"Woman in Chains" by Tears for Fears

Rated 10 Alert!

Song#:  4124

Date:  12/02/1989

Debut:  93

Peak:  36

Weeks:  14

Genre:  Pop, Rock

Pop Bits:  This duo's third album, The Seeds of Love, would get kicked off in a positive way with the first single "Sowing the Seeds of Love" making its way to #2 Pop/#1 Modern Rock/#4 Rock. For a follow up, this album opening ballad would be issued out. Unfortunately, the tune couldn't quite gain an audience and it stalled inside the Pop Top 40 while topping out at #27 Modern Rock and #37 AC. A third single, "Advice for the Young at Heart," would fare less well only getting to #89 Pop/#24 AC. The lone Pop Top 10 single helped the LP reach #8 and get to platinum status, but that was a significant drop from their previous breakthrough effort, '85's Songs from the Big Chair, which hit #1 and sold over 5 million copies.

ReduxReview:  I totally fell head over heels (pun intended) for this song upon first listen. I thought it was just a stunning track with a beautiful arrangement that built to a freeing climax (pushed along by drums provided by Phil Collins). Oleta Adams' vocal was so haunting and fit well next to Orzabal's unique voice. I figured it might have a tough time breaking through on pop radio as it was not your typical commercial fare, but was so hoping it would go Top 10. The song gives me chills every time I hear it. Just brilliant. Curt Smith would leave the duo after a hits package and so Orzabal would continue on under the TforF moniker for a couple of album in '93 and '95 that didn't do all that well. The pair would reunite for 2004's Everybody Loves a Happy Ending.

ReduxRating:  10/10

Trivia:  This song became a duet between Roland Orzabal and Oleta Adams. The duo discovered Adams during a tour stop over in Kansas City, Missouri. She was singing at a hotel restaurant and the duo happened to catch her show. They were taken with her voice and heartfelt performance. Orzabal has mentioned in interviews that watching her made him rethink the approach to their next album. When it came time to record, they called up Adams to sing on the LP. She would provide backing vocals on a couple of tracks along with some lead work on another and then on this duet. Adams would also accompany the duo on their supporting tour performing on her own and with the duo. The exposure led to Adams getting signed by the duo's label, Fontana. Orzabal would co-produce her 1990 album Circle of One. Two singles would be issued out from the LP, but neither got attention. However, a third single, a remake of the Brenda Russell tune "Get Here" (1988, #37 R&B), would catch fire and become a hit getting to #5 Pop, #3 AC, and #8 R&B. In turn, the album would then get to #20 Pop/#11 R&B and go gold. Adams would do a couple more albums for the Fontana label that were less successful, but that one hit and her TforF association gave the unknown KC lounge singer a long lasting career.

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"Janie's Got a Gun" by Aerosmith

Top 10 Alert!

Grammy Alert!

Rated 10 Alert!

Song#:  4118

Date:  11/25/1989

Debut:  85

Peak:  4

Weeks:  18

Genre:  Hard Rock, Glam Rock

Pop Bits:  Aerosmith's second album in their late 80s comeback phase, Pump, got an immediate boost when its first single "Love in an Elevator" got to #5 Pop/#1 Rock and went gold. It set the band up for further success and that indeed happened with this next single. It would nearly replicate the results by reaching #4 Pop and #2 Rock. While the single wouldn't go gold, it along with a popular MTV video would certainly help sales of the album. By the time spring of '90 rolled around it would have crossed the triple platinum mark. By the end of the year it would sell another million. This song would earn Aerosmith their very first Grammy. They picked up one for Best Rock Performance by a Duo or Group with Vocals.

ReduxReview:  For a hard/glam rock tune, the subject matter was certainly on the intense side. Apparently Steven Tyler got the title in his head and then later found inspiration via a Time magazine article about handgun deaths along with hearing someone talking about how many parents abuse their kids. Writing lyrics about the sexual abuse of a girl by her father and then her killing him certainly wasn't common fodder for glam tracks, but Tyler dug in and came up with an amazing song. Pair that with a great video and it provided Aerosmith with another major career moment. Everything is pretty much perfect with the track from the lyrics, to the production, to Tyler's delivery. This was the band's best moment of the 80s.

ReduxRating:  10/10

Trivia:  Double Shot!  1) The video for this song was directed by future Oscar nominee David Fincher. The intense video quickly became a favorite on MTV and would go on to receive eight MTV Music Video Award nominations. It would win two - Best Metal/Hard Rock Video and Viewer's Choice. Playing Janie in the video was Kristin Dattilo and the father was portrayed by Nicholas Guest. Lesley Ann Warren was cast as the mother. A few years prior in '83, Warren received an Oscar nomination for Best Supporting Actress for her role in the musical comedy Victor/Victoria.  2) Aerosmith would score a third Pop Top 10 hit from Pump. The power ballad "What It Takes" would get to #9 (#1 Rock). The album would end up selling over seven million copies. Their next album, '93's Get a Grip (#1), would replicate those results. Then '97's Nine Lives would be able to hit #1, but would stop at the double platinum sales mark. Aerosmith would cap of the 90s with a single that would become their biggest hit. The band would record the Diane Warren-penned tune "I Don't Want to Miss a Thing" for the '98 sci-fi disaster flick Armageddon. The song was instantly a hit debuting at #1 on the Pop chart and staying there for four weeks. It would be gold seller.

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"Love Song" by Tesla

Top 10 Alert!

Gold Record Alert!

Song#:  4052

Date:  09/30/1989

Debut:  90

Peak:  10

Weeks:  27

Genre:  Hard Rock, Glam Metal

Pop Bits:  Tesla's debut album, '86's Mechanical Resonance, would turn into a #32 gold record thanks to touring, MTV exposure, and the single "Little Suzi" getting a bit of airplay (#22 Rock, #91 Pop). The stage was set for a bigger breakthrough and by the beginning of '89 they had prepped their second effort The Great Radio Controversy. Its first single, "Heaven's Trail (No Way Out)," would do well at Rock getting to #13. A second single, "Hang Tough," would make it to #34 Rock. Despite neither song reaching the Pop chart, the album initially peaked at #18 in March of '89 and would go gold. It was a good result, but things were about to really pick up for the band with this third single. The power ballad would take a leisurely climb up the Pop chart eventually dipping into the Top 10 while also getting to #7 at Rock. The hit significantly boosted sales of the album and while it didn't eclipse its initial #18 peak, the LP did rebound and by the end of '89 it would go platinum. Eventually it would sell over 2 million copies. A fourth single, "The Way It Is," would do fairly well getting to #13 Rock/#55 Pop.

ReduxReview:  I really liked how this song built from the acoustic opening through to the guitar, then the final big chorus followed by the quiet coda. It was a well constructed tune that had shades of what would soon be known as grunge. It wasn't the typical hair metal power ballad. The result was an unexpected gold single that significantly expanded the band's audience.

