"I Didn't Mean to Stay All Night" by Starship

Song#:  4113

Date:  11/25/1989

Debut:  94

Peak:  75

Weeks:  8

Genre:  Soft Rock

Pop Bits:  Love Among the Cannibals was the third album released under the Starship moniker and its first single, "It's Not Enough," would do fairly well getting to #12 Pop/#10 Rock/#30 AC. However, the song wasn't doing much for album sales and it was hoped this second single, written by Robert John "Mutt" Lange, would lend a boost. Unfortunately, all it could do was peak at the three-quarter mark on the Pop chart.  With those results, the LP halted at #64 and would fail to reach the gold level sales mark.

ReduxReview:  Although Mutt Lange didn't produce this track, his fingerprints were on it via the arrangement and backing vocals. That's why it kind of sounded like a reject from a Hysteria-era Def Leppard recording session (Lange served as producer/co-writer on that LP). It didn't really fit the band well. By this point in time, Starship was more pop and less rock so trying to make them sound tougher and denser was like putting lipstick on a pig. The song was average to begin with so that didn't help. Starship were passed their expiration date with this album, but they gave it one last go before getting the heave-ho.

ReduxRating:  3/10

Trivia:  After the supporting tour for the album was finished, some members of the band including long time guitarist Craig Chaquico would depart. Lead singer Mickey Thomas would carry on and with some replacement would record a few new tracks. Two would show up on a '91 compilation album Greatest Hits (Ten Years and Change 1979-1991) including the single "Good Heart" (#81) which would be the last Pop chart song for any iteration of Jefferson Airplane/Starship. As for Starship, they would come to a crashing halt in '91 with the band's manager declaring the band done. In turn, they would be dropped from their label. In '92, Mickey Thomas would pick up the torch and form a new band that he would be able to call Starship featuring Mickey Thomas (legalities, don't ya know). The band would tour around and eventually record an album in 2013 titled Loveless Fascination.

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"I Love to Bass" by Bardeux

Song#:  4033

Date:  09/16/1989

Debut:  96

Peak:  68

Weeks:  10

Genre:  Dance-Pop, Freestyle

Pop Bits:  This vocal duo's debut album Bold As Love got a bit of attention (#104) when its second single, "When We Kiss," cracked the Pop Top 40 (#36). It was enough for their label to call for a follow up LP, but prior to heading into the studio one of the members, Lisa "Jaz" Teany, would quit. Remaining member Stacy "Acacia" Smith would find a replacement with Melanie Taylor and work began on a second Bardeux album to be title Shangri-La. Working once again with songwriter/producer Jon St. James, the duo's album would get finished and this first single issued out. It would be a hit at Dance reaching #3 while also making the R&B chart at #32. However, it couldn't quite catch on at Pop and it stalled in the bottom half of the chart. A second single, "Thumbs Up," would make it to #17 Dance/#59 R&B while a third single was a minor Dance entry. The album would peter out early at #133. With those results, Bardeux would come to an end.

ReduxReview:  Depending on what product you look at, the title is either "I Love to Bass" or "I Love the Bass." The 45 single release and the album used "to," that seems more appropriate here. Either way, the song wasn't all that great. It was a tepid freestyle tracks made worse by some pretty awful lyrics. Yeah I know it is just dance-pop fluff and Dylan-esqe lyrics are not needed, but how many times have we heard cliche phrases like "rocket in your pocket" and "love reaction?" I'm just saying they could have put a little more effort into it. In the end it didn't really matter because it was a bland, forgettable track that did little to advance the trio's career.

ReduxRating:  3/10

Trivia:  After Bardeux ended, Melanie Taylor would become a member of Bette Midler's famous backing vocal trio The Harlettes (aka The Staggring Harlettes). The Harlettes became a part of Midler's high energy shows beginning in 1971 and they have remained a fixture of her performances since. The lineup has changed many times over the years and along the way some soon-to-be stars got their starts being a Harlette. Perhaps most famously, singer/songwriter Melissa Manchester was an original Harlette. She stayed on for a couple of years before signing her first recording contract. Singer/actress Katy Sagal (of Married with Children fame) was a Harlette twice; once in '78 then again in '82-'83. R&B singer Jocelyn Brown was with the trio from '79-'80. Singer/actress Jenifer Lewis would be a Harlette in '83-'84. She would appear in many films and TV shows, but perhaps became best known for portraying Anthony Anderson's mother in the hit TV show Black-ish. Melanie Taylor would have one of the longest tenures in the Harlettes staying with them from 1993 to 2000.

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"My Heart Skips a Beat" by The Cover Girls

Song#:  4031

Date:  09/09/1989

Debut:  75

Peak:  38

Weeks:  14

Genre:  Dance-Pop, Freestyle

Pop Bits:  This vocal trio's debut album Show Me sold fairly well reaching #64. It was boosted by five singles that all reached the Pop chart with the best of the bunch, "Because of You," getting to #27. This was all done via the independent label Fever. The results boded well for the trio and it enticed Capitol Records to sign them. Being on a major label should have given them a bigger budget and a better promotional push. Work began on a second album with the trio working with mostly the same producers/writers that helped out on their debut. We Can't Go Wrong would be ready by the end of the summer and this first single would be issued out. It would become their second Top 10 at Dance reaching #4. On the Pop chart, the tune was able to become their third to crack the Pop Top 40, but that was a bit of a disappointment with both the trio and the label expecting better results.

ReduxReview:  With a move over to Capitol, the trio should have had good enough resources to build upon what they did with their debut album. However, it seems that didn't happen. They needed something far stronger than this tune to get them to the next level. This was a basic, average freestyle dance tune with surprisingly bland production. I hadn't been a fan of the trio's vocals and this track didn't change my mind. It was a step above a demo, but nowhere near in the same league as some of the other freestyle/dance tracks of the day.

ReduxRating:  3/10

Trivia:  For their second album, The Cover Girls would record their first cover tune. They would do a version of "Up on the Roof," a song written by Gerry Goffin and Carole King, and first recorded by The Drifters. Recorded in 1962, the song would become the group's third Pop Top 10 hit getting to #5 (#4 R&B) early in '63. The classic hit would go on to make Rolling Stone's 500 Greatest Songs of All Time (#114) and would make The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. The song would be covered by many artists including King herself. She recorded it for her 1970 debut album Writer (a year before her seminal album Tapestry). It was released as a single, but did not chart. However, beside The Drifters, three other artists have reached the Pop chart with a version. The Cryan' Shames got to #85 in 1968. Singer/songwriter Laura Nyro made it to #92 in 1970. Then James Taylor got the song to #29 in 1979. The Cover Girls would not release their track as a single.

