"Here We Are" by Gloria Estefan

Top 10 Alert!

Song#:  4143

Date:  12/16/1989

Debut:  68

Peak:  6

Weeks:  21

Genre:  Pop, Adult Contemporary

Pop Bits:  Estefan's first official solo billed album Cuts Both Ways quickly went platinum thanks in part to the #1 gold selling lead single "Don't Wanna to Lose You." The second single, "Get on Your Feet," did well, but stalled at #11 Pop. Estefan would return to the Top 10 with this third single. The ballad would make it to #6 while becoming her first solo #1 at AC. The hit would help sales of the album, which would go double platinum in the summer of '90. Eventually it would go triple platinum. Two further singles from the album would miss out on the Pop Top 40, but the album's title track would become another #1 AC hit for Estefan.

ReduxReview:  While the Miami Sound Machine had success with upbeat tracks, when Estefan started to branch out on her own, it was her ballads that turned into hits for her. That was not a bad thing, but it may have started to put her in a more AC light with the kids moving on to newer, hipper artists. Estefan would score one more major hit (a ballad, natch), but then besides a #13 remake of "Turn the Beat Around" in '94, her Pop chart singles were middling affairs. However, she'd score fourteen solo Top 10 hits at AC, so really that format kept her going (and helped album sales). This track was the first of three #1s at AC and it was just right for that format. It was a pretty ballad that was well written and performed by Estefan. It wasn't quite as memorable as her other ballad hits, but it was a quality tune.

ReduxRating:  6/10

Trivia:  In March of '90 while on tour supporting the album, Estefan's tour bus was involved in a crash with a semi during a snowstorm near Scranton, PA. The accident left Estefan with a fractured spine. She would go through months of recovery and therapy. Along the way she would still find a way to write and record and in January of '91 she would release her second solo effort Into the Light. It was preceded by the single "Coming Out of the Dark" along with a triumphant return to the stage performing the song on the American Music Awards. The single would reach #1 Pop/#1 AC/#60 R&B. It would end up being Estefan's last Pop Top 10 hit. The album topped out at #5 and would be a double platinum seller. Estefan would continue to have a successful recording career scoring platinum and gold selling LPs, which included Spanish language albums that would earn her three Grammy awards and five Latin Grammys.

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"I Will Survive" by Sa-Fire

Song#:  4141

Date:  12/16/1989

Debut:  80

Peak:  53

Weeks:  11

Genre:  Dance-Pop, House

Pop Bits:  Sa-Fire's self-titled debut album did fairly well. It peaked at a respectable #79 while spawning the #12 Pop/#4 AC hit "Thinking of You." A follow up LP was in order, but prior to that Sa-Fire would be assigned by her label to record a song for the soundtrack to an upcoming film. She would perform the cover tune "I Will Survive" for the Meryl Streep/Roseanne Barr comedy flick She-Devil. It would be released as a single, but it didn't quite catch fire. The tune would stop short of the halfway mark on the Pop chart while topping out at #30 Dance. Without a better boost the soundtrack then failed to chart.

ReduxReview:  You know a song is quality when it can be performed in various styles and it still sounds good. Sa-Fire's house-leaning take served the song well especially for the time period. I could do without the rap section, but again, it was right for the late 80s. If the arrangement sounds like something that Paula Abdul would do that is because it was produced by Oliver Leiber, who helmed hits for Abdul including "(It's Just) The Way You Love Me." It might have been nice to have this single touch the Pop Top 40, but I don't think it could have gone much further. It was a nice, timely take on a classic.

ReduxRating:  6/10

Trivia:  This is a cover of a song originally recorded by singer Gloria Gaynor. Written by Freddie Perrin and Dino Fekaris, the tune was meant to be the b-side to "Substitute," a song Gaynor's label wanted as a single. Gaynor knew "I Will Survive" would be a hit and tried to take the label into making it the a-side, but they refused and pushed out "Substitute." That tune barely scraped the R&B chart at #78, however "I Will Survive" started to become very successful in discos and it wasn't long before the song started climbing the charts. It would reach #1 Pop/#1 Dance/#4 R&B/#9 AC in 1979 and would become a platinum seller. It was Gaynor's second and final Pop Top 10 hit. The tune would go on to become a classic disco track and gay anthem. It would also be the one and only song to win a Grammy for Best Disco Recording as that category would exist for only one year. The song would be covered by many artists. The first charting cover of the song would be in 1979 when country artist Billie Jo Spears would take it to #21 on the Country chart. Sa-Fire would be the second artist to make the Pop chart with the tune. In 1996, a Diana Ross cover would get to #37 Dance. That same year, singer Chantay Savage would do a version that would get to #24 Pop/#5 R&B/#35 Dance. The following year alt rock band Cake would record the tune and it would get to #28 on the Modern Rock chart. Then of course the cast of the TV show Glee would do a mashup version of the tune along with Destiny Child's 2001 hit "Survivor." That medley would get to #51 Pop.

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"We Can't Go Wrong" by The Cover Girls

Top 10 Alert!

Song#:  4136

Date:  12/09/1989

Debut:  73

Peak:  8

Weeks:  19

Genre:  Pop

Pop Bits:  The vocal trio's second album, We Can't Go Wrong, didn't get off to the best start. Its first single, "My Heart Skips a Beat," would be a #4 Dance hit, but that didn't really help its mainstream prospects with the song peaking just inside the Pop Top 40 (#38). With that freestyle track not able to gain a bigger audience, the trio's label decided to change tactics and push out this title track ballad. It ended up being the right choice with the single becoming the trio's first to crack the Pop Top 10. However, despite the song doing well, it didn't help sales of the album, which halted at a minor #108. A third single, "All That Glitters Isn't Gold," wasn't able to contribute much either with the song topping out at #18 Dance and #48 Pop. It seems the results left the trio looking for a new label.

