"Price of Love" by Bad English

Top 10 Alert!

Song#:  4149

Date:  12/23/1989

Debut:  68

Peak:  5

Weeks:  19

Genre:  Rock

**This is the last song to be covered in this blog. It was the highest debuting song on the very last Pop chart of 1989 wrapping up the decade. I made it! I covered all songs to enter the Pop chart in the 80s. Thanks to any and all who followed along or even dropped in for an entry or two.

Pop Bits:  This glam rock supergroup fronted by John Waite was able to score a #1 Pop gold record with the Diane Warren-penned power ballad "When I See You Smile." It was the second single from the band's self-titled debut album. For a follow up, the label selected another power ballad from the album, "Price of Love," which was written by band member Waite and Jonathan Cain. It would do well enough to become the band's second Pop Top 10 hit (#30 Rock/#38 AC). The pair of hits would help send the album to #21 and it would become a platinum seller. Two other singles from the LP would make the Pop chart. "Heaven Is a 4 Letter Word" would get to #66 (#12 Rock) while "Possession" would make it to #21 (#42 AC).

ReduxReview:  With perhaps the most single worthy rock track already released ("Forget Me Not," #45), it wasn't surprising that the label chose to push out another power ballad in hopes of a second hit. The ploy worked, but at what price? <pun intended> With their only other Top 40 entry another power ballad, it sort of painted the band in a corner. Obviously they could rock out, but it seemed all folks wanted was big ballads featuring Waite's voice. It kind of put the band at odds. Were they a hard rock supergroup or commercial balladeers? It all would lead to a breakup after their second album, which wasn't surprising as that tends to happen with supergroups like this. But before all that they scored one last Top 10 with this tune. It was a nicely done, but really wasn't all that memorable. I think it had just enough radio ready flare to ride the coattails of "When I See You Smile." Had it been released first, I don't think it would have done nearly as well. It didn't have legs either as I haven't heard this song since its chart days.

ReduxRating:  5/10

Trivia:  With the debut album becoming a success, the band needed to record a follow up. They did so and in 1991 their second album Backlash was ready. Unfortunately, it seems tensions rose in the band during the recording of the LP concerning the direction of the band, so they were on shaky ground even before the LP's release. Then it all came crashing down when the LP's first single, "Straight to Your Heart," stalled at #42 Pop (#9 Rock) and a second single failed to chart. In turn the album stalled at #72 and couldn't even go gold. With those results, the band called it quits. John Wait would return to a solo career while Neal Schon and Jonathan Cain would eventually reform Journey along with Bad English drummer Deen Castronovo. Bassist Ricky Phillip would mainly return to session work while later joining an iteration of Styx.

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"Here and Now" by Luther Vandross

Top 10 Alert!

Gold Record Alert!

Grammy Alert!

Song#:  4148

Date:  12/23/1989

Debut:  78

Peak:  6

Weeks:  27

Genre:  R&B, Pop, Adult Contemporary

Pop Bits:  Six albums into his career (all platinum/double-platinum sellers), Vandross still had yet to have a single reach the Pop Top 10. The closest he got was the #15 "Stop to Love," which was from his '86 album Give Me the Reason. His popularity was so great that his '88 album Any Love would be his first to make the Pop Top 10 (#9) despite not containing a major hit. After that effort, Vandross' label chose to close out the decade with a compilation album. The double disc set The Best of Luther Vandross...The Best of Love would be issued out in the fall of '89. It contained hits and key tracks from Vandross including tracks from when he fronted the group Change. It also featured two new tracks including this single, which was released to help promote the set. The song would be Vandross' fifth to top the R&B chart. It would cross over to Pop where the tune would take a leisurely climb up the chart finally peaking at #6 in its 18th week. It would also get to #3 at AC. Not only would the song earn Vandross his first Pop Top 10 hit, but it would win him his first Grammy (Best Male R&B Vocal Performance). The single would also go gold (it would receive a platinum certification in 2021). The compilation would get to #2 R&B/#26 Pop and eventually hit the triple platinum mark.