ReduxRating:  8/10

Trivia:  Tesla's next album would be a bit of a change. Encouraged by a live acoustical rendition of "Love Song" for an awards event, the band's manager pushed them to perform a full set of songs on acoustic instruments. Initially they balked as they were a hard rock band, but were eventually won over. Two acoustic performances were booked at a club and after the response they got, four more shows were booked during breaks from their tour with Mötley Crüe. One of the shows was taped and some of those performances would make up the concert LP Five Man Acoustical Jam. A track from the album, a remake of the Five Man Electrical Band's 1971 #3 hit "Signs," was released as a single. It would be their biggest charting hit reach #2 Rock and #8 Pop. The album would get to #12 and go platinum. Tesla would return in '91 with their third studio album Psychotic Supper. It would get to #13 and go platinum thanks to the #7 Rock/#86 Pop single "What You Give." Their fourth album, '94's Bust a Nut, would be the swan song to their heydays. It would get to #20 and go gold. The band would then split and go on an extended hiatus. Eventually, they would reunite in 2000 and have since toured and released a few albums.

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"Love Shack" by The B-52's

Top 10 Alert!

Gold Record Alert!

Rated 10 Alert!

Song#:  4018

Date:  09/02/1989

Debut:  84

Peak:  3

Weeks:  27

Genre:  Pop, Rock

Pop Bits:  The mid-80s were a particularly bad time for The B-52's. The biggest blow to the band was when guitarist Ricky Wilson died in '85 due to complications from AIDS during the recording of their fourth album Bouncing Off the Satellites. Following his death, the band attempted to rally and finish the album. In '86, the somewhat disjointed effort was released. While it would spawn a pair of Dance Top 10s, the LP fizzled at #85. The loss of Wilson and their dwindling popularity then led the band to go on an indefinite hiatus. A couple years later in '88, guitarist/keyboardist Keith Strickland began writing some new tunes and it wasn't long before the band started to reform and collaborate. This time around, the songs that they were coming up with had less quirk and more maturity than their previous works. For their initial set of tracks, the band worked with producer Nile Rodgers. Then they switched to producer Don Was for the balance of the songs. Cosmic Thing was set to go in the summer of '89 and its first single, "Channel Z," was issued out. While it would not make the Pop chart, the song became a hit with the college crowd and it would end up reaching #1 on the Modern Rock chart. It was an encouraging start, but things would explode for the band with this next single, which quickly became their second #1 at Modern Rock. It also reached #7 at Dance. That exposure along with a popular MTV video helped the tune get on the Pop chart. It would not only become the band's first Pop Top 40 hit, but their first Top 10. The song was popular enough to linger on the chart for a long while and that helped the single go gold. In turn, the album would also become their first to crack the Top 10 (#4). Just after "Love Shack" reached its peak, the album would go platinum.

ReduxReview:  The 80s generated plenty of iconic songs, but this one is easily among the best. It still remains a party staple and continues to get a lot of airplay. It is infectious, fun, hooky, quirky, and has unforgettable, quotable lines. It was also great that the band got hooked up with producer Don Was. His work took the B's songs to a new level. The arrangement for this track that included the horns was spot-on and Was' production was crisp and punchy. The band never sounded better. They went from being that oddball "Rock Lobster" Athens band to major mainstream players with Cosmic Thing and it was a well-deserved hit.

ReduxRating:  10/10

Trivia:  Double Shot!  1) There were a couple of inspirations for this song that the band wrote together. For singers Fred Schneider and Cindy Wilson, they thought about a local Athens, Georgia, haunt that was out in the country called the Hawaiian Ha-Le. It was an oddball place where the band used to hang out. For singer/keyboardist Kate Pierson, she thought of her own little cabin in the woods where she lived in the 70s. The band would hang out and jam there and it is reportedly where one of their signature tunes, "Rock Lobster," was born. Apparently, both places had tin roofs, which led to one of the most famous lines from an 80s hit, "tin roof, rusted." That bit of the song was a happy accident. It seemed that during the recording of the song, Cindy Wilson was doing her vocal part when the track suddenly stopped. However, she kept on and finished the line she was on. That sudden stop of the music followed by Wilson's line sounded so cool that they worked the break into the track.  2) The song's memorable video became a favorite on MTV. It would end up winning two MTV Music Video Awards including for Best Group Video. Shot at a friend's house in upstate New York, the video featured a cameo by a soon-to-be drag superstar. RuPaul was a struggling drag queen in Atlanta when she got cast as an extra for the "Love Shack" video. At one point, it seems that RuPaul had to take charge. The director wanted to do a Soul Train style line dance, but no one really knew how to do that. So RuPaul took charge and taught them how to do the famous Soul Train line. In late '92, RuPaul's career would take off thanks to the #45 Pop/#2 Dance hit "Supermodel (You Better Work)." She'd reach a new level of stardom starting in 2009 with the hit Emmy-winning TV show RuPaul's Drag Race.

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"Closer to Fine" by Indigo Girls

Rated 10 Alert!

Song#:  3972

Date:  07/22/1989

Debut:  85

Peak:  52

Weeks:  9

Genre:  Contemporary Folk, Folk-Rock

Pop Bits:  Amy Ray and Emily Saliers had known each other since attending the same grade school in DeKalb County, Georgia. They became closer friends while attending high school and that is when they began to play music together. After attending separate colleges for a bit, both went to Emory University and started to perform together again. They became the Indigo Girls in '85 and that year recorded an indie single followed by a self-titled EP. Over the next couple of years they honed their writing and performing skills. In '87, the duo would record a self-released debut album titled Strange Fire. That LP helped them secure management and it eventually led to them getting signed by Epic Records. A self-titled second album was recorded and released in February of '89. The duo quickly gained attention and by the end of May, the album had climbed up into the Top 50. Then this first single began to catch on and started to climb the charts. Eventually it would get to #26 Modern Rock, #48 Rock, and #48 AC. On the Pop chart the tune would nearly make the Top 50. The album would finally peak at #22 and by the fall it would go gold (it would be certified double-platinum later in '97). The album would yield the duo two Grammy nominations including one for Best New Artist (they lost out to the scandal-ridden Milli Vanilli). They would win the Grammy for Best Contemporary Folk Recording.

ReduxReview:  I truly don't know how many times I've played the Indigo Girls album. It has to be in the hundreds. I honestly don't know what spurred me to buy the CD. I probably read something about them that caught my attention and I picked it up. It was a lucky find. I fell in love with their songs, their voices, and their harmonies. From that point on, I became a huge fan. Their next album Nomads Indians Saints I probably played just as much. I was a little surprised when this single caught on. It was a wordy, cerebral folk tune and although there were a few other contemporary folks breaking through at the time (Suzanne Vega, Tracy Chapman), it certainly wasn't the type of fare that was making waves on pop radio. It would have been cool if it made the Top 40, but it still did well and led more people to the album in droves. Those folks kept showing up album after album and the duo maintained solid sales throughout the 90s without a hit single. The pair were meant to make music together and the formula they came up with was perfect and is has served them well for a long time.

ReduxRating:  10/10

Trivia:  Although the Indigo Girls would only have one more single make a minor appearance on the Pop chart ('92's "Galileo," #89), they would have a run of five highly successful albums (4 studio, 1 live) in the 90s that made them stars. Three of those albums would go platinum, two gold (their success would lead to their debut album Strange Fire to go gold as well). Two of their studio albums would also crack the Top 10. Known for their live performances, political activism, and dedication to causes, Ray and Saliers have maintained a large fan base for many years. Their albums continued to chart and they have racked up five further Grammy nominations. While Ray and Saliers arrange and perform all their songs together, with very rare exception do they actually write together. For the most part they will write and do the lead vocal on their own songs. This gives each person a chance to shine, yet because they collaborate on arrangements, it all sounds cohesive and it has provided the Indigo Girls with their own unique sound and niche.