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"Rock On" by Michael Damian

#1 Alert!

Gold Record Alert!

Song#:  3835

Date:  03/18/1989

Debut:  89

Peak:  1 (1 week)

Weeks:  21

Genre:  Pop, Soundtrack

Pop Bits:  Throughout the 80s, Damian made a name for himself acting on the TV soap The Young and the Restless. Having been a singer/performer since a young age, the experience helped him land the role of struggling musician Danny Romalotti. After starting that job in 1980, Damian attempted a solo career and released the single "She Did It" in '81. It could only reach #69 and it left Damian without a record deal. With his popularity growing on the soap, Damian was able to secure a contract with Columbia Records in '84. He would record two solo albums that were released in territories like Canada and Japan. It seems neither of them were promoted in the US. Then in '88, Damian got another opportunity. He signed on with the A&M offshoot label Cypress Records and recorded this song for the soundtrack to the teen comedy Dream a Little Dream. It was released as a single around the same time as the film's opening and it began to climb the Pop chart. It would eventually wind its way up to the #1 spot. It would be a gold seller that helped the soundtrack album get to #94. As Damian's single gained momentum, an album titled Where Do We Go from Here would quickly be assembled and released just as "Rock On" was topping the chart. It would peak at #61.

ReduxReview:  As a kid I really liked the mysterious sounding original of this song (see below). Then I enjoyed the remake by Toni Basil that was included on her '82 debut album Word of Mouth. However, when this version came along, I wasn't having it. I didn't like the synth-rock/dance-pop arrangement and wasn't a fan of Damian's vocal. It just hit me wrong and I ignored it. These days it just sounds like a product of its time and a vehicle for Damian to try and get his singing career started. It's not all that bad, but it still doesn't do anything for me - except perhaps drive me back to the icy cool original.

ReduxRating:  3/10

Trivia:  Double Shot!  1) This is a remake of a song originally written and recorded by English singer/songwriter David Essex in 1973. The single would reach #5 on the US Pop chart and #3 in the UK. In the US, it would be Essex's only significant hit making him a one-hit wonder. However, he became a big star in the UK scoring ten Top 10 hits including two #1s.  Many artists would cover the song, but thus far only Essex and Damian have reached the Pop chart with a version. However, in 2006 Def Leppard recorded the song and pushed it out as a promo digital single. It would get to #18 on the Rock chart.  2) The fantasy teen rom-com Dream a Little Dream starred the two Coreys - Haim and Feldman. The pair were friends that were sort of the teen "it" duo of the time. They would star together in nine films. Dream a Little Dream was their third film together and second as a top-billed duo. It received negative reviews and after a good opening weekend, the film quickly tanked. Despite its lack of box office receipts, it became a sort of cult flick and later in '95 a direct-to-video sequel would be released.

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"Radio Romance" by Tiffany

Song#:  3815

Date:  02/25/1989

Debut:  84

Peak:  35

Weeks:  9

Genre:  Pop

Pop Bits:  Tiffany kicked off her second album Hold an Old Friend's Hand with the single "All This Time." It would do well reaching #6 Pop and #10 AC. However, since her #1 debut album featured a pair of #1 Pop hits and another Top 10, this single's performance was a bit disappointing. Tiffany needed something better to help sales of the album, which at this point was not on track to replicate her debut's success. This next single was pushed out with hopes that it would at least maintain some momentum. Unfortunately, it did not. The song stalled just inside the Pop Top 40. A third single, the album's title track, would get to #37 AC, but fail to make the Pop chart. With those results, the album couldn't get any higher than #17. It would go platinum, but that was a significant drop from the multi-platinum success of her debut LP. This song would end up being Tiffany's last solo effort to reach the Pop chart.

ReduxReview:  This song sounded like a disco tune from the late 70s enhanced with a little late 80s production. In other words, it really wasn't a good single for the time period. It's not an awful song. I guess I'd call it cute, but cute was not going to cut it on the chart and indeed it stalled early. It all comes down to material and manager/producer George Tobin just didn't secure the right songs that would keep Tiffany relevant. She could sing and entertain. She just needed good tunes and her second album fell way short of that mark. By the time she got away from Tobin, the music landscape had changed and most of her original fans had moved on. She tried to keep up but it was just a little too late.

ReduxRating:  3/10

Trivia:  After Tiffany turned 18 in the fall of '89, she was able to leave her manager/producer George Tobin. She signed on with New Kids on the Block management team and a year later her third album, New Inside, was issued out. The LP had Tiffany moving into a more contemporary pop/R&B sound. The change wasn't well received and neither the album nor any of its singles charted. She reunited briefly with producer George Tobin for 1993's Dreams Never Die, but it failed to get her back on the charts. It would be her last album for MCA Records. Over the years Tiffany would record more albums for indie labels including one in the country genre (2011's Rose Tattoo). She would also dabble in acting making appearances on a few TV shows, but it would be a pair of sci-fi/comedy/horror flicks that would get her name circulated again. First was 2010's Mega Piranha, which became an unexpected success on the SyFy channel. Then in a bit of stunt casting, Tiffany would appear alongside her old chart rival Debbie Gibson in 2011's Mega Python vs. Gatoroid. Tiffany would also appear in several reality TV programs including Celebrity Wife Swap and What Not to Wear.

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"Killing Me Softly" by Al B. Sure!

Song#:  3724

Date:  11/19/1988

Debut:  88

Peak:  80

Weeks:  11

Genre:  R&B

Pop Bits:  Al B. Sure's debut album In Effect Mode would become a #1 R&B/#20 Pop platinum seller thanks to a pair of #1 R&B hits including "Nite and Day," which also got to #7 Pop. A third single, "Rescue Me," would keep his hit streak going at R&B getting to #3, but the song was unable to reach the Pop chart. The label then went ahead and issued out this fourth single. It got near the R&B Top 10 making it to #14. This time around, the tune was able to get Al B. Sure! back on the Pop chart. It hung around for nearly three months, but the best it could do was reach #80. A fifth single, "If I'm Not Your Lover," would be released. It would do very well at R&B reaching #2, but it would miss the Pop chart. That single would wrap up things for In Effect Mode, which would eventually sell over two million copies.

