for two weeks. It was bolstered by the title track lead single, which became the band's first Pop Top 10 hit (#6) and first to go gold. For a follow up, this next track was selected. The tune wouldn't do as well, but it fared okay getting to #27 Pop/#18 Rock. However, the power ballad third single, "Without You," would prove to be another winner for them getting to #8 Pop/#11 Rock. They would follow it up with the Pop Top 20 entry "Don't Go Away Mad (Just Go Away)" (#18 Pop/#13 Rock). The hits certainly helped to sell the album, which would eventually become their best seller reaching the 6x platinum mark. The band had reached new heights in popularity, but thanks to the advent of grunge and alt rock along with inner turmoil, they would quickly descend from that peak.

ReduxReview:  This single just sounded kick ass. Bob Rock's production really took the band to the next level. It was a hooky, memorable track but it may have been a tad too aggressive for pop radio. I probably would have released "Without You" first as it had definite hit potential. Then this one fourth after "Don't Go Away Mad." Still, it ended up being no-harm, no-foul with the next two singles still doing well. The band was in their best musical period and it was a bit of a bummer that they sort of fell apart for a bit. Although they would never hit the same mark as they did with Dr. Feelgood, the band would have a long lasting career that would include breakups, reunions, feuds, tours, books, movies, etc.

ReduxRating:  7/10

Trivia:  Instead of recording a follow up album, the band issued out their first compilation in '91. Decade of Decadence 81-91 would be a double platinum #2 hit. Then in '92, lead singer Vince Neil would either leave the band or was fired (depending on who you talk to). That was quite a blow for one of the biggest bands in the world at the time. The remaining members decided to move forward with new lead singer John Corabi. A self-titled album would follow in '94, but the loss of Neil and the grunge factor played into results and although the LP would get to #7, it would only go gold. Neil would rejoin the band in '97 and the reunion album Generation Swine would get to #4 and go gold. There would then be another album, a hiatus, a reunion, and another album. Despite all their ups and downs, Mötley Crüe would continue to be a popular draw and one of glam metal's most legendary bands.

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"Wait for You" by Bonham

Song#:  4115

Date:  11/25/1989

Debut:  91

Peak:  55

Weeks:  15

Genre:  Hard Rock

Pop Bits:  As they say, sometimes the apple doesn't fall far from the tree and that was the case with Jason Bonham who followed in his famous father's footsteps. John Bonham was the legendary drummer for Led Zeppelin until his death in 1980. Prior to that Jason had picked up on the drums at an early age and by the time he was fifteen he formed his first band. After his father's death, Jason continued on as a member of another band, Virginia Wolf, and also performed on projects with surviving members of Zeppelin including filling in for his dad when Zeppelin reunited in '88 for the Atlantic Records 40th anniversary concert. Around that time Jason had the itch to form another band and he would assemble Bonham in '88. Daniel MacMaster would provide lead vocals. The group would get signed to the Epic Records offshoot WTG and record a debut album titled The Disregard of Timekeeping with producer Bob Ezrin. This first single would be issued out and it would do well at Rock getting to #9. On the Pop chart it would get near the halfway point. Thanks to the single, MTV exposure, and hype around Bonham's new band, the LP would reach #38 and go gold.

ReduxReview:  Well, it was probably inevitable that Bonham's band would have shades of Led Zeppelin. They don't sound like a knock off or an imitation, but there are various reminders in the tracks. Actually, I think Whitesnake sounded more like Zep than Bonham. I liked this track. It had a good feel, a nice chorus, and terrific drum/guitar work. It was a bit shy of being mainstream enough to do well at Pop, but it found a home at Rock and did well. Sadly, unlike his dad's band, Bonham didn't have longevity and it all ended after a few years.

ReduxRating:  7/10

Trivia:  After a long supporting tour, Bonham would get back into the studio to record their follow up album. Mad Hatter would be released in '92. Its first single, "Change of a Season," would make a minor impact on the Rock chart at #32. With that result, the album would fail to chart. The band would split soon after. In '94, Jason would get together with two of his former bandmates and with new lead singer Marti Frederiksen would become Motherland. An album, Peace 4 Me, would be issued out that same year, but it would not make an impression. The next year two members would leave and Jason would hire in two newbies to form The Jason Bonham Band. A debut album, When You See the Sun, would arrive in '97. Since then, Jason has performed with many artists and has been a part of several bands including Sammy Hagar and The Circle, who released three albums between 2019 and 2022.

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"I'm Not the Man I Used to Be" by Fine Young Cannibals

Song#:  4102

Date:  11/11/1989

Debut:  85

Peak:  54

Weeks:  6

Genre:  Pop, Rock

Pop Bits:  After a pair of #1 Pop hits and the #11 "Don't Look Back," this band's second album The Raw and the Cooked was still doing well enough to call for a fourth single. This next track was selected for release. A remix of the tune would do fine in on the Dance chart getting to #8, but the single version would end up being a minor entry at AC (#40) while stopping shy of the halfway point at Pop. The label would opt for a fifth single and send out "I'm Not Satisfied," but it fizzled at a low #90 on the Pop chart. That would wrap up things for the album, which had reached #1 and sold well enough to go double-platinum.