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"If I Could Turn Back Time" by Cher

Top 10 Alert!

Gold Record Alert!

Rated 10 Alert!

Song#:  3961

Date:  07/08/1989

Debut:  89

Peak:  3

Weeks:  23

Genre:  Pop, Rock

Pop Bits:  After being absent from the Pop chart since 1979, Cher made a comeback with her 1987 self-titled album that featured the #10 hit "I Found Someone." The LP would get to #32 and go gold (later platinum). During that time she also won the Best Actress Oscar for Moonstruck. Cher's popularity was at a new high and so to keep things going she moved forward in recording a follow up album. Using some of the same folks who helped on her previous album, such as Diane Warren, Michael Bolton, and Desmond Child, Cher came out of the studio with her nineteenth solo studio album Heart of Stone. Although the album included a previous movie soundtrack duet hit, "After All" with Peter Cetera," the first official single from the album was this tune penned by Warren and produced by Warren and Guy Roche. The song had a bit of a tepid start, but it soon gained momentum and finally made it to the Pop Top 3 while hitting #1 at AC. It sold well enough to go gold. Just a few weeks after the song reached its peak on the Pop chart, the album would hit its highest mark at #10. It became Cher's first solo album to make the Top 10. By November it would reach the platinum sales mark.

ReduxReview:  Of course "everyone" is a broad term, but a ton of people hear and/or reference this song at least twice a year - during the Daylight Saving Time changes. That Cher meme gets sent around and it's not long before this song is spinning somewhere. The track turned into an instant Cher classic. Of course the video helped it along (see below), but even without that, the song was good enough to stand on its own. Warren came up with a doozie of a pop tune and the production was excellent for the time period. There were hooks a-plenty in the tune including a huge arena-ready sing-a-long chorus and a big key change. It really should have hit #1. I think folks thought this would be the peak of her musical comeback and it kind of was - for a while. However, Cher was always full of surprises and she pulled off an even bigger comeback late in the 90s with the #1 platinum "Believe."

ReduxRating:  10/10

Trivia:  Double Shot!  1) According to Diane Warren, Cher hated this song when it was presented to her. Warren had assembled the demo and sang on it and when Cher heard it she immediately passed. However, Warren wasn't going to take no for an answer. She fully believed in the song and that is was perfect for Cher. In an interview, Warren said that she basically pinned down Cher's leg in the studio and begged her to give the song a try. Cher finally relented and gave it a try. Warren says that after singing the tune in the studio, Cher gave a knowing look that Warren was right.  2) There were so many iconic music videos from the 80s and among those was the one shot for this track. Directed by Marty Callner, the shoot took place on the USS Missouri while it was stationed at Long Beach. The Department of the Navy granted permission for the shoot thinking it could help as a recruitment tool. It seems the Navy reps had the impression that Cher was going to perform onboard the ship in some sort of jump suit. When filming started, Cher emerged in a revealing fishnet/one-piece swimsuit outfit. Navy reps on board were not happy and wanted Cher to change, but it was too late and the shoot went on. The video, which included Cher straddling a cannon, proved to be controversial. It seemed to have caused some issues within the naval ranks about how/why it happened and other folks, like Navy veterans, were definitely up in arms. Even MTV thought it was a little much and after initially banning the video, later chose to show it after 9 pm. Of course the controversy only gave more publicity to Cher and the song and both came out winners.

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"This Time I Know It's for Real" by Donna Summer

Top 10 Alert!

Gold Record Alert!

Rated 10 Alert!

Song#:  3873

Date:  04/22/1989

Debut:  88

Peak:  7

Weeks:  17

Genre:  Dance-Pop, Hi-NRG

Pop Bits:  Music mogul David Geffen had plenty of successes, but he also made some unfortunate decisions as well. While rival Clive Davis was known to be very prickly, Geffen's reputation was that of an asshole. Regardless, he would typically get things done and stars made. Among his mistakes though are perhaps ones with Donna Summer. Following her 1979 #1 double-platinum LP Bad Girls, Summer wanted to leave her label Casablanca due to artistic direction and other issues. She did an signed on as the first artist on Geffen's own label. Her first album for Geffen would be 1980's #13 gold selling The Wanderer. Tensions between Geffen and Summer started to kick off when Summer began recording tracks with her long time producer Giorgio Moroder for a new album. Geffen heard some tracks and didn't like them. He shelved the project (years later released as I'm a Rainbow) and teamed Summer up with Quincy Jones for 1982's Donna Summer. It got to #20 and went gold, which also disappointed Geffen. Next, Summer chose to work with Michael Omartian for her next effort. But then after dealing with issues from her old label, Summer was stuck owning one more album to the parent company Polygram. It seems Geffen wasn't all that thrilled with the new tracks and handed them over to fulfill Summer's obligation. Those tracks became the album She Works Hard for the Money, which became a hit thanks to the #3 title track single. It was touted as Summer's "comeback" and Geffen sort of got aced out. Obviously his next step was to keep Omartian with Summer for her next album '84's Cats Without Claws, but the magic wasn't there and the LP stalled at #40. Summer would then be paired with Harold Faltermeyer for '87's All Systems Go, but the album tanked at #122. Needing some kind of boost, Summer then wanted to work with the Stock Aitken Waterman team (Rick Astley, Bananarama). They got hooked up and recorded the album Another Time Another Place. It was initially launched earlier in '89 in the UK and Europe on Summer's international label Warner Bros. This first single became a #3 hit in the UK and Top 10 in other countries. Yet despite that success, Geffen didn't like the album and refused to release it in the US. The decision would have Summer leaving Geffen and signing on with Atlantic Records who would quickly push out the single. It would end up becoming a gold-selling Pop Top 10 hit (#2 AC/#5 Dance). While the album would miss the gold mark and peak at #53, it seems Geffen missed out once again. Out of Summer's four Top 10's of the 80s, two of them were ones that Geffen gave away. This single was a major bright spot for Summer, but unfortunately it would end up being her last major Pop hit.

ReduxReview:  It is reportedly said that for the SAW team, the Summer album was one that they loved doing and was their favorite in their extensive catalog. I can see that in a couple of respects. First, they had Summer. SAW for the most part had been working with, shall we say, capable vocalists. Having an amazing singer like Summer do their tracks had to have been a great experience. Second was this song. I think it was easily SAW's best tune and it probably didn't hurt that Summer contributed and got a writing credit as well. It was a wonderfully written tune with an SAW production that wasn't over the top. There was a slight air of sophistication about the track that wasn't normally found in the standard SAW song mill. Of course Summer's vocals were perfection. The album was good, but none of the songs came close to this one. It would prove to be Summer's last Pop Top 10 and what a great one to go out on.