ReduxReview:  Finally! After having a few terrific songs unable to crack the Pop Top 10, this ballad finally did the trick for Vandross. It would lead to more Top 10s (see below) and kick off what was arguably Vandross' most successful period. Vandross was an excellent songwriter, but unfortunately he did not have a hand in this one. It was written by Terry Steele and David L. Elliott (Dionne Warwick's eldest son). Regardless, it was a beautiful song that was worthy of its Top 10 placement. It took a long while to get there, but with folks finally realizing the goods Vandross had to offer, it eventually became a big crossover hit. The Vandross catalog is chock full of great songs and performances that are essential listening. That first compilation album, which had to be made into a double disc due to all his hits and key tracks, ended up being the tip of the iceberg with more classics to follow. At minimum, folks should go and listen to that comp at least once. Whether you become a fan from it or not doesn't matter. You just have to appreciate the talent that was Luther Vandross.

ReduxRating:  8/10

Trivia:  With plenty of momentum following this hit, Vandross would return in '91 with his next studio album Power of Love. Its lead single, "Power of Love/Love Power," would be a #1 R&B/#3 AC/#4 Pop hit, Its follow up, "Don't Want to Be a Fool," would be another winner getting to #4 R&B/#5 AC/#9 Pop. The album would be a #1 R&B/#7 Pop double platinum seller. Vandross would earn a fourth Pop Top 10 with the collaboration soundtrack single "The Best Things in Life Are Free" (#10 Pop/#1 R&B/#3 Dance). Used in the 1992 film Mo' Money, the song would be a duet between Vandross and Janet Jackson, and would featured supporting vocals by Bell Biv DeVoe and Ralph Tresvant. Vandross' final Pop Top 10 hit would come in 1994 via a remake of the 1981 Diana Ross/Lionel Richie #1 classic "Endless Love." Mariah Carey would join Vandross on the track, which peaked at #2 Pop/#7 R&B/#11 AC. Vandross would continue to record albums over the years with all of them at least hitting the gold mark. He would have one last significant hit in his career. In 2004, Vandross would release the album Dance with My Father. The title track, written by Vandross and Richard Marx, would go on to be a sentimental hit reaching #4 AC/#28 R&B/#38 Pop. However, its popularity rose when the tune won two Grammys, one for Song of the Year and one for Best Male R&B Vocal Performance. The album would debut at #1, become a double platinum seller, and would win the Grammy for Best R&B Album. Prior to its release, Vandross had suffered a stroke and was in a coma for about two months. He would recover enough to do a video thank you when he won the Grammy for Song of the Year. However, just over a year later in 2005 Vandross would die from a heart attack.

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"Roam" by The B-52's

Top 10 Alert!

Gold Record Alert!

Song#:  4147

Date:  12/23/1989

Debut:  88

Peak:  3

Weeks:  20

Genre:  Pop, Rock

Pop Bits:  The B-52's scored their first Pop Top 10 hit with "Love Shack," the second single from their album Cosmic Thing. It would be a #3 gold seller that took the band to new heights of popularity. For a follow up, this next single was selected. It would basically replicate the results of their previous hit by getting to #3 and going gold (#10 Dance, #6 Modern Rock). In turn, the album would reach #4 and eventually reach the 4x platinum mark. A fourth single, "Deadbeat Club," would be a modest hit just cracking the Pop Top 30 at #30.

ReduxReview:  For this song, vocalist Fred Schneider stepped to the side and let Kate Pierson and Cindy Wilson take full charge of the song. It turned into a great showcase for their vocals and harmonies. Both singers had interesting voices, but when put together they created something unique and memorable, which when paired with Schneider made the B-52's sound. However, the two on their own were awesome and this hit proved it. This was a fun, catchy pop tune that was perfect for driving with the windows down on a warm summer day. Wherever you were headed, this song provided a wonderful soundtrack for the trip.

ReduxRating:  9/10

Trivia:  After everything wrapped up with Cosmic Thing and the associated tour, original member Cindy Wilson chose to go on hiatus from the band. The remaining trio decided to carry on and would record their next album Good Stuff with producers Nile Rodgers and Don Was. Both had produced tracks for Cosmic Thing. The LP was highly anticipated, but then the title track first single surprisingly stalled at #28 on the Pop chart (#1 Modern Rock) and that left the album stalling at #16. It would go gold, but it was a disappointment after the multi-platinum success of their previous LP. The band would have one last Pop chart entry in 1994 with "(Meet) The Flintsones," the theme song to the live action movie version of the 60s animated TV show The Flintstones. For the single, they were billed as The BC-52's. Wilson would rejoin the band soon after and they would tour and work on various projects as a group and individually. They wouldn't record another album until 2008's Funplex, which peaked at #11.

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"Dangerous" by Roxette

Top 10 Alert!