ReduxReview:  With its big sing-a-long chorus that made it sound like a charity single of some sorts, this ballad is what broke the trio into the Pop Top 10. It was a little surprising as they were more known for their freestyle hits, but since those were not connecting on a larger scale outside of the dance clubs, this big ballad was given a shot and it paid off.

ReduxRating:  6/10

Trivia:  After things crumbled with Capitol Records, the trio caught a break and were tapped to record the track "Don't Stop Now" for the 1990 benefit album Music Speaks Louder Than Words that was put out by Epic Records. Epic decided to release the song as a single and it got a little attention reaching #8 Dance and #65 Pop. Its b-side, "Funky Boutique," started to pick up some airplay, so Epic released it as a one-off single. It would do slightly better getting to #55 Pop. With those results, Epic wanted more from the trio (who by that point had a lineup change) and decided to sign them on. A third album Here It Is would be ready by 1992 and a first single, "Wishing on a Star," would do well enough to become the trio's second Pop Top 10 hit (#9). It would also get to #7 Dance and #19 R&B. The track was a cover of a song originally recorded by Rose Royce in 1977 (#52 R&B). Yet despite The Cover Girls taking the song into the Pop Top 10, it seems that was not enough to spark any album sales and it would fail to chart. With those results, the trio were left off the Epic roster. Lineup changes would ensue and an indie LP in '96 titled Satisfy would fail to win an audience. Since that time, various iterations of The Cover Girls have continued to perform.

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"Electric Boogie" by Marcia Griffiths

Song#:  4135

Date:  12/09/1989

Debut:  90

Peak:  51

Weeks:  11

Genre:  Pop, R&B, Reggae

Pop Bits:  By this point in time, Jamaican singer Marcia Griffiths had already been a star for over twenty years. After basically being discovered in the early 60s singing at a friend's party, Griffiths became a singer for the influential ska band Byron Lee and the Dragonaires. A solo career would follow and in 1968 she had her first hit "Feel Like Jumping." Not long after that, Griffiths would team up professionally and personally with reggae singer/songwriter Bob Andy. As Bob and Marcia, the pair would record a couple of albums in the early 70s and score a major #5 UK hit in 1970 with their version of Nina Simone's "Young, Gifted and Black." After the duo parted ways, Griffith would become a member of Bob Marley's backing vocal group the I Three's. She would continue working with Marley until his death in '81. Along the way Griffiths would maintain her solo career recording several albums. In '83, she would record a cover version of a song called "Electric Boogie" that would become popular in Jamaica. By a stroke of luck, six years later the tune experienced a revival. It became popular enough that a new remix of the track was done and issued out by Island Records. Thanks in part to a popular dance (see below), the single started to sell and it would eventually make the US Pop chart where it stalled just a notch shy of the halfway point. It also got on the R&B chart at #83. With the song a hit, an album was quickly assembled and pushed out. Carousel would arrive in '90, but it would not chart. Griffiths would continue to record solo albums and work with other artists, but for many around the world she will mainly be recognized for "Electric Boogie" and its associated dance.

ReduxReview:  While it may not be as popular now, back in the day there wasn't a prom, wedding reception, or event with a DJ where this was not played. Folks would crowd the dance floor and the Electric Slide would commence. It was an fairly easy line dance to learn so it often got everyone participating including some of the most stubborn "I don't dance" kind of people. I remember doing it a few times, but these days I don't remember one step of it. There are times when a song behind a dance craze is really annoying, but this is one that stands on its own. It's a fun, engaging tune that can be easily listened to without having to dance. The remix is a lot slicker than Griffiths' previous '83 version and that definitely helped its mainstream chances.

ReduxRating:  6/10

Trivia:  This is a cover of a song originally written and recorded by reggae star Bunny Wailer (step-brother to the legendary Bob Marley and original member of The Wailers). By most accounts, Wailer wrote the song in 1976 and recorded a demo. It seems a single of the song was issued out later in 1980 under his name. Then in '83, Griffiths would record the song with Wailer producing, arranging, and singing background vocals. It was a popular tune at the time, but then later in '89 a DJ in Washington, D.C., started to spin the tune and it unexpectedly gained an audience. A new remix of the song would be created and become a minor hit. But what took the song to a whole new level was an associated dance that was developed back when Bunny Wailer wrote the tune. Choreography/performer Ric Silver heard the demo and created a line dance that was known as The Electric. The original 22-step dance would become popular with variations popping up. One of those variations, the 18-step Electric Slide, would receive renewed interest when Griffiths' song regained popularity and it soon started to find its way into mainstream culture. It would become a staple at parties, receptions, events, bars, etc., for years after. For the 2023 Super Bowl, a new remix of Griffiths' hit song was done by reggae rapper/singer Shaggy and used in a Jeep commercial. In the spot, CGI animals perform the Electric Slide.

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"Don't Take It Personal" by Jermaine Jackson

Song#:  4126

Date:  12/02/1989

Debut:  88

Peak:   64

Weeks:  11

Genre:  R&B, Soul, Quiet Storm

Pop Bits:  Jackson earned his second solo career gold album with his '84 self titled effort. His '86 follow up Precious Moments couldn't do that well, but was still able to reach #46 Pop/#28 R&B. He would then work with a variety with songwriters and producers for his twelfth studio album Don't Take It Personal. This title track single would be issued out and it would go on to become Jackson's second (and final) solo #1 on the R&B chart. The song didn't catch on as well at Pop stalling in the bottom half of the chart. Two further singles from the LP would make the R&B Top 20, but would fail to make the Pop chart. With those results, the album peaked at #18 R&B/#115 Pop.

ReduxReview:  This was a sleek and sexy track that featured a nice performance from Jackson. These days the production sounds dated, but it was appropriate for the late 80s. I think a more classic, timeless arrangement might have elevated the track. It may not have been a good crossover prospect, but it did give Jackson one last big hit at R&B.