ReduxRating:  10/10

Trivia:  Following the success of Another Time Another Place and this hit, it was decided that Summer would do a second album with the Stock Aitken Waterman team. It seems that plans were made and SAW prepped some tracks including one they wrote for her titled "Happenin' All Over Again." Now, it is not necessarily clear as to what happened, but the sessions never got off the ground. Stories either have Summer being too busy to get back to London for the project or Summer just not showing up, which caused a riff between the two parties. Whatever happened, it left SAW with some material ready to go. SAW ended up meeting with US singer Lonnie Gordon. Gordon had been singing in Harlem nightclubs for several years before setting aside her career and moving with her husband and daughter to London. Around '88 she got the urge to sing again and began working with a couple dance/house acts which led to a solo contract with Supreme Records. She had wanted to work with the SAW team so after a minor club hit her label got her a meeting with them. It just so happened that it was around the same time that the Summer project fell through, which was a lucky break for Gordon. She recorded "Happenin' All Over Again" and it was got issued out as a single. The song would end up becoming a #4 hit in the UK in 1990. More tracks would be recorded and a debut album released. Gordon would not get noticed in the US at the time, but the following year she recorded the song "Gonna Catch You" for the Vanilla Ice flick Cool As Ice and it reached #1 on the US Dance chart while also reaching #78 Pop. A second album, 1993's Bad Mood, would three US Dance Top 10s including two #1s. One of those was a remix of "Happenin' All Over Again," which briefly touched the Pop chart at #98. Gordon would score one more Dance Top 10 in '96 before doing other work such as being the lead vocalist/narrator for the Las Vegas Cirque de Soleil show Zumanity.

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"Like a Prayer" by Madonna

#1 Alert!

Platinum Record Alert!

Rated 10 Alert!

Song#:  3841

Date:  03/18/1989

Debut:  38

Peak:  1 (3 weeks)

Weeks:  16

Genre:  Pop

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

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

ReduxRating:  10/10

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

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"One" by Metallica

Grammy Alert!

Gold Record Alert!

Rated 10 Alert!

Song#:  3807

Date:  02/18/1989

Debut:  76

Peak:  35

Weeks:  15

Genre:  Heavy Metal, Thrash Metal

Pop Bits:  This metal quartet's beginnings go back to 1981 Los Angeles when drummer Lars Ulrich put an ad in a paper looking for other metal musicians. One person who answered was guitarist James Hetfield. Five months later, the first iteration of Metallica was born. Joining Ulrich and Hetfield prior to the recording of their first album for the indie Megaforce label, 1983's Kill 'Em All, was guitarist Kirk Hammett and bassist Cliff Burton. While Kill 'Em All would only reach #155, it garnered the band solid reviews and helped to expand their audience. Their next effort, 1984's Ride the Lightning, would also be well received and get to #100. It was then that Elektra Records came along and signed the band. The backing of a major label helped when it came time for their third album, 1986's Master of Puppets. It would become the band's first to crack the Top 30 (#29) and go gold. With their career on the upswing, the band then had a setback. A tour bus accident ended up killing Burton. Metallica nearly called it quits, but decided to move ahead with a replacement and hired in Jason Newsted. The new lineup would record their fourth album ...And Justice for All. The epic work was the band's longest yet coming it at 65 minutes, yet that didn't stop record buyers who sent the album to #6 a mere two weeks after its release in the fall of '88. It quickly went platinum. However, the band wasn't quite done with the album yet. They would film a video for the track "One" and it became an instant hit on MTV. The song was released as a single and while it didn't garner a ton of airplay due to its 7+ minute running time (although there was an edited version for radio), it sold well and was able to crack the Pop Top 40 (#46 Rock). A little over a year later, the single would be certified gold. Metallica had broken through to the mainstream with their uncompromising speed/thrash metal sound. Of course their career would hit its peak with their 1991 classic Metallica, which would hit #1, sell over 16 million copies, and win a Grammy.

ReduxReview:  Okay, so thrash/speed metal was definitely not in my wheelhouse in the late 80s. I was barely stretching my ears over the glam metal hits of the day so the intense assault of guitars and drums from Metallica were a bit much for me. That came to an end with this song. I remember seeing the video for "One" on MTV and it totally blew me away. The movie scenes combined with the band's performance, lyrics, and the song's theatrical arrangement just gave me chills. It was so awesome. I immediately ran out and got the single. It wasn't long before I got the album as well. While I didn't become a huge thrash metal fan, Metallica did open my eyes and I would get albums from other speed/thrash metal bands. Still, Metallica were different. I connected with them more than other artists of the genre. Of course when Metallica came out next, I was all over it. Yet it all started with this song, which still gives me thrills and chills. Beyond epic.

ReduxRating:  10/10

Trivia:  Double Shot!  1) "One" is about a soldier who lost his arms, legs, jaw, sight, and hearing after a landmine blast, yet his mental capacity stayed intact. He remained alive with no way to communicate and praying for death. The lyrics were based on the 1939 novel Johnny Got His Gun by Dalton Trumbo. Trumbo would later write a screenplay and direct a film version of the book in 1971. It starred Timothy Bottoms. When it came time for Metallica to shoot a video for the song, a first for the band, they wanted to use dialog and scenes from the film in the video. While they would initially pay royalty fees for use of the film, the band later chose to just buy the rights to the film so they could use what they wanted from the film without having to pay royalties.  Johnny Got His Gun received mixed reviews upon initial release and did not do well at the box office. It might have stayed a relatively obscure and forgotten film, but then Metallica's video gave it new attention and it became a cult flick.  2) The timing of this single led to it becoming nominated for a Grammy in the Best Metal Performance category. It was the first year for that category and Metallica would win the award. While deserved, it was also somewhat of a consolation prize from the previous year's bungle. In 1989, the Academy created a new category called Best Hard Rock/Metal Performance Vocal or Instrumental. Metallica would be nominated in the category for ...And Justice for All. They were expected to win over AC/DC, Iggy Pop, Jane's Addiction, and Jethro Tull. Tull was such a long shot to take the award that their label told them not to make the trip to attend the awards. They didn't and in one of Grammy's biggest upsets, they won. The backlash was immediate and swift with many saying Jethro Tull didn't even belong in the category. The next year, the Grammy listened and decided to split the category in two. There was Best Metal Performance, won by Metallica, and Best Hard Rock Performance, which was won by Living Colour. Metallica would win the Best Metal Performance Grammy three years in a row and would win it two more times. Oddly, they would also later win a Grammy in the Best Hard Rock Performance category.

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"You Got It" by Roy Orbison

Top 10 Alert!

Song#:  3774

Date:  01/21/1989

Debut:  85

Peak:  9

Weeks:  18

Genre:  Pop, Rock

Pop Bits:  The 70s were a period of struggle for legendary hitmaker Roy Orbison. His albums failed to sell and it seemed that his career was on the verge of fading away. Things started to perk up a bit when Linda Ronstadt covered Orbison's 1963 #29 "Blue Bayou" and took it to #3. The hit brought Orbison's name back to light and it increased from there with other artists having hits with his classics (Don McLean's "Crying," #5, 1981, and Van Halen's "Oh, Pretty Woman," #12, 1982). Orbison would win a Grammy along the way for his duet with Emmylou Harris on "That Lovin' You Feelin' Again." A couple of soundtrack songs would follow including a Grammy-winning duet with k.d. lang on "Crying," followed by an induction into the Rock and Roll Hall of Fame. With his career on a major upswing, Orbison was ready to record an album of new material. He got hooked up with ELO frontman Jeff Lynne who was coming off of working on George Harrision's hit LP Cloud Nine. It was at a session with Harrison for an additional b-side song that The Traveling Wilbury's were formed with Orbison, Tom Petty, and Bob Dylan. The group would quickly do an album that ended up a #3 hit, which further boosted Orbison's star. Lynne and Orbison finally finished off the album Mystery Girl in November of '88. Unfortunately, while on a break from performing, Orbison unexpectedly died of a heart attack at his mother's home. Since the album was finished, the label (Virgin) decided to go ahead and release it. This single, written by Orbison, Lynne, and Petty, was issued out first. It would become a big hit reaching #1 AC, #2 Rock, #7 Country, and #9 Pop. It was Orbison's first Pop Top 10 since his 1964 #1 classic "Oh, Pretty Woman." In turn, the album would become his first solo effort to reach the Top 10 (#5) and go platinum. The song would also earn Orbison a Grammy nomination for Best Pop Vocal Performance, Male. It was a bittersweet cap on the career of the legendary artist who had nine Top 10 hits to his name.