Song#:  4144

Date:  12/16/1989

Debut:  65

Peak:  2

Weeks:  21

Genre:  Pop

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

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

ReduxRating:  7/10

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

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"Here We Are" by Gloria Estefan

Top 10 Alert!

Song#:  4143

Date:  12/16/1989

Debut:  68

Peak:  6

Weeks:  21

Genre:  Pop, Adult Contemporary

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

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

ReduxRating:  6/10

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

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"C'mon and Get My Love" by D-Mob introducing Cathy Dennis

Top 10 Alert!

Song#:  4139

Date:  12/16/1989

Debut:  96

Peak:  10

Weeks:  21

Genre: Dance-Pop, Acid House

Pop Bits:  British producer/remixer/songwriter Daniel Poku, aka Dancin' Danny D, worked his way through the music biz as a DJ and promoter until landing an A&R job at Chrysalis Records. He would continue to work remixer for various artists including ones on Chrysalis while branching out to do his own projects. After leaving Chrysalis, Danny would write and produce a track titled "We Call It Acieed." The song featured vocals by Gary Haisman. Released in the UK in the fall of '88 on the FFRR label and credited to D-Mob, the single became an unexpected hit reaching #3 on the UK chart. With the sudden success of his D-Mob project, Danny needed to get a follow up out and his next effort was "It Is Time to Get Funky" featuring rapper LRS and DJ Sarome. It would also reach the UK Top 10 (#5) in the spring of '89. The second success prompted Danny to create a debut album from D-Mob. In the meantime, across the pond in the US, the two D-Mob singles would both reach #1 on the Dance chart. By the fall of '89, the D-Mob debut album A Little Bit of This, a Little Bit of That would be set and this next single that featured singer Cathy Dennis would be issued out. While the song would do fine in the UK getting to #15, over in the US it would be D-Mob's third #1 at Dance while becoming a surprise Pop Top 10 hit. Another Cathy Dennis-led track, "That's the Way of the World," would stall in the UK at #48, but would hit #1 on the US Dance chart (#59 Pop). The album would sell modestly well in the US reaching #82 (#46 UK). 

ReduxReview:  House music was certainly popular in clubs, but it would only break through to the mainstream on occasion and this was one of them. With its relentless beat, the track was a catchy dancefloor filler that was made all the better by Dennis' vocal. Acid house music is generally not something I gravitate towards as I find it too repetitive, but when the beats are paired with a catchy melody and chorus and edited to a single, it can be terrific. This song was a good example. It was a whirlwind house track that was easy to get caught up in.

ReduxRating:  8/10

Trivia:  Double Shot!  1) The D-Mob outfit would go on to release a couple more singles later in '94 that didn't catch on as well and with that Dancin' Danny D would go on to other projects. He would run his own record label and also team up with Tim Blacksmith to form a publishing company. They would also manage the Norwegian songwriting/production team Stargate. That outfit would work on hits by major acts like Beyoncé, Rihanna, Chris Brown, Selena Gomez, Sam Smith, and many others. 2) While at Chrysalis, Poku would befriend a co-worker by the name of Simon Fuller, who would later become widely known for the UK's Pop Idol show (aka American Idol in the US along with franchises in many other countries). The connection came in handy when Poku needed a vocalist for a couple tracks. Fuller started his own management company and had signed on singer/songwriter Cathy Dennis. With her two D-Mob tracks becoming hits, Dennis then got her own record deal and later in 1990 issued out her debut solo album Move to This. While it would only reach #62 in the US, it would spawn three Pop Top 10 hits:  "Just Another Dream" (#9), "Touch Me (All Night Long)" (#2), and "Too Many Walls" (#8). Dennis co-wrote all three songs along with the majority of tracks on her debut. Unfortunately, her 1992 second album didn't fare as well and it more or less brought an end to her solo career (save for a '97 album). However, it would be Dennis' songwriting skills that would take her career to new heights. She began writing songs for other artists and things would start to rev starting in 1999 when she co-wrote four Top 10 hits for the UK pop outfit S Club 7. Her next hit would be a biggie. Dennis would co-write and co-produce the 2001 worldwide #1 "Can't Get You Out of My Head" by Kylie Minogue (#7 US). Dennis then got involved in Pop Idol thanks to Fuller. She would co-write the theme song, which would later be used for American Idol as well. Dennis would also be tapped to write songs for winners including the first UK winner Will Young and American Idol winner Kelly Clarkson. Many more hits would follow for Dennis including Britney Spears' 2004 "Toxic" (#9 US) and 2008's "I Kissed a Girl" (#1 US) by Katy Perry. Along the way Dennis would win two Grammys.