ReduxReview:  Utilizing a more basic arrangement along with a sample from James Brown's "Funky Drummer," this track was more subtle and introspective than their previous three hits and it worked very well. The lighter approach allowed Roland Gift's vocal performance to shine through. It was a good choice for a single, but for some reason it didn't resonate as well with Pop listeners who seemed to prefer the band's more upbeat catchier tunes. It was too bad the band never recorded a follow up. They weren't the first nor the last band to have a big hit album and then just go away. Their disappearing act reminds me of the band fun. who hit it big with their second album as well in 2012. Their album Some Nights would be a #3 triple-platinum hit thanks to a pair of big Pop Top 10 hits including the #1 "We Are Young" that featured Janelle Monáe. The band would be nominated for six Grammys winning two for Song of the Year and Best New Artist. And then...pffft. They announced a hiatus that as of this posting date is still on.

ReduxRating:  7/10

Trivia:  The Raw and the Cooked made Fine Young Cannibals worldwide stars. It was a well-reviewed impressive effort and folks couldn't wait for them to record a follow up. But then that never happened. The band more or less disappeared. So what happened? Why would a band at the top of their game just stop? In a couple of interviews, lead singer Roland Gift has mentioned that it wasn't just one thing. It seems a move to NYC, sudden fame, instant riches, and pressure to record an even more successful album all took a toll on the band. It got to the point where they were trying to write hits instead of just making music and eventually they just gave up and stopped with members going their own ways. After The Raw and the Cooked, the band would record two further songs. In 1990, they would record the Cole Porter standard "Love for Sale" for the AIDS charity album Red Hot + Blue. Then four years after their split, the band reunited to record "The Flame." It would be a track added to their 1996 hits compilation The Finest. Released as a single, it wouldn't chart in the US, but would get to #17 in the UK.

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"Another Day in Paradise" by Phil Collins

#1 Alert!

Gold Record Alert!

Grammy Alert!

Song#:  4099

Date:  11/04/1989

Debut:  43

Peak:  1 (4 weeks)

Weeks:  18

Genre:  Pop

Pop Bits:  After a sidestep into acting with the rom-com caper Buster and its soundtrack that featured the #1 hit cover of "Groovy Kind of Love," Collins returned to solo mode to record his fourth studio album. It would be the follow up to his Album of the Year Grammy winner No Jacket Required (1985, #1, 12x platinum). Working once again with producer Hugh Padgham, Collins would work up a set of songs that were more topical and less in the dance-pop style of his previous effort. He would then appropriately name the LP ...But Seriously. To kick things off, this ballad would be issued out. Despite its more dour mood and lyrics about the homeless, the song struck a nerve with listeners and it would quickly scale the Pop chart and reach #1. It would remain their for four weeks and sell well enough to go gold. The album would then spend four non-consecutive weeks at #1. By mid-January of '90, it would already be at the double-platinum sales mark. There would be three follow up singles all of which would go Top 5. The last one, "Something Happened on the Way to Heaven" (#4), would end up being Collins' final Pop Top 10 hit. The album would generate eight Grammy nominations for Collins including ones for Album of the Year and Song of the Year. He would win one for Record of the Year for "Another Day in Paradise." In the US, the album would eventually sell over 4 million copies making it his second best studio album behind No Jacket Required. In his UK homeland, the LP would end up being his biggest seller going 9x platinum.

ReduxReview:  This song was the last #1 of the 80s and also the first #1 of the 90s. Rupert Holmes did a similar thing at the beginning of the 80s. His "Escape (The Pina Colada Song)" was the last #1 of the 70s and then after a week at #2, it popped back up to #1 becoming the second #1 of the 80s. While I like Collins' tune, I can't say it is one of my favorites of his. I didn't mind hearing so much back then, but these days if it comes up in a shuffle of songs or in a Collins playlist, I will usually hit the forward button. It just kills the mood. For a #1 Pop hit, it is pretty bleak and depressing. While I understood some of the negative feedback the song generated (see below), I do think Collins' heart was in the right place and some good came out of it. My big issue with the tune has to do with a couple of words in the chorus. Collins shortened "because" to "'cause" and followed it up with "it's a." Then he kind of runs it all together when he sing it. Therefore, it comes out as "cuzitzah." It drive me bonkers - like nails-on-chalkboard kinda thing. The song is so serious yet he has to mush-mouth one of the main parts of the song. IMHO he should have just left the "'cause" out of it. He didn't need it. I guess that pickup note was important to him for the chorus. Yeesh. To this day I call it "The Cuzitzah Song." Oh Phil, why'd ya have to do that?

ReduxRating:  7/10

Trivia:  Double Shot!  1) Although this song was a Grammy-winning #1 hit, it still brought a bit of controversy Collins' way. He was chided in the press and by some critics for being a multi-millionaire and yet singing about the homeless. He was also slammed for the line "it's another day for you and me in paradise," which seemed to say that he as a very well-off superstar was equating himself to everyone else. Meanwhile, many others appreciated what Collins was trying to say. In a 2017 interview for the Evening Standard, Collins said that perhaps he could have been a big more eloquent in his lyrics, but stands by the song and his association with homeless issues and charities. According to the article, Collins at the time was collecting money from fans at concerts for homeless charities and whatever they donated, he would double it out of his own pocket.  2) Although Collins' solo career would cool off in the 90s on the Pop chart, he would still do very well at AC where he would score eight Top 10 hits including the #1 "You'll Be in My Heart." Collins wrote that song for the 1999 Disney animated hit Tarzan. The tune would go on to with the Oscar for Best Original Song. In the 2000s, Collins would earn three more AC Top 10s including the #1 "Can't Stop Loving You." In 1991, Collins would rejoin Genesis for one more album, We Can't Dance. It would be a #4 quad-platinum effort that spawned the band's final Pop Top 10 hit with the #7 "I Can't Dance." In 2010, Genesis would be inducted into the Rock and Roll Hall of Fame.