ReduxReview:  It would have been interesting to know how well this song would have done had Orbison not died. I want to believe it still would have gone Top 10. It certainly should have. The tune did a great job of taking Orbison's 60s sound and filtering it through 80s production and arrangement. Frankly, I think it would have been a huge hit in the 60s and the fact that it still sounded fresh and relevant in the 80s was a true testament to Orbison's talent and Lynne's lovingly crafted production. I think I love and appreciate this song even more now than I did when it first came out. The album was also excellent and I hope it drove younger listeners to dive into Orbison's catalog, which is chock full of great songs. Orbison's voice was absolutely one of a kind and he was a master at eking out every drop of emotion out of a lyric. Any youngsters out there who have their sights on a singing career? This is how you do it. Two words - study Orbison.

ReduxRating:  10/10

Trivia:  Triple Shot!  1) Mystery Girl not only featured Orbison's Traveling Wilbury cohorts Lynne and Petty, but also involved was U2's Bono. In the summer of '87, Bono wrote the basics of a song one morning after listening to the soundtrack to the film Blue Velvet, which featured Orbison's 1963 #7 hit "In Dreams." Later that evening, the band performed a show at London's Wembley Arena. After the show, they got a surprise visit from Orbison. Bono ended up playing his new song for Orbison who really liked it. With Orbison ready to record a new album, plans were made for Orbison to record the song with Bono producing. "She's a Mystery Girl" would be the second single from Orbison's album. While it would not make the Pop chart, it did get to #23 AC and #26 Rock.  2) Orbison's second wind career sadly hit its peak after his death. At one point, the Traveling Wilbury's album was at #3 while Orbison's solo LP was at #5. It was only the second time an artist posthumously had two albums in the Top 5 simultaneously. The first artist to do that was Elvis Presley.  3) In September of '87, Orbison filmed a TV special for HBO titled Roy Orbison and Friends: A Black and White Night. It featured the new inducted Rock and Roll Hall of Fame member performing some of his most famous song backed by a slew of top artists including Bruce Springsteen, Elvis Costello, Tom Waits, Jackson Browne, Bonnie Raitt, and k.d. lang. The show was successful and the video release of it would go gold. Following Orbison's death, Virgin Records would collect many of the songs from the show together on an album and release it as A Black and White Night Live. The collection was critically well-received, but it would only reach #123 on the chart.

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"A Little Respect" by Erasure

Rated 10 Alert!

Song#:  3743

Date:  12/10/1988

Debut:  84

Peak:  14

Weeks:  17

Genre:  Synthpop

Pop Bits:  This UK duo had major success on the US Dance chart with songs from their first two albums. They would earn six Top 10 hits on the chart including the #1 "Victims of Love." But the tunes didn't translate to the mainstream and as a result the albums failed to sell. That changed with their third album The Innocents. Its first single, "Chains of Love," would nearly crack the Pop Top 10 at #12 while reaching #4 Dance. Next up was this single that did just as well getting to #14 Pop and #2 Dance. The one-two punch of hits helped album sales and even though it would only peak at #49, sales were steady and eventually it would go platinum. By this point in time, the duo had already issued out a new EP in the UK and a track from it was gaining a lot of attention. Therefore, instead of releasing a third single in the US from The Innocents (as the US was slow to catch on to the LP), the label decided to wait and follow it up with the EP track in early '89.

ReduxReview:  The build of the whole front part of this song was just so brilliant. The instantly memorable synth line got things kicked off and then came the beats followed by the vocals with other sounds being added to the driving rhythm. It finally culminated in Andy Bell's glorious chorus ending falsetto. It was such a great way to start a song and it continued from there with background vocals and a bridge section with a synth piano riff. I also loved how the song reached a fever pitch release and then softens back in a "whew!" relief way with the main synth riff quietly taking the song out. While the song wasn't about sex, the arrangement certainly leaned that way...build, climax, relax. Perfect! It was another big winner from the duo that should have easily made the Top 10.

ReduxRating:  10/10

Trivia:  In 2001, this song became a hit again in the UK by an unlikely artist. The American alt rock band Wheatus covered the song for their 2000 self-titled debut album. That LP contained the song "Teenage Dirtbag," which was released as the first single. It would reach #2 in the UK. They followed it up with their remake of Erausre's "A Little Respect." It would do nearly as well reaching #3. The two hits would send their album to #7 and it would go platinum. Their subsequent LPs would not chart in the UK, but at least they made a mark with their debut album. In the US, the Long Island, New York, band didn't get the same attention. "Teenage Dirtbag" would peak at #7 on the Modern Rock chart with the album stalling at #76. As in Britain, their follow-up LP's would not chart. Despite not having major success in the US, Wheatus, headed up by vocalist/songwriter Brendan B. Brown, has maintained a solid following and has continued to record and tour over the years.

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"Welcome to the Jungle" by Guns N' Roses

Top 10 Alert!

Rated 10 Alert!

Song#:  3693

Date:  10/22/1988

Debut:  58

Peak:  7

Weeks:  17

Genre:  Hard Rock, Glam Metal

Pop Bits:  Guns N' Roses broke through in a huge way with the #1 gold-selling hit "Sweet Child O' Mine." It was the second single from their debut album Appetite for Destruction. For a follow-up, the band's label chose to reissue the album opener "Welcome to the Jungle." That track was originally the first single from the LP, but it only got to #37 at Rock while failing to make the Pop chart. Since it didn't seem to get a fair shake the first time around, the song was pushed out again after the success of "Sweet Child O' Mine." The second time around it would fare far better and make the Pop Top 10. Meanwhile, the album was selling like hotcakes and by the end of '89 it would already be at the 6 million mark.

ReduxReview:  This swaggering track is perhaps one of the most aggressive and brutal Top 10 hits of the era. Save for the brilliant breakdown that provided a bit of a respite from all the menace, the tune was unrelenting. It not only grabbed you, it shook the shit out of you. Then following Axl Rose declaring "you're in the jungle, baby - and you're gonna die!," a key change pushes the song into maximum overdrive. It's exhausting and thrilling. It is also one of the best metal songs of all time.