ReduxReview:  This song started out fine with an interesting samba-like feel, but then once Al B. Sure! and the programmed drums kicked, it went downhill real quick. The drum parts were so loud and distracting that they overshadowed anything else that might have been good about the song. I was also not a fan of the vocal choices by Al B. The ad libs were out of place and I hated the way he ended the chorus with "song" being weirdly stretched out. While the song was not a complete disaster, it wasn't very good either. Al B. might have had something really cool had he eliminated the loud drums, kept that samba feel throughout the tune, and dialed back his vocals. It could have been a groovy, smooth, sophisticated take on the tune. Instead, some arrangement/production choices nearly derailed the classic song.

 

ReduxRating:  3/10

Trivia:  This is a remake of a song originally recorded by singer/songwriter Lori Lieberman in 1972. Her single version would not chart, but a 1973 remake by Roberta Flack would become a major #1 hit that would win the Grammys for both Record and Song of the Year. The well-known story behind the song is that in 1971 Lieberman attended a concert by Don McLean at the Troubador in L.A. Taken by his performance, as he began to sing his song "Empty Chair" Lieberman began to write poetic lines on a napkin. She then shared what she wrote with Charles Fox and Norman Gimbel, a pair of writers she had recently gotten hooked up with in a publishing deal. What Liebman wrote reminded Gimbel of a song title idea he had written down and from there he wrote the lyrics to "Killing Me Softly." Fox then wrote the music. While Gimbel was inspired by and even formed some lyrics around Lieberman's musings, she did not get a writing credit on the song. In the late 90s, for whatever reason Gimbel and Fox (Lieberman had left the partnership in the late 70s on negative terms) began to state more or less that Lieberman had nothing to do with the song. However, newspaper interviews with Gimbel were dug up from the early 70s with quotes from him that supported the Lieberman origin story. It was perhaps a case of soured feelings as Lieberman and Gimbel had an affair back then (Gimbel was married at the time) and after their relationship ended and Lieberman left the publishing trio, old wounds on both sides surfaced in various ways that kept the three at odds. Regardless, "Killing Me Softly" became a classic thanks to Flack's version. Many artists have covered the song, but besides Al B. Sure! the only other artist to reach the chart with a version was one by Fugees in 1996. It was a major hit reaching #1 R&B, #2 Pop, #30 AC, and #48 Dance. It would earn Fugees the Grammy for Best R&B Vocal Performance, Duo or Group.

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"Long and Lasting Love (Once in a Lifetime)" by Glenn Medeiros

Song#:  3610

Date:  08/13/1988

Debut:  97

Peak:  68

Weeks:  10

Genre:  Adult Contemporary

Pop Bits:  After winning a talent contest in Hawaii, teenage singer Medeiros found himself in the national spotlight thanks to the single "Nothing's Gonna Change My Love for You," which got to #12 Pop and #4 AC. Two follow-up singles from his 1987 self-titled debut album fared less well, but the one hit gave the young singer the opportunity to record a second LP. He would work with various songwriters and producers to come up with Not Me and this first single got things kicked off. Unfortunately, the tune didn't really catch on and it stalled in the bottom half of the Pop chart. A follow-up single, "Never Get Enough of You," would get to #30 Dance, but fail to make the Pop chart. With those results, the album came and went quickly.

ReduxReview:  The folks behind Medeiros, like his label and management, did him zero favors with his second album. Yes, he broke through with a ballad, but there was no need to try and turn him into an AC crooner at the age of eighteen. Maybe Medeiros wanted to go in that direction, but it just seemed really odd to have this teenager singing mature ballads such as this one. It didn't quite make sense and it seems the public agreed. The album itself was full of a mish-mash of styles as if they were trying to find something that would stick. There was a rock tune courtesy of Michael Bolton, a couple flimsy dance-pop tracks, a freestyle effort, and a few Diane Warren co-writes. In reality, none of it was bad. In fact, a couple of tracks were quite good including "Some Day Love," which would have been an interesting single. He just really needed one producer to guide the project and make it cohesive; and the old school AC ballads like this one needed to be eliminated. Medeiros had the voice and the look. He just needed the right material and producer. He'd finally get that with his next album.

ReduxRating:  3/10

Trivia:  Double Shot!  1) This is a remake of a song original recorded by cabaret singer Jane Oliver. Written by Gerry Goffin and Michael Masser, the song was included on Oliver's 1980 album The Best Side of Me, which Masser had a hand in producing. It was not issued out as a single. The LP would be Oliver's best showing on the chart reaching #58.  2) After Not Me failed to chart, Medeiros sought to change direction. He hooked up with MCA Records for his third album, which would be his second self-titled effort (apparently as a way to relaunch himself). MCA matched him up with producers/songwriters Ian Prince and Antonina Armato and that pair along with Denny Diante would head up nearly all the tracks on the album, which took Medeiros in a more current new jack direction. Also on board for a couple of tracks was newly minted new jack star Bobby Brown, who was Medeiros' label mate. Brown would write and produce one track for the album, then co-write and appear on another track titled "She Ain't Worth It." That song was released as a single and in 1990 it would reach #1 at Pop. It would also be a gold seller. It seemed that Medeiros had finally found the right formula for success, but then just as quickly as he had a #1, he was gone. The first single from his next album in 1993 failed to chart and that left his album not getting released in the US. A Christmas album would come next, but then Medeiros would shift gears again and move towards Hawaiian music (Hawaii was his home state). After his time on the charts, Medeiros would work in education in Hawaii. He would teach in several schools and eventually become the principal of a Catholic school. Along the way, he would still perform shows at resorts in Waikiki.

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"A Nightmare on My Street" by DJ Jazzy Jeff & the Fresh Prince

Song#:  3602

Date:  07/30/1988

Debut:  74

Peak:  15

Weeks:  16

Genre:  Hip-Hop, Rap

Pop Bits:  The duo's second album, He's the DJ, I'm the Rapper, would be their mainstream breakthrough reaching #4 Pop and #5 R&B thanks to a pair of hits. First, "Parents Just Don't Understand" would make it to #10 R&B and #12 Pop. It would end up being a gold-selling single. Then this follow-up would do similar business getting to #9 R&B and #15 Pop. The two songs helped sell albums and by September of '88 it would be certified double-platinum. In 1995, it would reach the triple-platinum mark.

ReduxReview:  If I hadn't heard tracks from Run-D.M.C. and LL Cool J, maybe I would have liked DJ Jazzy Jeff & the Fresh Prince; or maybe not. Their brand of rap/hip-hop bordered on novelty to me and because of that some of their tunes were kind of fun the first time around, but they quickly got stale and annoying. I think what they did was perfect for a younger crowd (and their parents). For folks who had heard rap tracks by the artists I mention above and others, the duo's work already sounded a bit antiquated. These days, some rap considered old school is still fun to hear and continues to be influential, but tracks like this one from JJ & FP have virtually disappeared becoming nostalgic novelties. This Nightmare-influenced track certainly hasn't aged well. It was silly when it came out and it is even worse now.