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"Touch Me Tonight" by Shooting Star

Song#:  4095

Date:  11/04/1989

Debut:  88

Peak:  67

Weeks:  9

Genre:  Rock

Pop Bits:  Hopes were high when Shooting Star became the first American band to get signed by UK's Virgin Records. Things seemed promising when their 1980 self-titled debut album arrived, but it ended up only reaching #145 and spawning the minor #76 Pop entry "You've Got What I Needed." Their next effort, '81's Hang on For Your Life fared a bit better getting to #92 thanks to the #70 Pop single "Hollywood." Yet despite some airplay and good exposure via tour slots with major acts like REO Speedwagon, the band just wasn't breaking through. They would end up recording three more albums for Virgin that fared less well with only a couple of tracks making the Rock Top 40. It got to the point where the band was done with all the label issues and lack of bigger success. As '87 rolled in, they decided to go their own ways. As a bit of closure for the band, they somehow were able to obtain the rights to assemble a compilation of their most popular tracks. Titled The Best of Shooting Star, the album contained eleven songs that spanned their five albums along with two previously unreleased tracks including "Touch Me Tonight." Indie US label Enigma got wind of the release and opted to pick it up. They gave it the new title of Touch Me Tonight - The Best of Shooting Star and pushed out the title track as a single. It got enough attention to become the band's highest peaking single on the Pop chart. In turn, the album would get to #151.

ReduxReview:  This poor band had so many label, distribution, and promotion issues. They were a talented bunch with potential, but they never had that one great song that could take the to another level despite any underlying business problems. Oddly, after their breakup this track came along. It was probably their best bid for a hit, but it came out too late. If they had this song earlier in the 80s, it might have clicked and made the Top 40. This style of catchy AOR wasn't really in favor just prior to the 90s, but it still did surprisingly well on the chart. It was enough to have the band rise back out of the ashes. Shooting Star was also one of the rare acts of the 80s that were able to bookend it with nothing in between. They charted in '80 and '82, but then stayed off the chart until this late '89 entry. Shooting Star had a tough go of it for a long time, but they still kept on truckin' and gained a loyal fan base.

ReduxRating:  7/10

Trivia:  The results were good enough for Enigma to want to sign the band. Three original members of Shooting Star decided to take a chance and began working on a new album. Unfortunately, Enigma went bankrupt and it left the band on their own. They would go ahead and finish the somewhat ironically titled It's Not Over on their own and release it independently. After that, the band would continue to occasionally perform over the years and release a few albums along the way.

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"Just Between You and Me" by Lou Gramm

Top 10 Alert!

Song#:  4088

Date:  10/28/1989

Debut:  83

Peak:  6

Weeks:  21

Genre:  Soft Rock

Pop Bits:  Foreigner lead singer Lou Gramm stepped outside of the band in '87 for a debut solo effort titled Ready or Not. It would do fairly well getting to #27 and spawning the #5 Pop/#1 Rock hit "Midnight Blue." He would return to Foreigner for their '87 album Inside Information, but then move back into solo mode for his second LP Long Hard Look. This first single would be issued out and it would go on to be his second Pop Top 10 hit while also reaching #4 Rock and #4 AC. A second single, "True Blue Love," would only reach #40 Pop/#23 Rock. Despite featuring a Top 10 hit, the album floundered a bit and would only manage to reach #85. It would be Gramm's last solo effort for twenty years.

ReduxReview:  For most of the album Gramm worked with composer/producer Peter Wolf, but for this single he was hooked up with hit songwriter Holly Knight. I'm just guessing, but my thought is that Gramm's label Atlantic didn't hear a hit among the tracks Gramm was recording and pushed for a collaboration with Knight. The ploy paid off with this song making the Pop Top 10, but it was certainly a lot more pop-oriented than what Gramm had dished out before save for the #5 Foreigner hit "I Don't Want to Live Without You." While rock fans of Gramm/Foreigner may not have appreciated this track, it was a well done pop tune that deserved its Top 10 spot. Unfortunately, this tune has been forgotten over the years. I don't believe I've heard it since its days on the chart. It may not have had the same long legs of hits by Foreigner or even Gramm's "Midnight Blue," but it was still a quality track that gave Gramm one last significant hit.

ReduxRating:  7/10

Trivia:  With his solo career doing well and his relationship with Foreigner bandmate Mick Jones somewhat fractured, Gramm decided to leave the band in 1990. Instead of continuing on with his solo career, Gramm formed a new band called Shadow King. They would release a self-titled debut album in '91. It failed to chart, but did spawn the minor #22 Rock track "I Want You." The band would fold soon after. That same year, Foreigner would release their album Unusual Heat with new lead singer Johnny Edwards. The album tanked at #117 with only the track "Lowdown and Dirty" getting to #4 at Rock. With Gramm and Jones experiencing career dips, they began to talk again and it led to Gramm rejoining Foreigner. However, by the time they released '95's Mr. Moonlight, it seems interest in the band had waned. While the first single "Until the End of Time" would get to #8 AC, it stalled at #42 Pop and that left the album halting at a very minor #136. Gramm would stick with the band and tour with them for a while, but in 2003 chose to leave again. Since that time he has only appeared with them on a couple of special occasions. Back in '92, Gramm would go through drug rehab and become a born again Christian. In 2009, he would release his first album of Christian rock under the moniker Lou Gramm Band.