ReduxRating:  6/10

Trivia:  For his next album, '91's You Said, Jackson would move over to the newly established Arista offshoot label LaFace, which was developed by songwriting/production L.A. Reid and Babyface. The LP would be mostly written by Reid and Babyface along with Russell Simmons. With that team's successful run of hits, it seems like Jackson's new effort would provide a comeback. Unfortunately, none of the LP's singles became major hits and that left it peaking at #39 R&B. It would be over ten years before Jackson would issue out another solo album. In between time he would appear on a few reality TV shows/competitions and co-produce the 1992 mini series The Jacksons: An American Dream.

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"Nothin' to Hide" by Poco

Song#:  4125

Date:  12/02/1989

Debut:  89

Peak:  39

Weeks:  12

Genre:  Country Rock

Pop Bits:  Thanks to a push from Richard Marx, the original Poco band got back together and would record the album Legacy. Its first single, "Call It Love," would become an unexpected hit getting to #18 Pop/#2 AC/#3 Rock. To follow it up, this next track, which was co-written and produced by Marx, was selected for single release. It wouldn't perform as well, but was still able to crack the Pop Top 40 while getting to #10 AC. The singles helped sell the LP and it would eventually go gold (#40).

ReduxReview:  This waltz-ish tune was a pretty good follow up, but it wasn't enough for lightning to strike twice for the band. Still, the single was able to crack the Top 40 alongside the glam metal and freestyle hits of the day so in general it performed pretty well. I think Marx did a good job writing a tune that dialed into the band's sound. His production was restrained and that allowed the band to shine. It's not a song I'd gravitate towards, but it was nicely done.

ReduxRating:  6/10

Trivia:   The success of the Legacy album should have pushed the band to do a follow up. While they did intend to do that and it seems even started recording some songs, the supporting tour for Legacy encountered issues, which in turn brought in little money for the band or their label RCA. As a result, the band was dropped from the RCA roster. With little in the way of prospects, most band members departed and went on to do other projects. Original member Rusty Young decided to try and keep the band alive as a touring unit and with a new lineup performed throughout the 90s. Later in 2002, an iteration of the band was able to release the indie album Running Horses. In 2013, another LP would be release. As the years ticked by, Young would keep a version of the band going and touring. Unfortunately, it all came to a halt in 2021 when he died. Poco would officially come to an end.

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"What Kind of Man Would I Be?" by Chicago

Top 10 Alert!

Song#:  4123

Date:  12/02/1989

Debut:  95

Peak:  5

Weeks:  18

Genre:  Pop, Adult Contemporary

Pop Bits:  Although it would only peak at #37, Chicago 19 would become a platinum seller thanks to three Pop Top 10 hits including the gold #1 single "Look Away." To cap off the decade, the band's label decided to issue out a hits compilation that covered their 80s resurgence. Greatest Hits 1982-1989 was assembled and it featured all their key hits from the time period. To help promote the LP, a remix of a song that first appeared on Chicago 19, "What Kind of Man Would I Be?," would be give a remix treatment, included on the compilation, and then issued out as a single. The tune would have a low debut on the Pop chart, but it slowly caught fire and ended up reaching the Top 5. It would also get to #2 at AC. The song would end up being Chicago's final Pop Top 10 hit. It arrived nearly twenty years after their first Pop Top 10, 1970's "Make Me Smile" (#9). The Greatest Hits album would peak at #37 and go gold. However, it would be a consistent seller over the years and it would eventually reach the 5x platinum mark making it tied for their best selling album with '75's Chicago IX: Chicago's Greatest Hits.

ReduxReview:  Lead singer Jason Scheff was apparently taking notes on how to write a big pop ballad in the same vein as the ones written for the band from Diane Warren and others. This sits right next to the tracks that became hits and so it wasn't all that surprising that it aced the Pop Top 10. The only difference in this one is it had a bit of the ol' Chicago horn section integrated, which made it sound like something from the band's Peter Cetera/David Foster era. These big ballads were getting redundant and predictable, but I actually didn't mind this one. It was well written and had a good arrangement (with the horns getting something to do in the mid-section) and production. It was a nice last gasp for the 80s comeback era for the band. There was no way the band could sustain a constant barrage of hit ballads. It had to end sometime and it did conclude in '91 (thankfully) when two Diane Warren songs tanked, which allowed the band to go run off into the pasture to do what they wanted.

ReduxRating:  6/10

Trivia:  Chicago would go through more personnel changes prior to recording their next album Twenty 1. Working with producer Ron Nevison for a second time, the sessions were a bit fractured due to the band being out on tour. The band's label also wanted them to record a couple more Diane Warren-penned tunes as potential hits, which they did. Unfortunately, both flopped with only "Chase the Wind" doing anything getting to #39 Pop/#13 AC. The LP would top out at a minor #66 and fail to go gold. With those results, Chicago basically decided to leave their 80s commercial pop sound behind and attempt to get back to the way they did compositions in the 70s. Working with producer Peter Wolf, the band came up with the more experimental Stones of Sisyphus. However, after finishing and handing in the LP, the label unexpectedly and controversially chose to not release the album. The band was asked to go back and record a more commercial album, but they refused. At the time, the LP actually fulfilled their contractual obligation to their label and so they chose to leave. Their next album then ended up being a standards effort titled Night & Day: Big Band, which was on the band's own self-titled label. It would get to #90. After that, the only studio album the band would record was a 1998 Christmas album. They wouldn't issue out an album of original material until 2006's Chicago XXX (#41). Over the years the band would go through personnel changes and continue to tour and record. In 2008, the long lost Stones of Sisyphus album would finally be released (#122). In 2016, Chicago would be inducted into the Rock and Roll Hall of Fame.

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"Principal's Office" by Young MC

Song#:  4117

Date:  11/25/1989

Debut:  88

Peak:  33

Weeks:  14

Genre:  Rap

Pop Bits:  This NYC rapper scored a huge hit with the single "Bust a Move." It would end up getting to #7 Pop while spending 39 weeks on the chart. That longevity played into sales and the single would go platinum. It would also earn Young MC a Grammy. He would quickly record a debut album titled Stone Cold Rhymin' that would be released in the fall followed by this next single. It wouldn't come close to the success of his previous single, but it would make the Pop Top 40 while getting to #51 Dance. A third single, "I Come Off," would make it to #75 Pop/#36 Dance/#52 R&B. The album would top out at #9 Pop/#8 R&B and go platinum.