ReduxRating:  3/10

Trivia:  This song is basically a tribute/take on the horror film franchise A Nightmare on Elm Street and its famous villain Freddy Krueger and it happened to be written and recorded around the time that the fourth film in the series, subtitled The Dream Master, was in production. Oddly enough, the film's production company and rights owner New Line Cinema was contemplating having a rap act do a theme song for the film along with an associated video. The duo's record label, Jive, contacted New Line about a song the pair had written and were hoping they could do a video that would be released in conjunction with the film. At the same time, New Line was in talks with The Fat Boys to do the theme. Despite that, New Line extended an offer to Jive for the JJ&FP track but they turned it down as the financial portion was too low. New Line then signed on The Fat Boys who came up with "Are You Ready for Freddy." Meanwhile, the He's the DJ, I'm the Rapper album was released, which included the track. New Line noticed and looked into legal action for copyright infringement. To make things worse, the duo filmed a music video of their song that included a Freddy Krueger lookalike. It got aired a few times on MTV, but the channel pulled it once they were notified of a potential lawsuit. In the end, a settlement was agreed upon between New Line and Jive. Some finances were exchanged and future pressings of the album had to include a disclaimer stating "A Nightmare on My Street" was in no way associated with the Nightmare franchise. In addition, all copies of the video had to be destroyed. The agreement also had New Line offering DJ Jazzy Jeff & the Fresh Prince options to star in two films, both of which they turned down. One of those films was House Party, which then got cast with Kid 'n Play and was a hit. In an odd twist, Kid 'n Play were initially pitched a TV series, which eventually became The Fresh Prince of Bel-Air starring - the Fresh Prince Will Smith. The video for "A Nightmare on My Street" was seemingly lost forever and even personal copies that the duo had got lost along the way. However, in 2018 someone discovered they had taped MTV during a time that the video aired and put it out on YouTube. It later got taken down, but at least a copy of it still survives.

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"The Twist (Yo, Twist!)" by The Fat Boys with Chubby Checker

Song#:  3554

Date:  06/18/1988

Debut:  79

Peak:  16

Weeks: 15

Genre: Hip-Hop

Pop Bits:  The Fat Boys hit a career high with their fourth LP Crushin'. It would be a #8 Pop/#4 R&B platinum album thanks to their collaboration with The Beach Boys on the old hit "Wipeout." That track would get to #10 at R&B while reaching #12 Pop. The nostalgia of the old tune along with The Beach Boys expanded The Fat Boys' audience and so for their next album, Coming Back Hard Again, they decided to visit that well once more to see if lightning could strike twice. This first single, a revamped version of "The Twist," would be issued out. While the song wouldn't do quite as well as "Wipeout," it would still get inside the Pop Top 20 while making it to #40 at R&B. It would help the album go gold, but it seemed that listeners were quickly getting tired with the formula.

ReduxReview:  Hey, if it worked once, why not try it again? Sadly, The Fat Boys did try it again. After "Wipeout," they had a prime opportunity to come up with something catchy and original to both establish their sound and further their career, but instead they relied on the same "Wipeout" gimmick. This time the victim was Chubby Checker and his signature song. As if to remind people that they did this before, The Fat Boys even start their version of "The Twist" with the opening cackle from "Wipeout." Actually, I don't hate this track as much as I did "Wipeout" and I think that is mainly because Checker is on it singing his own song (with a few added/updated lyrics). Still, it ended up being more silly than fun and it continued to pigeonhole The Fat Boys as more of a comedy/novelty act rather than actual hip hop artists.

ReduxRating:  3/10

Trivia:  This song featured vocals by Chubby Checker, who had famously recorded the song in 1960. While the song is highly associated with Checker, he wasn't the first to record the tune. While the roots of the song came from or were inspired by other tunes, singer/songwriter Hank Ballard created "The Twist" and recorded an early version in 1958. A formal version of the track was recorded later that year. It got relegated to the b-side of another song, but late in '59 it began to get airplay. As the song was taking off, it got the attention of Dick Clark, who wanted to get the song on American Bandstand. However, for a large national audience, Clark wasn't sure Ballard's more suggestive performances and previous bawdy songs were right for the show, so he decided to find a singer like Ballard and have a local label record the tune. Through auditions he found Earnest Evans, soon to go by the name of Chubby Checker, and got him to record a near identical version of "The Twist."  In 1960, Checker would perform his version on American Bandstand. That exposure boosted the song and Checker's single version began to fly off shelves. It would end up hitting #1 Pop/#2 R&B. Unfortunately, Checker's version overshadowed Ballard's original and that single stalled at #28 Pop/#16 R&B. However, that is not the end of the story. While teenagers were the ones to initially do the twist and buy the record, as time went on more adults began to catch on to the dance craze. It caused the song to become popular again and early in '62 the single was reissued. Not only did the song get back on the chart, but it went to #1 for a second time. It still remains the only song to reach #1 twice during two separate chart runs.

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"Feelings of Forever" by Tiffany

Song#:  3543

Date:  06/11/1988

Debut:  90

Peak:  50

Weeks:  9

Genre:  Pop

Pop Bits:  After a pair of #1s and an additional Top 10, the #7 cover tune "I Saw Him Standing There," Tiffany's self-titled #1 debut album had reached the quad-platinum sales mark in April of '88. It seemed that after four singles (the first one, "Danny," did not chart), it was a good time to wrap up the LP. However, the label decided to try and eke out one more hit from the album and they chose this track. It didn't really work out with the single barely cracking the top half of the Pop chart and stalled at #43 AC. Still, it was probably worth the gamble. Now with her debut LP behind her, Tiffany could get back into the studio to record the dreaded sophomore album.

ReduxReview:  I'm pretty sure no one predicted that Tiffany's debut album would be a 4-million selling #1. Along with that, I doubt anyone gave it a thought that even if it did well they would need to make sure there were at least five single candidates. Frankly, they were lucky to get the three Top 10s. After that, there was nothing much else on the album that was single-worthy. It was full of capable, yet forgettable, pop tracks. In other words, filler. That's what I'd label this track. It was fine to put on the album, but it did not make a good single. I think a better idea would have been to do a remix of the first single "Danny," which didn't chart. That would have had more potential to crack the Top 40 than this sluggish ballad.