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"Realistic" by Shirley Lewis

Song#:  4082

Date:  10/28/1989

Debut:  98

Peak:  84

Weeks:  6

Genre:  R&B, Dance-Pop

Pop Bits:  UK-born Shirley Lewis (given name Shirley Fredericks) was exposed to the music business at a young age thanks to her older sister Linda Lewis. Linda's solo career took off in the 70s and it encouraged Shirley to sing and pursue music. As the 80s began, Shirley started to get backup vocal gigs. She would appear on albums by artists such as Spandau Ballet and Elton John. Perhaps most famously she worked and performed with George Michael. Along the way Shirley would record a few solo singles hoping a label would take interest. One finally did - A&M Records. They would hook her up with producer Shep Pettibone, who would helm the majority of Shirley's debut album Passion. This first single would be issued out, but it would receive limited attention. The song could only manage to peak at a minor #84 on both the Pop and R&B charts. A second single, "You Can't Hide," would only reach the Dance chart at #26. With those results, the album quickly came and went as did Shirley's contract with A&M. She would sign on with Columbia for a single in 1991, but it unfortunately didn't do anything to jump start her solo career. Lewis would return to doing background vocal work and has maintained a long list of appearances.

ReduxReview:  This was a well-crafted late 80s dance-pop track. I'm surprised it didn't do better. Everything seemed in place. It was catchy, expertly produced by Pettibone, and featured a nice vocal turn from Lewis. It had shades of both Paula Abdul and Madonna (a client of Pettibone's). Perhaps A&M didn't fully promote the tune. Not sure what happened but I think this one unfortunately fell through the cracks.

ReduxRating:  7/10

Trivia:  Shirley's older sister Linda had some good success in the 70s. Linda recorded her first single while still in her teens. Due to a potential name conflict with a labelmate, Linda change her last name from Fredericks to Lewis, in honor of soul singer Barbara Lewis. Although the single didn't get anywhere, Lewis was selected to replace Diane Ferraz in the popular Brit rock/soul band The Ferris Wheel. Linda would tour and do one album with the band before their breakup in 1970. The gig got her noticed and she was able to secure a solo deal with Reprise Records soon after. A pair of albums in '71 and '72 didn't take off, but then a 1973 single, "Rock-a-Doodle-Doo" put her on the map in the UK reaching #15. She'd then move over to Arista and in 1975 got her biggest hit with a disco remake of the 1964 Betty Everett hit "The Shoop Shoop Song (It's in His Kiss)."  Simply titled "It's in His Kiss," the track would get to #6 in the UK. It would end up being Linda's only song to make the US charts getting to #11 Dance and #96 R&B while bubbling under the Pop chart at #107. Further singles didn't garner as much attention and Linda would float around a few labels for a while. Then as the mid-80s approached, Linda hooked up with her sisters Shirley and Dee (both had adopted the Lewis moniker as well) and formed the trio The Lewis Sisters. They would get singed to Riva Records and in '86 would release a few singles. Unfortunately, nothing took off and plans for a full album were scrapped. Linda would return to a solo career and has recorded and performed since.

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"With Every Beat of My Heart" by Taylor Dayne

Top 10 Alert!

Song#:  4080

Date:  10/21/1989

Debut:  61

Peak:  5

Weeks:  18

Genre:  Dance-Pop

Pop Bits:  With her 1988 debut album Tell It to My Heart, Taylor Dayne joined a small club of artists who were able to score four Pop Top 10 hits from one album. The successful LP would reach #21, go double platinum, and earn Dayne a pair of Grammy nominations. Hoping to beat the sophomore slump, Dayne entered the studio for a second time with producer Ric Wake and by the fall of '89 her second album, Can't Fight Fate, would be ready for release. This first single would be issued out and it would earn Dayne a fifth consecutive Pop Top 10 hit. The song would also get to #8 Dance and #22 AC. It was a solid start and things would get better with her next single.

ReduxReview:  Dayne didn't mess around with her hit making formula for her second album. This single was right in line with her previous upbeat hits and it seemed folks were still into it with the tune cracking the Top 5. It was another solid, memorable piece of dance-pop that was expertly sung by Dayne. Her next two singles were also well-crafted and added to her total of Top 10s. Unfortunately, she couldn't keep it up and her next LP just didn't have the right songs to get her back near the top of the chart. Still, the streak of hits from her first two albums was mighty impressive.

ReduxRating:  7/10

Trivia:  Thanks to her first album becoming a significant hit, Dayne was able to co-write a couple of songs for her next effort and gain access to top songwriters. She secured not just one, but three Diane Warren-penned tracks, which included the LP's second single, "Love Will Lead You Back." That tune would become Dayne's biggest hit reaching #1 at Pop and AC. It would be her third gold record. A third single from the LP, "I'll Be Your Shelter," was also a Warren written tune and it would become Dayne's seventh consecutive Pop Top 10 hit getting to #4 (#15 AC). Her Pop Top 10 streak would come to an end when her next single, "Heart of Stone," would halt at #12 (#8 AC). Can't Fight Fate would pretty much replicate the results of her Dayne's debut album topping out at #25 and going double platinum. She would return with her third album, Soul Dancing, in 1993. The LP's lead single, a remake of the Barry White classic "Can't Get Enough of Your Love," would get to #20 Pop/#15 AC/#2 Dance. It would end up being Dayne's last Pop Top 40 hit. The album would only reach #51 and stop at the gold level sales mark. Dayne wouldn't make another album until 1998. It would then take a decade for her to make another. Although she wouldn't get any singles on the Pop chart, she would earn nine further Dance Top 10s including a pair of #1s. Dayne would also branch out into acting and appear on several TV shows and in a few films. In 2001, Dayne would step into the role of Amneris during the Broadway run of the hit Elton John/Tim Rice musical Aida. She had also appeared in or competed in several reality TV shows including making the semi-finals on The Masked Singer in 2020.