ReduxReview:  The one thing Young MC did well was set great grooves on a lot of the Stone Cold Rhymin' tracks and this is one of them. He weaved samples well enough to make anyone bop along. While this song paled in comparison to the classic "Bust a Move," it was still a solid track with a groove that was hard to ignore. The lyrics are certainly old school now, but they were fine back then and not as juvenile as ones by DJ Jazzy Jeff & the Fresh Prince, who where desperately trying to be cute and funny. Although Young MC had just one huge hit, he did have other charting singles including this one, so a little difficult to call him a one-hit wonder. However, it seems he got that tag from some folks and perhaps even believed it himself because he titled his fourth album Return of the 1 Hit Wonder.

ReduxRating:  6/10

Trivia:  After the success of Stone Cold Rhymin', Young MC chose to leave his label Delicious Vinyl and sign on with Capitol Records. His second LP Brainstrom would arrive in '91. Its first single "That's the Way Love Goes" would be a minor entry at Pop (#54) and R&B (#32). Still, the album would become a gold seller making it to #66 Pop/#61 R&B. A third album, '93's What's the Flavor?, would quickly come and go failing to chart. With that result, Young MC was off the Capitol roster. Some indie albums would follow with only 2000's Ain't Goin' Out Like That making the R&B chart at #85. Over the years, Young MC would also make appearance in films and on TV shows. He would end up participating in two reality TV competitions shows, Weakest Link - Rap Stars Edition and the third season of Celebrity Fit Club. He would end up being the winner of both shows.

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"Everything You Do (You're Sexing Me)" by Fiona (Duet with Kip Winger)

Song#:  4112

Date:  11/25/1989

Debut:  95

Peak:  52

Weeks:  12

Genre:  Hard Rock, Glam Rock

Pop Bits:  Fiona's 1985 self-titled debut album was a modest success (#71) that spawned the #12 Rock/#64 Pop single "Talk to Me." It was enough for her label, Atlantic, to call for a second effort and for her second album, '86's Beyond the Pale, Fiona would be hooked up with producer Beau Hill (the pair would later be briefly married). Neither the album nor its two singles would chart. Still, Atlantic invested in a third album from Fiona. Hill would once again sit in the producer's chair while Fiona would co-write all but one track for the LP Heart Like a Gun. This first single, which paired Fiona with Kip Winger, would make a slight impression getting to #22 Rock while stopping near the halfway point on the Pop chart. Two others singles would not chart. In turn, the album would only get to #150. It would be Fiona's last effort for Atlantic.

ReduxReview:  There was some good stuff happening in this tune including Hill's production, the vocals, and the fun chorus. Still, it didn't add up to an indelible hit. Fiona had everything in place to become an 80s rock star except for that one song that could break wide. By the time she signed on with Geffen it was pretty much too late with grunge being the flavor of the day. She was quite lucky though that despite chart results she was able to record four major label albums and gain a cult following.

ReduxRating:  6/10

Trivia:  Double Shot!  1) Fiona's next move was to form her own band. Conveniently titled Fiona, the band would be signed to Geffen and release an album titled Squeeze in 1992. Unfortunately, it didn't get anywhere and Fiona's major label days came to an end. Afterwards it seems she returned to college and got a degree, briefly worked for an accounting firm, and then raised two kids. She would return to music in 2011 with the indie album Unbroken.  2) After her second album, Fiona would branch out into acting. After an appearance on TV's Miami Vice and in the '86 film Quicksilver, Fiona would be cast in a lead role alongside Bob Dylan in the '87 musical drama flick Hearts of Fire. The film also co-starred Rupert Everett. For the soundtrack, Dylan would supply two new songs and one cover. Fiona would record five tracks while Everett would sing two. First release in the UK, the film was drubbed by critics and box office receipts were poor. It would get a limited release in the US before quickly disappearing. Needless to say, it didn't lead to bigger acting career for Fiona, who would later make a brief appearance in the '91 biographical flick The Doors.

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"Pretending" by Eric Clapton

Song#:  4110

Date:  11/18/1989

Debut:  83

Peak:  55

Weeks:  11

Genre:  Rock

Pop Bits:  Navigating the musical waters of the 80s was a bit difficult for Clapton. Although out of his first four studio LPs of the decade two would go gold and one platinum (thanks in part to a rabid fan base and three #1 Rock track), Pop Top 10 hits eluded him with the exception of the '81 #10 "I Can't Stand It." That streak would continue with this first single from his last studio album of the 80s Journeyman. While the tune would shoot to #1 at Rock, it didn't fully register with Pop listeners and the song stalled short of the halfway mark on the chart. A second single, "Bad Love," would hit #1 at Rock, but stall at a minor #88 at Pop. Another track from the LP, "No Alibis," would reach #4 at Rock. The hits at Rock along with a renewed interest in Clapton thanks to the successful '88 compilation Crossroads (#34) helped the album reach #16 and go double platinum. It would be the start of a career revival for Clapton that would take him to new heights in the 90s.

ReduxReview:  His Journeyman album was considered by many to be a return to form for Clapton after attempting to keep pace with the slick pop sounds of the 80s. While the LP still featured a lot of modern production techniques, the material didn't necessarily pander to the mainstream. Still, it needed a good track for pop and rock radio and this Jerry Lynn Williams tune seemed to fit the bill. Indeed it played well at rock radio and got to #1. The song didn't fully click with a pop audience, but it really didn't matter. Clapton's fans appreciated the back to basics approach and embraced the LP. It was a smart move that set him up well for the 90s. For me, the song was on par with "Forever Man" (#26), another song Williams had written for Clapton.