ReduxRating:  3/10

Trivia:  We've seen time and time again where sudden fame brings sudden problems and that happened for Tiffany. She and her mother signed a contract with manager/producer George Tobin. Perhaps no one really thought that the teenager could all of a sudden sell over 4 million albums, so when Tiffany's career suddenly took off, a battle ensued between Tobin and Tiffany's mother regarding her career decisions and finances. Tiffany and her mom didn't necessarily have the best relationship to begin with and the rebellious teen was not thrilled when mom wanted to call all the shots. However, being a minor Tiffany was more or less saddled with her mom being legal guardian and with mom and Tobin not agreeing, Tiffany's life behind the scenes became a battlefield. Tiffany then decided to take matters into her own hand. She filed a lawsuit to be emancipated from her mother. She also left her mom's house to live with an aunt, which technically made her a runaway. After the dust settled, Tiffany didn't get full emancipation, but it was decided that until she was 18, her grandmother would become her temporary guardian. It seems that Tiffany and her mom made amends afterwards, but by the time she was 18, she was also done with Tobin and she would dump him for new management.

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"New Sensation" by INXS

Top 10 Alert!

Song#:  3520

Date:  05/14/1988

Debut:  63

Peak:  3

Weeks:  17

Genre:  Rock

Pop Bits:  The Aussie band's sixth album, Kick, was quickly becoming their most successful effort in the US. By this point in time, it had peaked at #3, gone double-platinum, and had spawned two big hits including the #2 "Devil Inside." The results were terrific for the band, but they were not done yet. This third single would be issued out and it would also become a big hit getting to #3. It also got to #8 at Rock. With the tune peaking at #3, INSX had the rare occurrence where the peak position of the first three singles from an album coincided with the order in which they were released. The first single, "Need You Tonight," hit #1, then "Devil Inside" at #2, and then "New Sensation" at #3.

ReduxReview:  After two singles that had sleek, sexy grooves, the band pushed out this rockin' track. It was upbeat, positive, hooky, and refreshing. In other words, a perfect follow-up. It had a similar feel to their other hit "What You Need," but the song wasn't a rehash or a copy. It stood on its own and sounded great on the radio. It was a no-brainer that this was going to become their fourth Top 10 hit.

ReduxRating:  8/10

Trivia:  This track has a small inside joke included. As the song was being recorded, band member/guitarist Tim Farriss wanted to play a trumpet solo in the instrumental break. However, the band's other guitarist/sax player Kirk Pengilly wanted to do a sax solo, which he had done on the band's first US Top 10 hit "What You Need" (#5). It seems that following discussions about which instrument would have the solo, Pengilly won out. As a joke reference to the situation, singer Michael Hutchence says "trumpet" in the song right before the sax solo. While on record it was a quirky reference, it wasn't quite right in a visual way. For the associated music video it seemed weird to have Hutchence say "trumpet" and then show a sax, so his reference was removed from the video's music track.

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"Get It" by Stevie Wonder & Michael Jackson

Song#:  3508

Date:  05/07/1988

Debut:  89

Peak:  80

Weeks:  6

Genre:  R&B

Pop Bits:  While Wonder's album Characters would be a platinum seller and hit #1 at R&B, it just wasn't crossing over to Pop in the same way that his work had been doing for over 15 years. The album's first two singles failed to reach the Pop Top 10 even though each got to #1 at R&B. "Skeletons" did the best getting to #19. Then the album stopped at #17 becoming his first studio album since 1972 to miss the Pop Top 10. Still looking to turn things around, this third single, a duet with Michael Jackson, got released. With Jackson very hot at the time due to his run of singles from Bad, the thought may have been that his appearance on the song might push the song into hit territory. The song did get to #4 at R&B, but it was a flop at Pop. The tune hung around the bottom of the chart for only a few short weeks. It would be the last single to be issued out from the LP.

ReduxReview:  This synth-driven workout bounced and bubbled along just fine, but in the end it didn't add up to much. The verse wasn't very melodic or memorable and the wisp of a chorus over the same chords/progression wasn't enough to truly standout. Then that "pshewwww" sound throughout the song got annoying very quickly. Wonder and Jackson try to rally at the end with some fireworks of vocal ad libs, but it was a little too much and in a song crowded with synths and effects it just all got muddled together. In other words, it was a messy, forgettable track from two superstars who have done far, far, far better work.

ReduxRating:  3/10

Trivia:  Jackson's participation on this song was probably done as a thank you for Wonder appearing on one of the tracks from Bad. The tune "Good Friends," written by Graham Lyle and Terry Britten, was a duet between the two artists. It would arguably be the least liked song on Bad with critics saying it didn't fit with the other tracks on the album. Later on in a 2017 Rolling Stone interview, even producer Quincy Jones said he made a mistake with the song and that it just did not work. Jackson and Wonder had worked together on various projects since 1974. Around that time, Wonder worked with Jackson and the Jackson 5 on tracks for a potential new album. It's not really known how many tracks were recorded, but it seems the project either didn't get off the ground or was shelved and the Jacksons then recorded the LP Dancing Machine with producer Hal Davis. At least one of the songs from the sessions, "Buttercup," written and produced by Wonder, would see the light of day on the 2009 compilation I Want You Back: Unreleased Masters. Another song possibly recorded in those sessions, "A Pretty Face," has never been released. However, Wonder and Jackson re-recorded the song as a possible track for Characters. Apparently it didn't make the cut and was also shelved. Instead, "Get It" was recorded and used.

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"Sweet Lies" by Robert Palmer

Song#:  3455

Date:  03/26/1988

Debut:  94

Peak:  94

Weeks:  2

Genre:  Pop, Rock, Soundtrack

Pop Bits:  Late in 1985, Palmer released what would end up being his best performing album, Riptide. It would reach #8 and go double-platinum thanks to a pair of Top 10 hits; the classic #1 "Addicted to Love" and the #2 "I Didn't Mean to Turn You On." He spent most of '87 relocating to Switzerland and preparing his next album, which wouldn't be ready for release until the summer of '88. In the meantime, Palmer was tapped to supply some music for an upcoming film titled Sweet Lies. He would write/co-write and record three songs for the movie including the title track. All of them would be featured on the film's soundtrack album. To promote the LP and the film, this title track single was released. It would barely be a blip on the Pop chart spending a very minor two weeks near the bottom. Since it got nowhere, the album failed to chart. Palmer would have better luck with singles from his next album..