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"Just Like Jesse James" by Cher

Top 10 Alert!

Song#:  4078

Date:  10/21/1989

Debut:  90

Peak:  8

Weeks:  18

Genre:  Pop, Rock

Pop Bits:  Cher earned her biggest hit of the 80s with the #3 gold selling "If I Could Turn Back Time." It was the second single issued out from her nineteenth studio album Heart of Stone. For a follow up, this next track was pushed out. It would do well making the Pop Top 10 while also getting to #9 AC. The album's title track would be released as the fourth single and it would get a little attention reaching #20 Pop/#30 AC. Although the album reached its #10 peak just a week before "Just Like Jesse James" debuted on the Pop chart, the song helped extend the sales life of the LP and by November it would reach the platinum mark. By the summer of '90 it would go double platinum (and eventually triple platinum in '98). It would remain Cher's biggest selling studio album until her 1998 #4 smash Believe, which went quad platinum.

ReduxReview:  Despite being a Top 10 hit, this is a tune that Cher has mentioned that she never really liked. Still, I bet she enjoyed the extra attention and album sales it generated. This country-tinged rock track written by Desmond Child and Diane Warren wouldn't have been out of place on a Bon Jovi album. That's not really surprising since co-writer and producer Child had worked with that band (and oddly, Jon Bon Jovi and Richie Sambora co-wrote another track on Cher's album with Child and Warren). It was a good vehicle for Cher and was the obvious follow up track. Although it did quite well, the hit is one that hasn't had much of a life after its time on the chart. Still, it's was a big ballsy tune with another solid performance from Cher that would wrap up the decade for the legend. I have to share that when I saw Cher in concert in 2014, I happened to sit next to a couple who were at least in their 70s. They needed help to their seats and were all dressed up. Pat Benatar spectacularly opened the show and at the intermission I asked the lady next to me if she was enjoying the show. She said yes and then I asked her what brought her out to see Cher and I'll never forget her response. She said, "oh honey, there is only one Cher!" Damn right!

ReduxRating:  7/10

Trivia:  Cher's 80s comeback would taper off as the 90s began. Her biggest hit for the majority of the decade was the #17 "Love and Understanding," which was from her gold selling '91 album Love Hurts (#48). But in true Cher form, she would reinvent herself yet again and in 1998 released the hugely successful dance single "Believe." It would become the biggest single of Cher's solo career spending four weeks at #1 in 1999 and going platinum. It would also be the #1 year-end single for 1999. The song set a few records for Cher including being the oldest female to reach #1 on the Pop chart (she was 52 at the time). Cher still holds that record for an initial release of a single. However, when Mariah Carey's 1994 holiday chestnut "All I Want for Christmas Is You" finally got to #1 in 2022, Carey was 53, so technically she has the record as the oldest female to have a #1 single. However, Cher still holds the record for the longest gap between #1 hits (between 1974's "Dark Lady" and "Believe"). The Believe LP would earn Cher her first Grammy (for Best Dance Recording). Cher's next album, '91's Living Proof, would reach #6 and go gold thanks in part to three #1s on the Dance chart. After that, Cher would more or less step away from music for a while. She would still tour, do a Vegas residency, win an Emmy, make TV appearances, and do a couple of films including 2010's Burlesque. She would return to music in 2013 with the LP Closer to the Truth (#3). It would spawn another Dance #1 plus a pair of #2s. Then after appearing in the 2018 movie musical sequel Mamma Mia! Here We Go Again, Cher would release an ABBA cover album titled Dancing Queen (#3). Also in 2018, Cher received the Kennedy Center Honors award.

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"New Thing" by Enuff Z'Nuff

Song#:  4075

Date:  10/21/1989

Debut:  93

Peak:  67

Weeks:  7

Genre:  Hard Rock, Power Pop

Pop Bits:  This Chicago area band was founded by singer Donnie Vie and bassist Gregory Rybarski (aka Chip Z'Nuff). The pair would fill out the group, initially known as Enough Z'Nuff, and begin performing. Within a couple of years, the band would develop a solid local following and they would eventually record their first single titled "Fingers on It." The tune would get picked up for use in the 1986 film Henry: Portrait of a Serial Killer, which has been shooting around Chicago. Yet even with that exposure, the band was having difficulty trying to find a recording contract. Finally in '89, Atco Records signed on them on. With an adjusted name of Enuff Z'Nuff, the band recorded their self-titled debut album. This first single would be released and it would get some attention at Rock reaching #25. The tune would cross over to Pop, but it stalled in the bottom half of the chart. A second single, the power ballad "Fly High Michelle," would do better getting to #27 Rock and #43 Pop. Those results helped the album reach #74.

ReduxReview:  Enuff Z'Nuff sort of got unfairly lumped into the glam/hair metal category when really they leaned more towards power pop/alt rock. It didn't help that the label pushed them into the glam realm and had them don some very...interesting...costumes for the "Fly High Michelle" video. The band was able to tone everything down and be more themselves with their second album, but with the onset of grunge, the damage was already done and the LP was a commercial failure. The band had the goods. It was just unfortunate that timing and marketing worked against them. This single actually might have done better around '93 when bands like Soul Asylum where hitting. It was a better fit for that alt rock sound rather than being pushed as glam metal.