ReduxRating:  10/10

Trivia:  Just after the release of "Sweet Child O' Mine," Guns N' Roses would make an uncredited cameo appearance in a film. Both the band and "Welcome to the Jungle" would be featured in the fifth and final installment of the Dirty Harry franchise The Dead Pool. The movie had Clint Eastwood returning as Detective Harry Callahan. This time around he and his partner investigate the murder of rock singer Johnny Squares (played by a pre-fame Jim Carrey). Guns N' Roses appear in a couple of scenes. Once performing "Welcome to the Jungle" at Squares' funeral and then again in a dream sequence. Not long after the film was released in July of '88, "Sweet Child O' Mine" would become a huge #1 hit. The movie would received mixed reviews and its box office take wouldn't meet expectations. Still, it would generate another memorable quote from the series, which had spawned such pop culture references as "make my day" and "You've gotta ask yourself a question - do I feel lucky? Well do ya punk?" The memorable quote from The Dead Pool was a bit cruder than previous ones with Dirty Harry saying "Opinions are like assholes - everybody has one."

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"What's on Your Mind (Pure Energy)" by Information Society

Top 10 Alert!

Gold Record Alert!

Rated 10 Alert!

Song#:  3581

Date:  07/16/1988

Debut:  90

Peak:  3

Weeks:  25

Genre:  Synthpop, Dance

Pop Bits:  This band headed up by Kurt Harland and Paul Robb got started on the campus of Macalester College in St. Paul, Minnesota, in 1982. The group worked on an electro/techno/freestyle sound and pushed out an indie EP in 1983. It helped get them signed to Minneapolis' Twin/Tone Records and a second EP, Creatures of Influence, was released in '84. The following year one of the tracks from the EP, "Running" was released as a single and it started to get some club action. It eventually led to the group getting signed by Tommy Boy who reissued the single. In the summer of '86, the track would get to #10 on the Dance chart. Happy with those results, the label then wanted a full album from the group. They would assemble a self-titled full-length debut and this track would be the first single issued out. The song became popular in clubs and would quickly hit #1 at Dance. The week it reached the top spot on that chart, it debuted on the Pop chart. It took a little while for the song to catch on, but once it did it carved a path up to the #3 spot. With the single slowly catching fire, sales were steady and it would end up being a gold seller. The hit would help the album make it to #25.

ReduxReview:  The basics of this track were great to begin with. It had a nice melody in the verse, a hooky chorus, and terrific production. However, that "pure energy" vocal sample is what took the song over the top. Its use was inspired and it basically created a very memorable secondary hook. The tune was absolutely infectious and it still is. I can't imagine an 80s playlist without the track. It is essential synthpop from the decade.

ReduxRating:  10/10

Trivia:  Most people quickly figured out that the male voice on the track that says "pure energy" was that of Leonard Nimoy's Spock character on the original Star Trek TV series. The sample of Nimoy's voice came from the 1967 episode "Errand of Mercy." Also heard on the track are the voices of Nimoy's co-star DeForrest Kelly (Dr. McCoy) and Richard Tatro, who played the android Norman on the episode "I, Mudd." So how on earth did the band get permission to use the Star Trek samples? Turns out they got a lot of help from Nimoy's son Adam. Apparently, Adam Nimoy was an attorney who specialized in entertainment law. He also just happened to know and be a fan of the band. That connect help InSoc get the clearance to use the snippets.

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"Sweet Child O' Mine" by Guns N' Roses

#1 Alert!

Gold Record Alert! 

Rated 10 Alert!

Song#:  3561

Date:  06/25/1988

Debut:  76

Peak:  1 (2 weeks)

Weeks:  24

Genre:  Hard Rock, Glam Metal

Pop Bits:  This metal band formed in early 1985 and initially consisted of members from two other Sunset Strip-playing acts, Hollywood Rose and L.A. Guns. The singular constant between the two bands was lead singer Axl Rose, who headed up Hollywood Rose and then for a short time sang with L.A. Guns. After the manager for L.A. Guns canned Rose, he and three members of the band decided to form a new group and invited along Hollywood Rose member. Izzy Stradlin. Looking for a name, they settled on one that represented the two groups the members had previously been in and became Guns N' Roses. Their first performance was in March of '85, but not long after the three L.A. Guns members were gone. Rose and Stradlin hired in Duff McKagen and two former Hollywood Rose members Slash and Steven Adler. This lineup started performing in the summer of '85 and it wasn't long before they were gaining fans. By the summer of '86, they had signed a contract with Geffen Records. Work began on a debut album, but it was taking quite a bit of time so the label pushed out a tide-over EP late in '86 titled Live ?!*@ Like a Suicide, which oddly was not a live recording, but studio tracks with crowd noise added. Eventually, the album got finished with producer Mike Clink and Appetite for Destruction was released in July of '87. Initially, the album and its first single, "Welcome to the Jungle," floundered. Neither were getting anywhere and the label was ready to give up, but then after some lobbying, the label decided to give it another shot and worked with MTV to get the video for "Welcome to the Jungle" in rotation. MTV decided to lend a helping hand and soon the tune started to get some attention. It finally got on the Rock chart and by April '88 it made it to #37. Encouraged by that, the label then pushed out this second single. The video was soon in heavy rotation on MTV and the song began climbing the Rock chart where it would peak at #7. Then the song exploded in a more mainstream way and it would end up topping the Pop chart. The hit sent the album to #1 for a week in August of '88. It was the first of five non-consecutive weeks at the top spot for the LP. GN'R were on their way.

ReduxReview:  Once in a while a song comes along that just changes everything. I think this was one of them. Up to this point, glam metal was certainly on the rise thanks to hits by the likes of Def Leppard, Whitesnake, Poison, and others. However, this song was like a shot over the bow. Both it and the album were landmarks that made the genre explode. Soon there would be bands like Warrant, Skid Row, and Slaughter along with the continued success of acts like Mötley Crüe. Glam metal would reign supreme for a few years, but then another landmark song and album would come along in 1991 that would change the face of rock again (Nirvana's "Smells Like Teen Spirit" and Nevermind). I distinctly remember hearing this song for the first time. It was on MTV and I was kind of blown away by the sweetness of the song and melody mixed with the ferocity of the band, the guitar solo, and Axl Rose's vocals. It felt different from the party-ish glam metal songs and power ballads other bands were doing. I didn't waste time and immediately got the album. It was chock full of great songs with very little filler. Needless to say, I played it a lot and this song along with "Welcome to the Jungle" were the stars. Just even hearing the opening guitar riff of this song can still give me chills. It was a great moment in rock music.

ReduxRating:  10/10

Trivia:  Double Shot!  1) At the time the band was creating this song, Axl Rose was dating Erin Everly. She was the daughter of Don Everly, one half of the famous brother duo The Everly Brothers. With nine Pop Top 10 hits and four #1s, the Everlys were the most successful duo of the rock era until Daryl Hall & John Oates bested the with ten Top 10 and six #1s. Rose wrote the lyrics to "Sweet Child O' Mine" with Erin in mind. She would also appear in the song's video. After being together for four years, the pair would be married in 1990, however their union would be annulled nine months later.  2) In 1999, singer/songwriter Sheryl Crow would cover this tune for the soundtrack to the Adam Sandler comedy Big Daddy. The film was a big hit with Crow's cover tune being used in a scene while the Guns N' Roses original played over the closing credits. Although Crow's version would not be released as a single, it did help in getting the soundtrack album to #55. A revised edition of Crow's 1998 #5 LP The Globe Sessions released in '99 would include the track. It would also earn Crow a Grammy for Best Female Rock Vocal Performance. It was her sixth Grammy.

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"What Have I Done to Deserve This?" by Pet Shop Boys & Dusty Springfield

Top 10 Alert!

Rated 10 Alert!