ReduxReview:  I don't know what Palmer was going for here. It kind of sounds like his attempt at a cool, sophisti-pop tune, but it didn't work at all. I find the track very muddled. I had a hard time trying to make out the lyrics as Palmer seems to slur them together and the production doesn't help. He gets overrun by the fretless bass and other effects. Then the chorus, or what I assume to be the chorus, doesn't hit until near the halfway mark. It was an odd song and one that was nowhere near being single-worthy. Not one of Palmer's best moments.

ReduxRating:  3/10

Trivia:  The film Sweet Lies was a rom-com that starred Treat Williams. In it, Williams played an insurance investigator who finds himself in Paris for work, but then gets tangled up as the objective of a seduction bet between three women. Of course things get complicated when the women end up falling for the guy. It was directed by French actress Nathalie Delon. The movie was produced by Island Pictures, an offshoot of Island Records, which just happened to be Robert Palmer's label. How convenient! Island got Palmer on board, but his songs didn't do anything for his career or for the movie, which quickly came and went to little notice.

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"Magic Carpet Ride" by Bardeux

Song#:  3425

Date:  02/27/1988

Debut:  93

Peak:  81

Weeks:  7

Genre:  Dance-Pop, Hi-NRG, Sythpop

Pop Bits:  This duo first consisted of Acacia (Stacy Smith) and Tairrie B. (Theresa Beth). The pair got hooked up with songwriter/producer Jon St. James, who had worked on Stacey Q's debut album. They recorded the track "Three Time Lover" and got it released on St. James's Synthicide label. The song got some attention and while it didn't make the Dance/Club chart, it did reach #10 on the Dance Sales chart. With that success, the duo was ready to pursue a full album, but before that could happen, Tairrie B. left the duo. She was then replaced by Jaz (Lisa Teaney) and the the pair along with St. James got their debut album, Bold As Love, recorded. This next single was released and it became another solid seller getting to #5 on the Dance Sales chart. It still was unable to crack the Dance/Club chart, however, it picked up some airplay at Pop and was able to make the lower reaches of the chart. It was an improved result, but the duo would break in a bigger way with their next single.

ReduxReview:  Thanks to St. James, this basically sounds like a Stacey Q track with its thin, low-budget 80s synthpop production. It was an average 80s pop tune that featured nondescript female vocals. The approach worked for Stacey Q a couple years earlier, but even by this point in time the track nearly sounded dated and amateurish when compared to records by groups like Exposé. Pop music had moved forward, but it seems St.. James and Bardeux were stuck in the early 80s.

ReduxRating:  3/10

Trivia:  After Tairrie B. left Bardeux, she pursued a solo career - as a rapper. Working with rapper Easy-E, Tairrie B. got signed to the MCA/Ruthless Records offshoot label Comptown and recorded her debut album Power of a Woman. It was released in 1990. A couple tracks made small impact on the Rap chart, but the LP failed to sell or chart. After attempting a follow-up, Tairrie B. then switched gears again and formed the metal band Manhole, which due to legal issues would change their name to Tura Satana. They would release a couple of albums in '95 and '96. Stints in two more rock bands would follow before Tairrie B. would return to rap. She would issue out rap albums in 2015 and 2020. Tairrie B.'s name would also be in the news for an alleged assault incident with rapper/producer/exec Dr. Dre. According to Tairrie B. when she recorded her debut rap album, it was common practice that labelmates would make a guest appearance on the LP's last track. She was informed that this would happen and that Ice Cube was writing lyrics for a track. Although pressured to do this, Tairrie B. refused and instead wrote her own diss track about the situation and the people involved titled "Ruthless Bitch." It would be the last track on her album. After its release, Tairrie B. was at a post-Grammy party and according to her, Dr. Dre, who was apparently pissed about the track and Tairrie B.'s lack of cooperation, went up to her and punched her in the eye and mouth. Instead of reporting the assault, Tairrie B. seemed to just take it in stride and moved on. Dr. Dre's history of violence against women would lead to at least one lawsuit and would dog him in later years. He has since expressed regret for his behavior.

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"I Want You So Bad" by Heart

Song#:  3421

Date:  02/20/1988

Debut:  80

Peak:  49

Weeks:  9

Genre:  Rock

Pop Bits:  The third single from Heart's album Bad Animals, "There's the Girl," just missed out on the Pop Top 10 peaking at #12. With that song doing well, it was an easy call to squeak out a fourth single and this ballad was selected for release. Unfortunately, it seems it wasn't the right song for the job as it stopped short of the Pop Top 40 and failed to make the Rock and AC charts. Still, the album was a solid success for the band selling over three million copies. This song would be Heart's final one to reach the Pop chart in the 80s.

ReduxReview:  This song was written by Tom Kelly and Billy Steinberg, the team behind Heart's #1 hit "Alone," and it was probably decided early on that this would be a single. Unfortunately, it wasn't one of their best compositions. It was an okay track and fine for the album, but it was not a good single. The song just wanders about and never really goes anywhere. It's quite dull and drab. Bad Animals wasn't as singles deep as their previous self-titled album, but you'd think that the band (or their label) would have gotten hold of one more sure-fire single. They had the resources at the time. Still, the first three singles did a good job in getting the album sold so it wasn't the end of the world that this tune tanked. Heart's next couple of albums didn't thrill me, but they came back sounding fresh as ever and more like themselves with 2004's Jupiter's Darling. It was a terrific return to form that was followed up by one of my fave Heart albums, 2010's Red Velvet Car.

ReduxRating:  3/10

Trivia:  Heart would return with another hit album in 1990. Brigade would follow in the footsteps of their previous two mainstream rock albums and featured a chunk of songs by outside writers including Diane Warren, Holly Knight, Kelly & Steinberg, and Robert John "Mutt" Lange, who wrote the first single "All I Wanna Do Is Make Love to You." That track would nearly become Heart's third #1. It stopped just shy at #2. The hit would help the album get to #3 and go double-platinum. After the trio of label/hit driven albums that pushed the band's popularity to a new peak, Ann and Nancy Wilson got back to writing more songs and doing things more their way. 1993's Desire Walks On was mostly all written by the sisters and although it would be gold seller, it was unable to secure a significant hit and with that, the band's days at Capital Records came to an end. Heart would continue to record over the years with their most successful being 2010's #10 Red Velvet Car.

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"Beat Patrol" by Starship

Song#:  3277
Date:  09/26/1987
Debut:  83
Peak:  46
Weeks:  10
Genre:  Pop, Rock



Pop Bits:  The Starship single "It's Not Over ('Til It's Over)" was the second Top 10 (#9) hit from their second album No Protection. For a follow-up, this album-opening track was selected. It couldn't match the Top 10 results of the previous two singles and even stopped short of the Top 40. It was also unable to get on the Rock chart. Still, by this point in time the album had already peaked at #12 and was on the verge of going gold, which it would do in November of '87.