ReduxRating:  7/10

Trivia:  The band's second album, '91's Strength, would prove to be a creative peak for the band. It would receive critical praise, but that wasn't enough to sell albums. With only the track "Mother's Eyes" making it to #17 Rock, the album flopped at a minor #143. Left off of the Atco roster, the band was picked up by Arista and was able to record their third album, '93's Animals with Human Intelligence. Unfortunately, no singles charted and the album disappeared quickly. That brought an end to the band's major label days. The band would continue to record indie albums and tour with various lineups over the years.

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"French Kiss" by Lil Louis

Song#:  4074

Date:  10/21/1989

Debut:  96

Peak:  50

Weeks:  13

Genre:  House, Dance

Pop Bits:  Lil Louis, aka Marvin Burns, made a name for himself as a popular Chicago house music DJ and producer. He would release a couple of indie singles in the late 80s that got him some further attention locally, but it would be this salacious track that would put him in a bigger spotlight. Lil Louis originally recorded the 10-minute tune as an instrumental. The driving jam featured repetitive keyboard motifs, which wasn't all that unusual for a house music track. However, what made it stand out was a mid section that featured a woman's voice moaning in a very sexual way as the beat slowed down to a halt. It would then pick up speed and return to its original tempo. This was something quite different as house music tunes did not vary their tempos. Lil Louis' sensual track quickly became a local hit and as interest in the song spread, Epic Record came knocking. A deal was struck for distribution, but it did come with a caveat. Epic wanted a vocal version (minus the "orgasm" part) as well to promote at pop radio. Lil Louis agreed and got Karlana Johnson to write lyrics for the tune. Then he brought on Shawn Christopher to prove the vocals. In addition to doing the full track with vocals, a tamer single mix was also done for pop radio. Released in the fall of '89, "French Kiss" caught on quickly in clubs and would eventually top the Dance chart. The week the song accomplished that feat, it would debut on the Pop chart. The less sexy single mix did fairly well stopping right at the halfway mark on the Pop chart. The success of the single led to Epic calling for a full album. From the Mind of Lil Louis, credited to Lil Louis & the World, would assembled and released. A second single, "I Called U," would be issued out but it would only get to #28 Dance. In turn, the album would not chart

ReduxReview:  I've never been much of a house music fan. I just find it repetitive and frankly, boring. I remember going to a few clubs where the DJ was playing house music and I remember thinking that everything sounded the same and blended together. In my mind I was like - its been 40 minutes, is he gonna change the song? But like other styles of music that I don't connect with, there are always some tracks that I like. I can put "French Kiss" on the list of ones I kinda like. I prefer the vocal version because it breaks up the monotony of the one-chord riff/beat. Plus the orgasmic mid section in the long version certainly provides some extra interest. It was an influential track and one that continued to help house music grow in popularity.

ReduxRating:  7/10

Trivia:  Double Shot!  1) Despite Lil Louis' debut album not charting, Epic gave him another chance. A second album, Journey with the Lonely would be released in 1992. Two of its singles would get to #1 on the Dance chart. Neither would make the Pop chart. The album would fail to chart and that brought an end to Lil Louis' major label days.  2) The two singles from Lil Louis' second album featured lead vocals by Joi Cardwell. Born in NYC, Cardwell got her start in the music business as a backup singer. She also branched out to songwriting and in 1989 she collaborated with R&B star Kashif on a song that appeared on his 1989 self-titled album. That association got her a deal with Kashif's label Arista. She became a member of the girl group The Promise. Unfortunately, the group never got off the ground. It was then that Cardwell answered a Village Voice ad for a vocalist and got the job with Lil Louis. After fronting two #1 Dance singles, Cardwell eventually signed on with an indie dance label and kicked off a solo career. In '94, she got her first Dance chart hit with the #11 "Trouble." Then throughout the balance of the 90s, Cardwell would score a string of seven Top 10 Dance hits including two #1s. She would earn four more Dance Top 10s in the following decade. Although she was highly successful on the Dance chart, none of her singles crossed over to Pop and her albums would not chart.Cardwell would eventually set music aside and in 2019 open up the Jump for Joi Wellness Center in West Palm Beach, Florida.

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"Baby Come to Me" by Regina Belle

Song#:  4072

Date:  10/14/1989

Debut:  80

Peak:  60

Weeks:  9

Genre:  R&B

Pop Bits:  Belle's '87 debut album All By Myself was a modest success getting to #14 R&B and #85 Pop. It contained the #2 R&B/#68 Pop hit "Show Me the Way" along with two other R&B Top 20 singles. The results were encouraging so Belle's label, Columbia, hooked her up with some top tier producers and songwriters for a few tracks on her second album Stay with Me. The first single released from the album was Diane Warren-penned "All I Want Is Forever," which featured Kool & the Gang lead vocalist J.T. Taylor. The song would become a hit at R&B getting to #2 while reaching #34 AC. Unfortunately, it did not make the Pop chart. However, this second single that was co-written and produced by Narada Michael Walden would do the trick. Although it would do mildly well on the Pop chart, the tune would become Belle's first to top the R&B chart. A second single, "Make It Like It Was," would do better on the Pop chart getting to #43. That single would become Belle's second R&B #1. The LP would generate two more R&B Top 10s. The streak of singles helped the album reach #1 R&B/#63 Pop and go gold.