ReduxRating:  6/10

Trivia:  Clapton's 90s revival period would start off with a huge hit that stemmed from a personal tragedy. In 1991, Clapton's 4- year-old son Conor sadly fell to his death from a window located in a high rise apartment building in NYC. After taking time off to deal with the horrible accident, Clapton eased himself back into music by writing songs for an upcoming crime/drama movie title Rush. For the soundtrack. Clapton would collaborate with Will Jennings on a very personal song inspired by Conor titled "Tears in Heaven." Released as a single early in '92, the ode struck a chord with people and it would go on to reach #1 AC/#2 Pop/#9 Rock and go platinum. Not long after the single was released, Clapton would perform the song live in England in a set he did for the MTV show Unplugged. Thanks to "Tears in Heaven" along with an acoustic rendition of Cream's '71 #10 hit "Layla," which got to #12 Pop/#8 AC/#9 Rock. Unplugged would hit #1 and over time go on to sell over 10 million copies. The two hit singles and the album would end up winning Clapton six Grammys including Album of the Year and Record/Song of the Year for "Tears in Heaven." His '94 studio album From the Cradle would also reach #1 and go triple platinum. Then in '96 Clapton would grab another hit from a film. "Change the World" from the Phenomenon soundtrack would get to #5 Pop/#1 AC/#54 R&B and go gold. It would earn Clapton two more Grammys including Record of the Year. While hit singles slowed after that, Clapton's albums would continue to be successful and earn him four more Grammys in the 2000s. In 2000, Clapton would be inducted into the Rock and Roll Hall of Fame as a solo artist. He had previously been inducted twice as a member of The Yardbirds and Cream. As of this posting date, Clapton is still the only artist to be inducted three separate times.

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"Tender Lover" by Babyface

Song#:  4109

Date:  11/18/1989

Debut:  85

Peak:  14

Weeks:  17

Genre:  R&B, New Jack Swing

Pop Bits:  Babyface's second album, Tender Lover, was shaping up to be a hit thanks to its first single "It's No Crime" getting to #1 R&B, #7 Pop, and #5 Dance. Next in line to keep album sales going was this title track second single. Once again the tune would end up topping the R&B chart. It was Babyface's third straight R&B #1 counting his duet with Karyn White, "Love Saw It," which was from her self-titled debut album. "Tender Lover" would cross over to the Pop chart, but would stop a bit shy of the Top 10. The hit helped the album reach platinum sales by the end of '89. It would go double platinum in the summer of '90 following the release of the LP's third single "Whip Appeal." That track would get to #2 R&B, #6 Pop, and #36 AC. A fourth single, "My Kinda Girl," would get to #3 R&B/#30 Pop. Eventually the album, which topped out at #1 R&B/#14 Pop, would go triple platinum and earn Babyface three Grammy nominations including one for Producer of the Year.

ReduxReview:  This was an appropriate follow up to "It's No Crime," but it didn't show anything different from Babyface. It was a good, hooky new jack track that had a sweeter tone than his previous hit. He'd change to a quiet storm mood next with "Whip Appeal," which suited him well. While Babyface had hits, most were less memorable that ones he wrote for other artists. Still, he carved out a pretty good solo career in the 90s.

ReduxRating:  6/10

Trivia:  After Tender Lover, Babyface would score a couple of hit duets with Pebbles and Toni Braxton, the latter of which appeared on the soundtrack to the hit flick The Bodyguard. Also on that album was "End of the Road" by Boys II Men. That single would be a massive hit that set a new record by spending 13 weeks at #1 on the Pop chart. However, that record was short lived when Whitney Houston's big hit from the soundtrack "I Will Always Love You" would spend 14 weeks at the top. Babyface would return to solo work in '93 and issue out For the Cool in You. Four singles from the LP would make the R&B Top 10 including the #6 "When Can I See You," which also reached #6 Pop and #10 AC. The album would be another triple platinum seller (#2 R&B/#16 Pop). Then in '94 another song Babyface wrote for Boys II Men, "I'll Make Love to You," would tie Houston's #1 streak by spending 14 weeks atop the Pop chart. The streak of successes continued with his '96 album The Day. It would be a #4 R&B/#6 Pop double-platinum seller thanks to a pair of platinum hits, "This Is for the Lover" (#2 R&B/#6 Pop) and "Every Time I Close My Eyes" (#5 R&B/#6 Pop). While his solo hits would cool off later in the 90s, Babyface had further successes with other artists such as TLC. Grammys would come his way and he would win 10 of them in the 90s.

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"Back to the Bullet" by Saraya

Song#:  4100

Date:  11/11/1989

Debut:  91

Peak:  63

Weeks:  9

Genre:  Hard Rock, Glam Rock

Pop Bits:  This band headed up by Sandi Saraya made a few waves with their first single "Love Has Taken Its Toll." The tune would get to #9 Rock while getting to #64 at Pop. It was taken from the band's self-titled debut album as was this follow up. The track wouldn't do quite as well at Rock getting to #26, but was able to make it one notch higher at Pop than their first single. Another track from the album, "Get U Ready," would be a minor #33 entry at Rock. The album would peak at a respectable #79, which then allowed the band to record a follow up.

ReduxReview:  Like their first single, this was a nice slice of radio-ready rock that was well crafted and performed. Also like their first single, this tune was lacking the kind of allure needed to really be a Pop chart contender. The band was definitely on to something. They just needed that one song that would break them wider into the mainstream. Unfortunately, they couldn't come up with that track for their second album and it wasn't long before Saraya was no more.

ReduxRating:  6/10

Trivia:  Next up for the band was a soundtrack song. Hit songwriter/producer Desmond Child would be in charge of tunes to boost the 1989 Wes Craven slasher flick Shocker. Child would write/co-write and produce most of the songs for the film including "Timeless Love," which would be recorded by Saraya. It would be released as a single early in '90 and peak at a minor #85 on the Pop chart. The soundtrack album would get to #97. After that, Saraya got back in the studio to record their second album. In 1991, they would release When the Blackbird Sings. Its first single, "Seducer," would only scrape the Rock chart at #41. With that result, the album quickly came and went. The band would then split up in '92.