ReduxReview:  Starship totally left behind any rock cred with No Protection. It was obvious that they were going for a mainstream sound and trying to find hooky tunes that would reel in pop listeners. It worked a bit with a couple of hit singles, but the well quickly dried up. This bouncy tune could have made a fun power pop track, but Starship's 80s synth-heavy production diluted all the good stuff right out of it. The song is not all that bad. It just came off as goofy in the hands of Starship.

ReduxRating:  3/10

Trivia:  This is a remake of a song originally written and recorded by English singer/songwriter Johnny Warman. Warman's 1984 recording, originally titled "(Here Comes) The Beat Patrol," was released as a single in the UK, but it failed to chart. In the 70s, Warman join the band Bearded Lady, but as the 80s neared he tried for a solo career. His second LP, 1981's Walking into Mirrors, generated the single "Screaming Jets," which reached #9 in Australia. After a follow-up album failed to do anything, Warman was dropped from his label. He gave it one more try recording and releasing "Beat Patrol," but it didn't catch on. He then focused on writing for other artists. A few year later, Starship picked up "Beat Patrol" and recorded it. The flip side to Warman's "Beat Patrol" single was "Don't Call Me" and it would later be recorded by rock group Asia for their 1992 album Aqua.

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"He's My Girl" by David Hallyday

Song#:  3241
Date:  08/29/1987
Debut:  98
Peak:  79
Weeks:  8
Genre:  Dance-Pop



Pop Bits:  David Hallyday was basically born into music. His father was Johnny Hallyday and his mother was Sylvie Vartan. Both were huge music stars in France and around Europe with Hallyday being known as the Elvis of France while Vartan made a name for herself in the yé-yé music movement of the 60s. David Hallyday didn't dive into the family business until he was late in his teens. At the same time he was also dabbling in acting. The two careers came together when Hallyday was cast in the comedy film He's My Girl. He would co-star in the flick with comedic actor T.K. Carter. In addition to being one of the leads, Hallyday would also supply the film's theme song plus two other tunes for the soundtrack album (which also featured two new tracks from his mom). Hallyday's theme song would be released as a single and it would spend a couple of months on the Pop chart, but couldn't really bust out of the bottom rungs. The soundtrack was on Scotti Bros. Records who would then sign Hallyday on for a solo career. His debut album, True Cool, would be released in '88 and this soundtrack song would be included. Unfortunately, no other singles from the LP would chart and it quickly disappeared. He did another album for the label in 1990 titled Rock 'n' Heart and that resulted in the #51 Pop single "Ooh La La." After that, he mainly recorded and released albums in France while taking on a few acting roles. Hallyday also got involved in auto racing and has competed several times in the famous 24 Hours of Le Mans race.

ReduxReview:  Oh yeah, this definitely sounds like a tune from a comedy flick. It was trying hard to mimic tunes from hit soundtracks like Beverly Hills Cop. The lyrics included the plot points of the film so it explains why a guy is singing "He's My Girl." It was a goofy song that was appropriate to close out the film, but it really wasn't good enough to be a chart contender. In fact, I'm truly surprised it even charted. Still, Hallyday doesn't sound too bad and the hi-80s campy production is on point. But like the film, it is just a bizarre relic from the decade and not much more.

ReduxRating:  3/10

Trivia:  The comedy/farce He's My Girl was Hallyday's first film. The plot consisted of aspiring musician Bryan (Hallyday) trying to get a break in the music industry (of course). His friend Reggie (T.K. Carter) enters him into a contest to meet a music star, which Bryan wins. For some reason, Bryan has to bring a girlfriend with him to L.A. Not wanting to leave his bestie behind, the pair hatch a plan to have Reggie pose as a girl for the trip. Reggie then becomes Regina. After they arrive in L.A., they both fall in love with women they meet and hi-jinx ensue, which also includes a promoter trying to steal Bryan's song. The film was nixed by critics and it was barely a blip in theaters. The results didn't boost the careers of either actor. The film and this theme song have become obscure oddities. However, another family member of Hallyday's has had a successful acting career. Hallyday's first cousin (via his mom) is Michael Vartan. Vartan got his big break when he co-starred in the film Never Been Kissed with Drew Barrymore. That led to his long-running role on the hit TV show Alias (2001-2006). Another side note about He's My Girl. It was directed by Gabrielle Beaumont. Beaumont would become the first woman to direct an episode in the Star Trek franchise. She would helm the 1989 Star Trek: The Next Generation episode "Booby Trap." Beaumont would end up directing eight more episodes in the franchise including ones for Deep Space Nine and Voyager.

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"Dinner with Gershwin" by Donna Summer

Song#:  3237
Date:  08/22/1987
Debut:  85
Peak:  48
Weeks:  11
Genre:  Pop



Pop Bits:  The mid-80s were not a good time for Donna Summer. Her 1984 album Cats Without Claws failed to generate a significant hit and that left the LP becoming her lowest peaking effort to-date at #40. It was also her first regular studio album released in the US to not at least go gold. Summer was also having issues at Geffen, her label since 1980, and was experiencing some PR problems that alienated a large section of her fans (see below). The problems kept coming as she recorded her next album All Systems Go. Geffen agreed to Summer's choice of producer, Harold Faltermeyer, but after hearing the completed tracks, Geffen didn't think there were a lot of potential single candidates and wanted Summer to record one more with Faltermeyer. However, by that point Faltermeyer was on to other projects so Geffen brought in Richard Perry to help produce "Dinner with Gershwin," a song written by Brenda Russell, who also served as co-producer. Geffen chose the final track listing for the LP and pushed "Dinner" out as the first single. The tune would become Summer's final Top 10 at R&B (#10) while getting to #13 Dance and #38 AC. Over at Pop, the song was a big disappointment stopping before it could get into the Top 40. With little to generate interest in the album, it tanked at #122 to become a career low for Summer.

ReduxReview:  A couple of things here. First, why anyone thought this would be a hit song is beyond me. It was an interesting track, but it had nary a hook or real chorus making it nearly forgettable. Plus the little Gershwin-esqe touches in the arrangement were a bit kooky. It just didn't work. Second, Geffen was not the place for Summer. They quashed some of her better songs while having her record silly stuff like this that they thought were hits. In other words, they just didn't know what to do with her and they were trying anything to score a hit and recover the money they spent signing her. It was really a shame. Summer could have had a much better second act post-disco, but Geffen kind of ruined it. As for this song, it remains an oddity in her catalog and a real WTF moment that sent her charting career in a nosedive.