ReduxReview:  Since this was written by Narada Michael Walden and Jeffery Cohen, it should not be confused with the same titled 1982 #1 hit by Patti Austin and James Ingram. However, Belle's track does have a similar, sleek soul sound to the Austin single. Unfortunately, it didn't work out quite as well for Belle. Although the song got to #1 at R&B, its more soulful sound didn't quite catch fire at pop radio and it stalled shy of the halfway mark. The sophisticated tune leaned towards Anita Baker territory and it featured a terrific vocal turn from Belle. She definitely had the goods and it was a shame she didn't break into the mainstream more. However, I don't think she got hooked up with a couple of surefire crossover hits and that left her lingering in the middle area of the Pop chart. Despite that, Belle was still able to earn seven R&B Top 10s (including two #1s), and a pair of gold albums along with one major Grammy/Oscar winning Disney hit (see below).

ReduxRating:  7/10

Trivia:  In 1992, Belle would score the biggest hit of her career. She got the opportunity to record the duet "A Whole New World" with Peabo Bryson. The song was featured in Disney's animated version of Aladdin. In the film, the tune was sung by vocalists Brad Kane and Lea Salonga. However, for the soundtrack album and to help promote the movie/song, a single version was recorded with Belle and Bryson. Thanks to the film being a big success, the single took off and would get to #1 Pop/#1 AC/#21 R&B. It would become a gold seller. The song was the first from a Disney animated film to reach #1 on the Pop chart. It would also go on to win the Oscar for Best Original Song and the Grammy for Song of the Year. Belle would include the song on her third album, '93's Passion. The first official single from that LP, "If I Could," would get to #9 R&B/#12 AC/#52 Pop. The album would top out at #13 R&B/#63 Pop and go gold. Belle's career would quickly taper off after her fourth LP, a covers effort, couldn't match the success of her previous two gold sellers. Belle would continue to record and perform over the years and along the way grab a few mid-charting R&B singles.

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"Everything" by Jody Watley

Top 10 Alert!

Song#:  4070

Date:  10/14/1989

Debut:  92

Peak:  4

Weeks:  23

Genre:  R&B, Pop

Pop Bits:  Watley's '87 self-titled debut album was a #10 platinum seller that spawned three Pop Top 10 hits. Her second album, Larger Than Life, would also have the same success with its singles when this third one from the LP cracked the Top 10. The ballad would also get to #3 R&B and #11 AC. Yet even though the album matched her debut's trio of Pop Top 10 hits, the LP didn't sell as well. It would peak at #16 and only go gold. A fourth single would be released to try and help get the LP into platinum territory, but that didn't happen with "Precious Love" faltering and only get to #51 R&B/#87 Pop.

ReduxReview:  Watley and her collaborator (and future husband) André Cymone co-wrote nearly all the songs on the album. This single was the lone exception. It was written by Gardner Cole and James Newton Howard. It was a good selection for Watley. With her biggest hits all uptempo dance tracks, this was a refreshing change of pace. It was a nicely written tune that was well produced by Cymone. Watley sounded comfortable and provided a nice vocal. This one has sort of slipped through the cracks over the years, but it just as worthy of airplay as her other hits.

ReduxRating:  7/10

Trivia:  Watley would try to regain her audience with her third album, '91's Affairs of the Heart. Its first single, "I Want You," would get to #5 R&B and #17 Dance, but could only reach #61 at Pop. A second single, "I'm the One You Need," would become Watley's final Pop Top 40 hit getting to #19 (#3 Dance/#23 R&B). The album would get to #21 R&B, but stall low on the Pop chart at #124. Her 1993 album Intimacy wouldn't fare any better even though it would feature a pair of Dance Top 10s. Watley would continue to record over the years and earn a few Top 10s on the Dance chart. In 2005, she would re-record her '87 #2 hit "Looking for a New Love." Released as a single with "'05" added to the title, the new version would reach #1 on the Dance chart. It has been reported that this made Watley the first artist to take the same song to #1 on the Dance chart in two different decades.

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"The Last Worthless Evening" by Don Henley

Song#:  4062

Date:  10/07/1989

Debut:  91

Peak:  21

Weeks:  18

Genre:  Soft Rock

Pop Bits:  Henley took a less synthesized approach with his third solo album The End of the Innocence and fans took to it well sending the Grammy-winning title track first single into the Pop Top 10 (#8). In turn, the album would also sail up to #8. To keep the momentum going, this next single was issued out. While it stopped short of the Pop Top 20, the song would be a hit at Rock (#4) and AC (#5). During this song's run on the chart the album would be certified platinum.

ReduxReview:  This was a good follow up to the Americana leaning "The End of the Innocence." It had a more organic soft rock band sound that eschewed the manufactured bells and whistles of the time. It also had a memorable chorus and was a prime single candidate. I was surprised it stopped short outside the Top 20. It was a significant hit at Rock and AC and that action should have been enough to push the song either near or into the Pop Top 10.