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"You Are My Everything" by Surface

Song#:  4091

Date:  11/04/1989

Debut:  97

Peak:  84

Weeks:  5

Genre:  R&B, Quiet Storm

Pop Bits:  The R&B trio landed their first Pop Top 10 hit with the ballad "Shower Me with Your Love." It was the second single lifted from their second album 2nd Wave. The gold single was also the group's second #1 at R&B. To follow it up, this next track was issued out that featured a guest appearance by Regina Belle. It would end up becoming their third consecutive #1 at R&B, but it didn't get far on the Pop chart stalling out after a few weeks. A fourth single, "Can We Spend Some Time," would miss the Pop chart, but get to #5 R&B. Thanks to the three R&B #1s, the album would get to #5 R&B/#56 Pop and go platinum.

ReduxReview:  This was a sleek and sexy soul track that was prime for R&B radio. Unfortunately, it didn't have as much of a mainstream-lean as "Shower Me" and so it stalled early at Pop. The trio became more known for their big crossover ballads, but quiet storm grooves like this one were certainly highlights from their albums.

ReduxRating:  6/10

Trivia:  The trio would return later in 1990 with their third album 3 Deep. Its first single, "The First Time," would be an across the board smash getting to #1 at Pop, R&B, and AC. It would be a gold seller. A second single would get to #8 R&B while a third one would make it to #17 Pop//#24 R&B/#17 AC. Despite the album containing their biggest hit, it wouldn't do as well as their previous effort. It would stop at #19 R&B/#65 Pop and only reach gold level sales. The trio most likely could have recorded a fourth album, but by 1994 they decided to call it quits. They would reunited for a Japan-only album in '98 and then later in 2005 the trio made plans for a new album and tour, but it was cut short when member David Townsend suddenly passed away.

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"Heat of the Moment" by After 7

Song#:  4079

Date:  10/21/1989

Debut:  86

Peak:  74

Weeks:  12

Genre:  R&B, New Jack Swing

Pop Bits:  Kenneth "Babyface" Edmonds, who at the time was on a hot streak with this co-writer/co-producer L.A. Reid, wasn't the only one with talent in his family. His older brothers Melvin and Kevon were solid vocalists who had formed a trio in their college days with friend Keith Mitchell. The trio would perform around the Indianapolis area, but it seems none of them were set on a career in music. They secured good jobs and on occasion would get together to perform. In the meantime, Babyface did pursue the music business and became very successful. As his career was hitting its stride, Babyface reached out to his brothers and Mitchell and invited them out to L.A. It was Babyface's intent to turn the trio into a legit vocal group. He would dub the trio After 7 and secure them a deal with Virgin Records. Babyface and L.A.. Reid would write and produce nearly all the tracks on the trio's self-titled debut album. Once completed, this first single was issued out. It would do well at R&B getting to #5, but it didn't quite catch fire at Pop where after three months it could only manage to peak near the bottom quarter of the chart. It wasn't too bad of a start, but as the 90s rolled in, the trio would break through in a much bigger way.

ReduxReview:  This was another competent Babyface/Reid track that was made a better by the trio's vocals. Kevon Edmonds took the lead and his powerful voice sailed effortlessly through the track. The trio definitely had the vocal goods, so it really came down to the tracks they were supplied from Babyface and Reid. While this one didn't necessarily separate the trio from the new jack pack, a couple other singles from the album would. Oddly, I don't remember any of the After 7 hits, so they were apparently not on my radar. That wasn't surprising at the time because new jack was wearing thin on me. Thanks to Babyface, this trio's hobby of performing once in a while together turned into a legit career.

ReduxRating:  6/10

Trivia:  Double Shot!  1) A second single from After 7's debut album wouldn't fare very well, but the the third single, "Ready or Not," would catapult them into stardom. The single would get to #1 R&B/#7 Pop and go gold. A fourth single, "Can't Stop," would do just as well hitting #1 R&B/#6 Pop and going gold. The two hits helped the album get to #3 R&B/#35 Pop. It would become a platinum seller. To keep the momentum going, the label would reissue "Heat of the Moment" to the pop market. On its second go-around it would do much better reaching #19. For the trio's second album, '92's Takin' My Time, Babyface and L.A. Reid would have less involvement due to their hectic schedules. Still, the LP would become a #8 R&B/#76 Pop platinum seller thanks to a pair of R&B Top 10s that were mid-charters at Pop. Babyface and Reid would return for '95's Reflections, but it seemed the trio was running out of steam. The LP would feature only one significant hit, the #5 R&B/#31 Pop single "'Til You Do Me Right." The album would reach #7 R&B/#40 Pop, but halt at gold level sales. By that point in time it seems the trio may have been having label issues. After the release of a hits compilation in '97, the members then decided to go their own ways. More than a decade later, Kevon and Mitchell would restart After 7 with Melvin's son Jason taking his place. However, in 2016 Melvin would rejoin the group and the quartet would record an album titled Timeless. It would do well (#7 R&B) thanks to five R&B Top 10 hits. Melvin would die in 2019. His son would end up leaving the group and was replaced by Danny McClain. In 2021, the trio would record the album Unfinished Business. While the LP would not chart, it did feature one last R&B Top 10 hit.  2) After the trio split, Kevon Edmonds chose to head out on a solo career. His debut album, '99's 24/7, would get to #15 R&B/#77 Pop thanks to the gold selling title track single (#2 R&B/#10 Pop). It would be ten years before he would release his second solo album, 2009's Who Knew.