Song#:  3360
Date:  12/12/1987
Debut:  60
Peak:  2
Weeks:  18
Genre:  Synthpop



Pop Bits:  The UK duo escaped the sophomore curse with their second studio album Actually going gold thanks to the #9 "It's a Sin" along with this even bigger follow-up. The duet with 60s UK blue-eyed soul star Dusty Springfield hit all the right notes and nearly topped the Pop chart. It was the duo's fourth Top 10 in the US. The song also got to #1 at Dance, their second to top that chart, and #14 AC.

ReduxReview:  In an article by Nick Levine in the UK music magazine NME, he stated of this song that "before it's even finished, you already want to play it again." I can't agree enough. The oddly structured song was loaded with hooks and it ended up being very influential on me. Mainly because it was the way I discovered Dusty Springfield. I was slightly familiar with her because I was familiar with her first hit, 1963's "Wishin' and Hopin'" (#6 US Pop). Other than that, I knew nothing. But her voice on the song fascinated me and so I dove deeper and the first stop was her beyond classic 1968 recording Dusty in Memphis. After I heard that, I was utterly hooked. I've been a huge Dusty fan since then. Selecting her for this track was an inspired choice. Her husky, soulful voice softened and gave life to Pet Shop Boys' more rigid and mechanical synthpop style. It was a match made in pop heaven. While I loved "West End Girls," for me this was, and still is, the duo's best moment on record.

ReduxRating:  10/10

Trivia:  Double Shot!  1) This song was written by Pet Shop Boys (Neil Tennant and Chris Lowe) along with Allee Willis. The structure of the song was a bit unusual. There was a spoken word part along with two sections that were quite different. Each part had its own distinctive hook, which is not like a typical pop song that has a verse and a catchy chorus. The song ended up this way because each composer wrote a part of the song and those three chunks were then stitched together. It was an unusual approach, but it worked out and made the song stand out from the normal pop chart fare.  2) The song had been written three years prior to it getting recorded and from the get-go, Neil Tennant had only one person in mind for the duet, Dusty Springfield. Springfield was a 60s music icon who earned nine Top 10 hits in the UK between '63 and '68. She was so popular that she even had her own TV variety series for four years. She was less popular in the US earning only three Top 10s in the same time period with her 1968 #10 hit "Son of a Preacher Man" arguably being her most iconic song in the States. That song was featured on her classic LP Dusty in Memphis, which continually appears on lists of the best albums of all time (#83 on Rolling Stone's 500 Greatest). Initially, the duo's label wasn't thrilled with the Springfield choice because she hadn't had a significant chart entry since 1970. They suggested Tina Turner or Barbra Streisand, but Tennant was adamant and after some coaxing, Springfield came on board. The hit helped revive her career and in 1989 Pet Shop Boys wrote and produced five tracks for Springfield's comeback album Reputation. Two of those tracks became Top 20 hits in the UK. Unfortunately, none of the singles made the US Pop chart, but the track "In Private" did get to #14 at Dance. Springfield would pass away in 1999 from breast cancer.

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"Tunnel of Love" by Bruce Springsteen

Top 10 Alert!

Rated 10 Alert!

Song#:  3356
Date:  12/05/1987
Debut:  57
Peak:  9
Weeks:  16
Genre:  Rock



Pop Bits:  Springsteen's Tunnel of Love album, his follow-up to 1984's massively successful Born in the U.S.A., was highly anticipated, but unlike his 1986 box set Live/1975-1985, it didn't make a major splash by debuting in the #1 spot. It started off at #16 and two weeks later landed at the top, but remained there for one lone week. Although the more personal LP's first single, "Brilliant Disguise," would make it to #5, it didn't draw people to the album in the way that "Dancing in the Dark" did for Born in the U.S.A. Springsteen's label probably realized quickly that the new album wasn't going to get close to the sales mark set by Born, but that didn't mean it still couldn't do well and it was hoped this title track single would help album sales. The song would be another bit hit at Rock reaching #1. Over on the Pop chart the tune managed to make the Top 10, which ended up being good for the album. By April of '88, the LP would go triple-platinum.

ReduxReview:  This song gets near the top of my list of favorite Springsteen songs. I just think everything about it is perfect. The lyrics, the arrangement, the production, the background vocals, and even the crowd noises (see below) were just spot on. There was some strange, other worldly feel about the song and at the time it was quite a different sound for Springsteen. I've heard it countless times and I still adore the track. I nearly get chills whenever I hear the song start. If it happens to come up on one of my playlists, I'll usually hit the repeat button because just one time through isn't enough for me. Classic and brilliant.

ReduxRating:  10/10

Trivia:  Some effects that contain noises and screams can be heard slightly at the beginning of the song, but more prominently at the end. The sounds heard were captured by engineer Toby Scott. He recorded actual amusement park noises to go with the song's metaphorical tunnel of love/fun house theme. Scott recorded the sounds at Herman's Amusements on Point Pleasant Beach, New Jersey, which in 1987 became part of Jenkinson's Boardwalk. The clanking roar and screams Scott recorded apparently came from a roller coaster at the park, which at the time was owned by the Schiffer family. According to a newspaper article written by a former employee at the park, the coaster was called the Dragon. The history of the ride isn't well documented, but it seems that at some point in time after it was taken over by Jenkinson's, the coaster was closed and perhaps even moved. A refurbished version of the ride then became the Tornado, which is still in operation as of this posting date. The Tornado is an example of a railed powered roller coaster. This means that the single car that traverses the track is powered throughout the ride. This is different from most coasters that rely on large hills to propel the coaster around the track. The advantage of a powered coaster is that it can be designed for small areas where large hills couldn't be constructed. In the liner notes for Tunnel of Love, the Schiffer family is given credit for the park noises.

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"Push It" by Salt-N-Pepa

Platinum Record Alert!

Rated 10 Alert!

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



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

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

ReduxRating:  10/10

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

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"Cherry Bomb" by John Cougar Mellencamp

Top 10 Alert!

Rated 10 Alert!

Song#:  3309
Date:  10/24/1987
Debut:  78
Peak:  8
Weeks:  21
Genre:  Folk-Rock, Americana



Pop Bits:  Mellencamp got his eighth Pop Top 10 hit with "Paper in Fire" (#9), the lead single from his album The Lonesome Jubilee. The track would reach #1 at Rock and this follow-up single would do the same. It would end up peaking just a notch higher at Pop than his previous single. The song would also do well at AC making it to #12. By this point in time, the album had reached its peak of #6 and gone platinum. However, this hit would help drive album sales to the double-platinum level by January of '88.

ReduxReview:  This is one of those songs that even though it is upbeat, the nostalgia factor is so great that it can make me cry. I just think this song is brilliant. From the reflective lyrics to the fiddle fills in the chorus, everything about it just fills my heart with such a warm feeling. I know that is kind of corny to say, but it really does. The lyrics contain so many good lines like "dancin' meant everything," "holdin hands meant somethin'," and "17 has turned 35." While the song is mainly about Mellencamp's experiences, it can really be applied to most anyone. Folks can hear this and think, "yeah, I remember when a sport was a sport." I also love the middle instrumental break with that unison lick leading to the break with snaps and "say yeah" vocals. Just awesome. Plus I love the accordion. I mean, c'mon. Not many folks could make an accordion seem like the coolest thing in a pop song, but Mellencamp did. For me, this was more than just a damn good pop song. It was something alive that triggered feelings and memories. It was warm, comfortable, and lived in, like a favorite jacket you'd wear when going out and having fun with your friends.