ReduxRating:  7/10

Trivia:  Double Shot!  1) Henley has mentioned in concert several times the inspiration behind this tune. It seems he was at a party and spotted a beautiful actress sitting on a couch talking to Jack Nicholson. She was just recently divorced and Henley was also single at the time. It seems she was smoking a cigarette and Henley decided to try and meet her and walked over and asked to bum a cig. Without looking at him, she reached in her purse, grabbed one, and just shoved it his way. Basically, she blew him off. As he walked away, Nicholson apparently said "Well played, Henley." While Henley has never really confirmed who the actress was, it is assumed to be Michelle Pfeiffer. She was sort of a hot commodity at the time who had just gotten a divorce and had just co-starred with Nicholson in a movie (The Witches of Eastwick). Being spurned by Pfeiffer gave Henley the idea for this hit.  2) The album's next single, "The Heart of the Matter," would do nearly the same business peaking at #21 Pop/#2 Rock/#3 AC. Two more singles would follow with each peaking at #48 Pop. The LP would contain six tracks that would make the Rock Top 10 and that certainly helped sales. The album would eventually become Henley's biggest solo seller getting to the 6x platinum mark. Unfortunately, at the peak of his solo success, Henley and his label Geffen Records entered into a bitter dispute. Lawsuits would follow. In the meantime, Henley would join a reunited Eagles for a tour. It would spawn the '94 #1 live album Hell Freezes Over. It would go on to sell over 9 million copies. Finally, after everything with Geffen was settled and things wrapped up with the Eagles, Henley signed on with Warner Bros. and put out his fourth solo album, 2000's Inside Job. It would reach #7 and go platinum thanks to the #1 AC/#58 Pop single "Taking You Home." He would move over to Capitol Records for the 2015 country flavored LP Cass County (#3).

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"Touch the Fire" by Icehouse

Song#:  4061

Date:  10/07/1989

Debut:  93

Peak:  84

Weeks:  4

Genre:  Rock

Pop Bits:  After a few modest selling albums, this Australian band broke through in a bigger way with their '87 album Man of Colours (#43). It would boast a pair of Pop Top 20 hits including the #7 "Electric Blue." Following that success, the band's label thought it was a good time to have folks get more acquainted with the band's previous material and opted to assemble the compilation album Great Southern Land. In addition to their previous releases, the LP would include a pair of new tracks including this first single. Unfortunately, it wouldn't make much of an impression and would only spend a month near the bottom of the Pop chart. The second single, "Jimmy Dean," would fail to chart. With those results, the compilation came and went to little notice. That would wrap up things for Icehouse in the US.

ReduxReview:  This song isn't as catchy or memorable as their two Top 20 hits, but it is a well-done track. The break through they had could have been a lead-in to something even better, but unfortunately this song brought a halt to their momentum, which is too bad. The song should have done much better on the chart. Its follow up "Jimmy Dean" wasn't really single worthy, but again, it was another good song from the band. If you like good, solid pop/rock that is well-written and nicely arranged/produced, then check out one of the band's compilations. I think they were a bit underrated in the US.

ReduxRating:  7/10

Trivia:  Icehouse lead singer and main songwriter Iva Davies would continue on with the band with two more studio albums that found favor in Australia. In 1995, Davies and his Icehouse band would record cover tunes for the Sydney Dance Company's production of Berlin. Icehouse would perform live during the performances. A soundtrack album, The Berlin Tapes, would be released. Since that time, Davies has teased a few new Icehouse songs, but a new album has yet to materialize. He continues on collaborating with other artists and performing with Icehouse. He has also worked on a few film scores including co-writing music for the 2003 Russell Crowe epic war drama Master and Commander: The Far Side of the World.

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"Sold Me Down the River" by The Alarm

Song#:  4060

Date:  10/07/1989

Debut:  94

Peak:  50

Weeks:  12

Genre:  Rock

Pop Bits:  Although it contained a pair of Pop chart singles including the #6 Rock hit "Rain in the Summertime," The Alarm's third album Eye of the Hurricane could only manage to reach #77. Back in their UK homeland, the LP would do better reaching #23. The results were certainly good enough for I.R.S. Records to ask for a follow up and The Alarm emerged in '89 with Change. This first single would be issued out and it would become a hit at Rock (#2) and Modern Rock (#3). That action helped the single's prospects on the Pop chart and the tune would end up being The Alarm's most successful topping out at #50. Unfortunately, that wasn't enough to really push the album, which did nearly the same business as their previous effort peaking at a mild #75.

ReduxReview:  This blues-rock track has late-70s glam influences galore. T. Rex is certainly apparent as the beginning of the song sounds like a cousin of that band's "Get It On." Not surprisingly, the producer of The Alarm's album, Tony Visconti, just happened to have produced that T. Rex hit along with several David Bowie albums. If that was the sound that The Alarm was going for, then they hit the mark. This was a good jam with a hooky chorus and solid production. While it was a great track for rock radio, I think it was a little ruff 'n' tough (not in the then-popular glam metal way) for pop and it didn't have much of a chance getting any further than it did. Still, it was a good track.

ReduxRating:  7/10

Trivia:  The Alarm's next studio album, '91's Raw was basically seen as a contractual obligation effort. With little promotion, it limped to #161 and the only song to chart was the title track, which got to #15 Modern Rock/#29 Rock. Not long after its release, the band would split. Tension in the band had members at odds and it seemed the writing was already on the wall. A meeting was set up the following day after their last scheduled show to figure things out, but one member said they couldn't attend. So instead of finishing up their last gig and figuring out stuff later, lead singer Mike Peters boldly and unexpectedly announced on stage at the band's last performance that he was done and left the stage. Peters would then head off on a solo career for the balance of the 90s. In 2000, Peters would form a new version of The Alarm, but due to potential legal issues he started to attach Roman numerals to the end of the band name for performances and releases that would indicate the year (i.e. The Alarm MM, The Alarm MMIV, etc.). A general way to do the band name became "The Alarm MM++" to cover the new era. The original band would reunite just once over the years. The members were ambushed by VH1 and coaxed into appearing and performing together on the show Bands Reunited. The four members eventually agreed and performed a set of songs in London. The full concert along with full interviews and rehearsal footage would be culled into a 3-DVD set and released as VH1 Band Reunited Uncut.

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