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"The Arms of Orion" by Prince with Sheena Easton

Song#:  4077

Date:  10/21/1989

Debut:  91

Peak:  36

Weeks:  14

Genre:  Pop, Soundtrack

Pop Bits:  By this point in time, Prince's #1 soundtrack to the film Batman had surpassed the double platinum mark. It got there thanks to the #1 platinum single "Batdance " and its gold-selling #18 follow up "Partyman." Things would keep on rolling with this third single. Apparently Sheena Easton had written a set of lyrics that she sent to Prince. He liked them enough to write music for them. The pair then recorded it as a duet and it was included on the Batman soundtrack. The ballad didn't fully ignite and it would only get inside the Pop Top 40. A fourth single, "Scandalous!," would be issue out and while it would do well at R&B getting to #5, it would not make the Pop chart. The tune and soundtrack album would wrap up a hugely successful 80s for Prince. Over the decade he earned seven Top 10 albums, including three #1s, and thirteen Pop Top 10 hits including four #1s. He would also win four Grammys.

ReduxReview:  Back in the day I figured this would be released as a single. It was a nice tune that had the added bonus of a Sheena Easton appearance. However, its prospects were 50/50. Save for the epic "Purple Rain," Prince wasn't known for hit ballads, so this tune was certainly a change of pace. While there seemed to be enough hooks to make it single-worthy, it wasn't necessarily a straight-forward pop ballad - it had its Prince-isms for sure. Yet with the film and soundtrack doing well along with being the second pairing with Easton (following "U Got the Look"), the tune had a chance. In the end, it didn't become a hit, but it wasn't a total flop. A Top 40 finish was the best it could do, which was probably appropriate.

ReduxRating:  6/10

Trivia:  Prince's next album would also be a soundtrack. However, this time it was one from his own film. Prince would write and direct the musical drama Graffiti Bridge. Although not initially conceived to be one, the movie ended up being a sequel to the Prince-starring 1984 hit Purple Rain. Unfortunately, the film was a critical and box office bomb. Despite that, the soundtrack album was warmly received and it would become a #6 gold seller thanks to the #1 R&B/#6 Pop gold single "Thieves In the Temple" and the #3 R&B/#12 Pop gold seller "Round and Round" that was sung by Tevin Campbell. Prince would continue his hit streak with '91's Diamond and Pearls. It would be a #3 double platinum seller that spawned a pair of Pop Top 10 hits with the #3 title track and the #1 gold record "Cream," which would end up being Prince's final Pop chart topper. After that, things got strange in the Prince realm. He had label issues, changed his name to a symbol, issued out a couple multi-disc sets, and released a famed shelved album. He would have two further Pop Top 10s in the 90s with '92's "7" and '94's "The Most Beautiful Girl in the World." The latter would be his last Pop Top 10 hit. Prince would continue to release albums over the years to varying success. His 2006 album 3121 would be his last studio album to reach #1 and his last to hit the gold level mark. In 2004, Prince would be inducted into the Rock and Roll Hall of Fame. He would unexpectedly die of an accidental overdose on April 21, 2016.

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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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"Get on Your Feet" by Gloria Estefan

Song#:  4058

Date:  09/30/1989

Debut:  65

Peak:  11

Weeks:  17

Genre:  Pop

Pop Bits:  Estefan officially kicked off her solo career with the album Cuts Both Ways. Its first single, the ballad "Don't Wanna Lose You," would be a gold selling #1 Pop/#2 AC hit. That result helped the album get to #6. Next up for release was this second single. The upbeat track seemed destined for the Pop Top 10, but then it halted just shy at the dreaded #11 spot. The song would also reach #5 AC and #20 Dance. By this point in time, the album had already reached the platinum sales mark.

ReduxReview:  Estefan definitely needed an upbeat follow up and this one was a good choice. It melded right in with hits she had with Miami Sound Machine. However, with the song missing out on the Top 10 it was a signal that perhaps folks were getting a little tired of the Estefan/MSM sound. I think Estefan played it safe and didn't change anything once she got billed solo. She could have updated her sound and skills by collaborating with a hot producer or songwriter, but she basically kept it in the family and for a first effort apart from the band that was okay. However, doing the same thing over and over doesn't do much to sustain a career on the charts and Estefan would find that out as the 90s wore on and the hits stopped coming. It was the Gloria and Emilio show and rarely was anyone invited to join in and alter the script and because of that, her albums quickly became interchangeable (which is kind of a polite way to say boring). Save for a couple of songs, I basically lost interest in Estefan after this single.

ReduxRating:  6/10

Trivia:  This song's title was mostly used as the title of a Broadway show. On Your Feet! was a jukebox musical based on the lives of Gloria Estefan and her husband Emilio. The show mainly consisted of hits and other songs from Estefan and Miami Sound Machine. On Your Feet! would begin its run on Broadway in the fall of 2015 with Ana Villafañe portraying Gloria Estefan. The show would run through to January of 2017 with a national tour following. Reviews of the show were generally positive and did healthy box office business. However, it was virtually ignored at the Tony's where the show only received one nomination for Best Choreography.

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"Leave a Light On" by Belinda Carlisle

Song#:  4056

Date:  09/30/1989

Debut:  78

Peak:  11

Weeks:  18

Genre:  Pop

Pop Bits:  Carlisle's first two solo albums both peaked at #13 and were gold/platinum sellers. The albums would spawn a total of four Pop Top 10 hits including the #1 "Heaven Is a Place on Earth." For her third effort, Carlisle expanded her collaboration with that song's writers/producers Rick Nowels and Ellen Shipley. The pair would work up six tracks that would appear on Runaway Horses including this first single. The song would leisurely climb up the chart and finally peak just outside of the Top 10 at the dreaded #11 spot. It would do a bit better at AC getting to #8. With the single not becoming a smash hit, the album would then halt at #37, which was definitely not keeping pace with her previous two LPs. A second single, "Summer Rain," would make it to #30 Pop/#29 AC in '90. The song would be Carlisle's last to make the Pop Top 40. Runaway Horses would be certified gold by the end of '89. It would be Carlisle's last charting solo album in the US.