ReduxRating:  3/10

Trivia:  It was never a secret that a big section of Summer's audience was gay. Her club hits and image were iconic in the community and she was adored. It was also no secret that Summer had become a born-again Christian early in the 80s. Then there was AIDS. All three things would fatefully collide for Summer sometime around 1983. The story goes that Summer was chatting with fans after a show, specifically about her born-again status, and that allegedly she said something to the effect of - that AIDS was punishment by God on gays and their immoral lifestyle. Now, it has never truly been clear if Summer said something like this or something that could be interpreted as such or didn't say it at all. However, rumors of the alleged comment spread like wildfire, especially among the gay community who then took to burning her records and picketing her concerts. Summer has always denied saying such things and has even pointed out that several of her co-writers over the years were gay. She also blamed people around her who tried to be protective and instead just added fuel to the fire. It didn't help that she would appear on Christian talk shows during the time as well. The rumor would dog her for decades, but the effects of it were certainly being felt when she released All Systems Go. Like the rumor, it can't be proven that the bad publicity and backlash from the gay community helped to doom the album, but the timing certainly wasn't good. Many in the gay community would later forgive Summer (even when not truly knowing if the rumor was true or not) and re-embrace her music, but damage to the diva's reputation and career was apparent at the time. Remember, this was way, way before social media. Today there is basically a record of what a celebrity says or does thanks to apps like Twitter. There is really no denying it when the facts present themselves. Back then, celebrities could get away with a lot more, but still a juicy rumor could wreak havoc on a career and whether it was true or false, Summer was certainly a victim of one.

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"Who's That Girl" by Madonna

#1 Alert!

Song#:  3192

Date:  07/11/1987
Debut:  43
Peak:  1 (1 week)
Weeks:  16
Genre:  Dance-Pop, Soundtrack



Pop Bits:  Right on the heels of three #1s and two Top 10s from her third album True Blue, Madonna was ready with new music for consumption. This time it was in the form of songs from a movie soundtrack. The screwball comedy Who's That Girl would be Madonna's third starring role in a film and of course it provided an opportunity to make more money for Madonna, the movie studio, and her label via a soundtrack album. Madonna would record four songs for the film, two co-written and co-produced with Stephen Bray and two with Patrick Leonard, which included this first single. The song debuted just outside the Pop Top 40 and then headed straight to #1. It would be Madonna's sixth single to top the chart and in doing so she took the lead in the 80s for most #1s in the decade. She also became the first female artist to score six #1s. Even though the album had five tracks by other artists, including Scritti Politti and Club Nouveau, the soundtrack was credited to Madonna. It reached #7 and would be a platinum seller. The song would get a Grammy nod for Best Original Song from a Motion Picture and a Golden Globe nomination for Best Original Song.

ReduxReview:  Madonna's previous single, "La Isla Bonita," had a bit of a Spanish influence to it, so it was a bit surprising that she would continue that on this next single, especially when it had nothing to do with the movie. I guess it was just one of the many phases that Madonna went through. I wasn't the biggest fan of "La Isla Bonita," but it was far better than this track. I'd easily put this last on a list that ranked Madonna's #1s. It would most likely be last for Top 10s as well. It is definitely one of her most forgettable hits. It played like an extension of "Bonita," but less interesting or even committed. It sounded like a tossed together one-off track, which it basically was - "hey, I need a couple songs for a movie, bring something to the studio and we'll figure it out." It ended up being a hit thanks to Madonna's star power at the time and associated tour (and most likely not due to the film...), but when was the last time you heard this song? Or even wanted to? Musically, it was a dip in the road for Madonna and it would take her over two years before she would set aside all the movie and other fame crap and return with music that was profound and passionate.

ReduxRating:  3/10

Trivia:  Madonna's film track record was 50/50 with 1985's Desperately Seeking Susan being a hit and 1986's Shanghai Surprise tanking. She needed to rebound with something good to help better establish her viability as a box office draw. Who's That Girl seemed like the ticket with Madonna capitalizing on her comedic acting skills. Unfortunately, both critics and film goers weren't impressed and the movie became Madonna's second bomb in a row. She would end up "winning" the Golden Raspberry award for Worst Actress. Madonna's next film was in the 1989 ensemble comedy Bloodhounds of Broadway. It barely eked out any money at the box office. However, she would finally dig herself out of the acting hole with 1990's Dick Tracy.

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"Young Blood" by Bruce Willis

Song#:  3093
Date:  04/11/1987
Debut:  82
Peak:  68
Weeks:  5
Genre:  Pop, Blue-Eyed Soul



Pop Bits:  This actor grabbed a surprise #5 Pop hit with his remake of The Staple Singers' 1971 hit "Respect Yourself." It was selected from his debut album The Return of Bruno. The success of the single helped the album get to #14. At the end of March of '87 it would be certified gold. Next up for release from the LP was this remake (see below). It wouldn't do nearly as well only hanging around the Pop chart for a few weeks. Still, the Top 10 hit plus the gold album was certainly exceeded the expectations of Willis and the record company.

ReduxReview:  Okay. Once was an acceptable fluke. Twice...um, no. Probably more than "Respect Yourself," this song showed Willis' limitations. Not necessarily as someone who can carry a tune, but as someone trying to cover R&B tunes. Most actors who sing are actors because they really don't have the goods to be a pro singer. It can fulfill a dream or boost their profile to do an album, but they certainly shouldn't quit their day job. Willis' singing career came to a quick end and he got back to acting, thankfully. I'm sure he still sings on occasion with a band somewhere and it is probably fun for him and the audience, but as a legit recording artist doing R&B covers, he just didn't cut it. Again, the best thing to come from this was the HBO TV special. You can catch it on YouTube.

ReduxRating:  3/10

Trivia:  This is a remake of a song originally recorded by The Coasters. Their 1957 version was released along with "Searchin'" on a double-A-sided single. "Searchin'" would become the group's first major hit reaching #3 Pop/#1 R&B. "Young Blood" would quickly follow and get to #8 Pop/#1 R&B. Besides The Coasters and Willis, the only other artist to reach the Pop chart with "Young Blood" was Bad Company. Their 1976 remake got to #20. Many artists have covered the tune including The Beatles, who used to include it in their early shows. One of their live performances of the song was later included on the 1994 album Live at the BBC. The Coasters would go on to have four more Pop Top 10 hits including their biggest hit, 1958's "Yakety Yak," which reached #1 at both Pop and R&B.

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