ReduxRating:  10/10

Trivia:  Double Shot!  1) This song takes a look back at Mellencamp's teenage years through his adult eyes. While the Cherry Bomb club featured in the song was fictitious, it was based on a real club from Mellencamp's youth. In his hometown of Seymour, Indiana, a local church's basement became a hangout for the town's teenagers. According to Mellencamp, it was called The Last Exit Teen Club and he spent quite a bit of time there. Although teens would gather there for various dances and such, it seems that the club would also feature live music. A 1967 newspaper clipping from the Louisville, Kentucky, paper The Courier-Journal featured an advertisement about upcoming live music shows by acts associated with Triangle Talent. One of the listings had the band The Blues playing at The Last Exit Teen Club in Seymour on a Saturday night. It is unknown whether a young Mellencamp ever performed at the club.  2) The b-side to this single featured Mellencamp doing a rare remake. He did a version of the 1978 song "Shama Lama Ding Dong," which was featured in the film National Lampoon's Animal House. In the movie, the song was performed by the fictional band Otis Day and the Knights. The lead vocals on the track were actually sung by Lloyd Williams, but on screen the song was lip synced by actor DeWayne Jessie.

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"Need You Tonight" by INXS

#1 Alert!

Rated 10 Alert!

 Song#:  3306
Date:  10/24/1987
Debut:  93
Peak:  1 (1 week)
Weeks:  25
Genre:  Blues-Rock, Funk Rock



Pop Bits:  Over the course of four albums, Australia's INXS had slowly been gaining an audience in the US. Then their fifth album, 1986's Listen Like Thieves, finally broke them through in a major way. It became a gold selling #11 hit (later double-platinum) on the strength of their first Pop Top 10 single, "What You Need" (#5). It set the stage for bigger success and after the LP's supporting tour was finished, the band took cues from the success of "What You Need" and began to write and record an album that was much more singles oriented. They retained producer Chris Thomas, who had guided Listen Like Thieves, and came up with their sixth effort, Kick. This first single was issued out and it debuted low on the chart. However, thanks in part to the associated video on MTV, the song gained momentum and by late January '88 it finally reached the top of the Pop chart. The song also got to #7 Dance, #12 Rock, and #73 R&B. It would end up being the band's biggest hit in the US. A month after the song topped the chart, the album would reach its peak of #3. In March of '88 it would be certified triple-platinum.

ReduxReview:  The opening beat made my ears perk up, but it was that indelible guitar lick that smacked me across the face and said "pay attention!" I mean, c'mon. The first 20 seconds were just brilliant and the song only got better from there. The groove, the hooks, those little synth fills, and the sexy lyrics made the song stand out, yet Michael Hutchence's sly, breathy, horny performance is what took the tune to the next level. The song certainly stood on its own, but then "Mediate" (see below) provided a cool coda. I played this single to death back then. I never tired of it either. I still absolutely love it. Just hearing those opening few seconds can push me into a groovy, sexy mood followed by (unfortunate to others around) a slinky dance. Oh yeah....  (Note: Bonnie Raitt did a fantastic cover of this tune for her 2016 album Dig in Deep.)

ReduxRating:  10/10

Trivia:  Double Shot!  1) This was one of the last songs recorded for the album. As the song was being finished up in the studio, band member Andrew Farriss brought in a song that he had written called "Mediate." It was based on a poem that he had composed. Apparently when Farriss played his demo in the studio, "Need You Tonight" was playing in the background. It was quickly noticed that the two songs shared a tempo and basically the same rhythm. Producer Chris Thomas came up with the idea to segue the songs together on the album much like Queen did with "We Will Rock You" and "We Are the Champions" for their 1977 album News of the World. The melding of the two tracks worked well. However, when it came time to release the single, only "Need You Tonight" was released. "Mediate" wasn't even included as a b-side.  2) Although "Need You Tonight" was released as a single without "Mediate," for the associated video the two songs were used together. The portion for "Need You Tonight" combined some animation with layered images of the band. The part for "Mediate" had band members one at a time flipping through cue cards that went along with the lyrics of the song. This was an homage to a video that was shot for Bob Dylan's 1965 song "Subterranean Homesick Blues," which was Dylan's first single to make the US Pop chart (#39). The video served as the opening portion of the documentary Don't Look Back, which chronicled Dylan's 1965 tour of England. In the video, Dylan is filmed in a hotel alley flipping through cue cards that go along with the song. He and fellow folk/rock star Donovan created the cue cards. Some of the cards featured misspelled words, which INXS mimicked for their video. The INXS video would go on to win five MTV Music Video Award including Video of the Year.

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"Heaven Is a Place on Earth" by Belinda Carlisle

#1 Alert!

Rated 10 Alert!

Song#:  3279
Date:  09/26/1987
Debut:  72
Peak:  1 (1 week)
Weeks:  21
Genre:  Pop



Pop Bits:  Carlisle's first solo album after the breakup of The Go-Go's, Belinda, was a #13 gold seller thanks to the #3 hit "Mad About You." That album had a retro 60s pop flair that was different from the rock of The Go-Go's. For her second solo disc, Carlisle switched labels from IRS to MCA and started working with producer Rick Nowels, who had produced Stevie Nick's 1985 platinum LP Rock a Little and co-wrote "I Can't Wait" (#16 Pop). For the new album Heaven on Earth, Carlisle skipped the retro sound and dove head first into 80s pop. This first single, written by Nowels and Ellen Shipley, demonstrated Carlisle's new sound and it was warmly greeted by radio and record buyers. It would top the Pop chart for a week while reaching #7 at AC. The hit would help the album match the peak of her debut (#13). The song would earn Carlisle a Grammy nomination for Best Pop Vocal Performance, Female.

ReduxReview:  Carlisle hit it out of the park with this single. It was pretty much pop perfection. The chorus was unforgettable and it was smart to have it at the top of the song. It immediately established the hook and you just couldn't ignore it. The dreamy mid-section was spot-on and then to top it off, a little guitar section followed by a key change. It was an expertly crafted pop single and there was no doubt it would top the chart. While her rock cred took a hit, she was gaining more fans than losing them. Looking back, it is kind of odd to think that this confection was done by someone who in 1977 got her start as a drummer for the L.A. punk band the Germs under the moniker of Dottie Danger. Carlisle went through quite the metamorphosis.

ReduxRating:  10/10

Trivia:  The associated video for the song was directed by Academy Award winner Diane Keaton. It was Keaton's second directorial effort following a 1982 17-minute documentary short about her sister titled What Does Dorrie Want?" Keaton would also direct the video for Carlisle's follow-up single "I Get Weak" (#2 Pop). Keaton would direct another documentary, 1987's Heaven (nothing in common with Carlisle's song), and then direct a few TV episodes for shows like China Beach and Twin Peaks. The first theatrical film she directed was the 1995 comedy/drama Unstrung Heroes starring Andie MacDowell. Critics were positive about the movie and it did fairly well at the box office. Her second effort, 2000's Hanging Up starring Keaton, Meg Ryan, and Lisa Kudrow did not garner good reviews, but it ended up doing okay at the box office on a worldwide basis.

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