ReduxReview:  This was a good track that wouldn't have been out of place on Carlisle's Heaven on Earth album. However, that may not have been a plus as the song sounded a bit familiar and wasn't as memorable as her previous hits. The only unique thing about the track is that through connections, Carlisle got George Harrison to provide the guitar solo. While it may not have been as single-worthy, the follow up "Summer Rain" was more interesting with its chuggin' dark chorus and nicely done string arrangement. Overall, Runaway Horses just didn't have that one big memorable hit that would help sustain Carlisle's solo career. Sadly, listeners in the US quickly lost interest in Carlisle and moved on.

ReduxRating:  6/10

Trivia:  Carlisle's next album, '91's Live Your Life Be Free, would not chart in the US. It contained her last Pop chart single, the #73 "Do You Feel Like I Feel." While her chart fortunes dried up in the US, Carlisle remained popular in the UK and around Europe. Live Your Life Be Free and its follow up, '93's Real would both reach the UK Top 10. Her '96 album A Man and a Woman would get to #12 in the UK and go gold. That LP would spawn to UK Top 10 singles, "In Too Deep" (#6) and "Always Breaking My Heart" (#8). After that album, Carlisle would reunite with The Go-Go's for a tour and an album. She would return to solo work in 2007 with Voila, a collection of French chansons. While it would fail to chart anywhere, it received some positive critical notices. For her next album, Carlisle would move even further away from her pop/rock roots. Having become a teacher of Kundalini yoga, Carlisle chose to do an album of Sikh chants done in Gurmukhi and mainly co-written by Carlisle and Gabe Lopez. It would end up reaching #4 on the Billboard World Albums chart.

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"The Angel Song" by Great White

Song#:  4054

Date:  09/30/1989

Debut:  88

Peak:  30

Weeks:  21

Genre:  Hard Rock, Glam Metal

Pop Bits:  Great White broke through in a big way with their #5 gold selling remake of Ian Hunter's "Once Bitten, Twice Shy." The hit helped to send their album ...Twice Shy to #9 and go platinum. To keep up the momentum, this next single was issued out. The power ballad would make it to #18 at Rock while just cracking the Pop Top 30. Another single from the album, "House of Broken Love," would get to #7 at Rock, but halt at #83 on the Pop chart. Eventually, ...Twice Shy would reach the double-platinum mark.

ReduxReview:  With glam metal power ballads all over the airwaves, it was a no-brainer to push this out as the next single. It was a bit quieter compared to others and didn't have a forceful chorus, but the song set a soothing dark mood that seemed to grab some listeners. It wasn't strong enough to fly up to the Top 10, but its #30 showing was a valid result.

ReduxRating:  6/10

Trivia:  The band's next album, '91's Hooked, would be a #18 gold seller thanks to the #4 Rock/#53 Pop single "Call It Rock & Roll." After that, the band's fortunes would be in decline. They would record four albums that didn't fare all that well and in 2001 the band would split. Later in 2002, lead singer Jack Russell and lead guitarist Mark Kendall would get together and start to do some tour dates performing under the name Jack Russell's Great White. It was during the run of those shows that the band found their name in the headlines, but for tragic reasons. On February 20, 2003, as the band started their show at The Station nightclub in West Warwick, Rhode Island, sparks from pyrotechnics lit off by the band's manager unfortunately ignited unapproved/makeshift foam soundproofing the club had installed around the stage area. A fire quickly spread and in the end 100 people died including guitarist Ty Longley. Lawsuits, settlements, and prison terms for some involved would follow. The band would get back to performing six months later with their tour dates benefiting survivors and victims of the fire. The band would go through changes over the years and as of 2013 there were two versions of the band performing. Mark Kendall headed up Great White while Jack Russell formed Jack Russell's Great White.

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"Hold On" by Donny Osmond

Song#:  4053

Date:  09/30/1989

Debut:  89

Peak:  73

Weeks:  7

Genre:  Pop

Pop Bits:  Osmond's self-titled '89 album turned into a significant comeback that rescued his nearly dead music career. The resuscitation arrived via the #2 hit "Soldier of Love" along with its #13 follow up "Sacred Emotion." To keep Osmond going down the comeback trail, this next single was released, which featured smooth jazz sax player Dave Koz. Unfortunately, it didn't catch on nearly as well and stalled in the bottom half of the Pop chart. However, another track from the album, "I'll Be Good to You," would get to #10 at AC. The album would make it to #54 becoming Osmond's best solo result since 1973.

ReduxReview:  This was a pretty good choice for a single from the album. It had the right sound for a late 80s pop hit with its catchy chorus and contemporary production. I think the issue was that the tune wasn't as strong as "Soldier of Love" and in a way it kind of sounded like that track as well. So it had a been there/heard that feel. Still it was a good pop tune and should have done a bit better on the chart.

ReduxRating:  6/10

Trivia:  With Osmond's album becoming a hit, of course his label, Capitol, wanted a follow up. Osmond went back into the studio with songwriters/producers Carl Sturken and Evan Rogers, who had worked on most of the tracks on the previous album including "Soldier of Love." The trio came up with four tracks for Osmond's next LP Eyes Don't Lie including the first single "My Love Is a Fire." That tune would do fairly well getting to #21 Pop. Two more singles wouldn't fare as well and that left the album halting at a low #177. Those results brought an end to Osmond's late 80s comeback period. However, the popularity and professional boost it provided opened up new doors for Osmond. He would spend a couple years starring in Joseph and the Amazing Technicolor Dreamcoat in Toronto and Chicago. He would also star in the 1990 film version of the show. Later in 2006, he would take over the role of Gaston in the Broadway production of Beauty and the Beast. Osmond also got a new recording contract with Decca and released five albums including 2007's Love Songs of the 70s, which made it to #27. In 2009, Osmond would join the cast of the popular competition TV show Dancing with the Stars. He would end up winning the competition. Two years earlier, his sister Marie had been on the show. She finished in third.

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