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"Tell Me Why" by Exposé

Top 10 Alert!

Song#:  4137

Date:  12/09/1989

Debut:  67

Peak:  9

Weeks:  15

Genre:  New Jack Swing, Dance-Pop

Pop Bits:  The trio's second album What You Don't Know was off to a good start with its first two singles making the Pop Top 10 including the ballad "When I Looked at Him" (#10). For a third single, this new jack swing track was selected for release. It would be another winner for the trio becoming their seventh consecutive Pop Top 10. The tune also made it to #3 at Dance. Oddly, even though the LP featured three Pop Top 10 hits, it didn't sell as well as expected. It would top out at #33 and only reach gold status. That was a far cry from their triple platinum '87 debut. Alas, all good things have to come to and end and the album's fourth single, the mid-tempo Diane Warren-penned "Your Baby Never Looked Good in Blue," would bring a halt to the trio's Top 10 streak when it peaked at #17 (#9 AC).

ReduxReview:  I thought I knew all of Exposé's hits, but I don't remember this one at all. It seems to be a hit in their catalog that has disappeared. It was another pretty good track from the trio's writer/producer Lewis A. Martineé, but it certainly wasn't as strong or memorable as previous hits. I wouldn't have pegged this for a Top 10 hit, but somehow it did well enough to just make it in.

ReduxRating:  5/10

Trivia:  Later in 1990, group member Gioia Bruno experienced vocal issues. Eventually she lost her voice and was unable to sing. With the trio still needing to push out a third album, she would be replaced by Kelly Moneymaker. Arista Records head Clive Davis would take a more hands-on approach with the trio's self-titled third effort and move them more towards a pop/AC-leaning sound. The person who assembled the trio and produced their first to albums, Lewis A. Martineé, would only get to contribute four tracks to the new LP while the balance featured tracks written by Diane Warren and other songwriters. A first single, "I Wish the Phone Would Ring," would falter at #28 Pop, but then the Warren-penned "I'll Never Get Over You (Getting Over Me)" would become a #8 Pop/#1 AC gold selling hit. Two further singles failed to crack the top half of the Pop chart. None of the four singles were written/produced by Martineé. Despite containing a major hit, the LP would stall at #135, however, over a two year period it would somehow sell well enough to be certified gold. After a '95 Greatest Hits album, the trio would be cut loose from Arista. Members would go their own ways, but then in 2003 the trio's third album lineup would get back together and start to perform. Bruno, who had recovered from her vocal outage, would come back in 2006 taking over her original spot from Moneymaker. The original trio would continue to perform over the years with Moneymaker subbing in as needed.

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

Top 10 Alert!

Song#:  4136

Date:  12/09/1989

Debut:  73

Peak:  8

Weeks:  19

Genre:  Pop

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

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

ReduxRating:  6/10

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

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

Top 10 Alert!

Song#:  4123

Date:  12/02/1989

Debut:  95

Peak:  5

Weeks:  18

Genre:  Pop, Adult Contemporary

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

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

ReduxRating:  6/10

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

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"Downtown Train" by Rod Stewart

Top 10 Alert!

Song#:  4120

Date:  11/25/1989

Debut:  54

Peak:  3

Weeks:  18

Genre:  Pop, Soft Rock

Pop Bits:  Following the double platinum success of his '88 album Out of Order, Stewart and his label decided to wrap up the decade with a career-spanning compilation album. Storyteller - The Complete Anthology 1964-1990 would be assembled and would highlight Stewart's hits and key tracks. In addition, Stewart would re-record a couple of cover tunes he had done previously along with this brand new recording, which would be issued out as a single to help promote the 4-disc box set. The song would do very well reaching #1 at both Rock and AC while spending three weeks at #3 on the Pop chart. A second single, a newly recorded version of the Isley Brothers' 1966 #12 Pop/#5 R&B hit "This Old Heart of Mine" done as a duet with Ronald Isley, would also do well getting to #10 Pop/#1 AC. (Stewart originally covered the song himself in 1975 and release it as a single, but it only got to #83 Pop.) The Storyteller box set would peak at #54, but over time would become a double platinum seller.

ReduxReview:  Stewart's cinematic Springsteen-esqe take on this song worked so well for him. It was quite different from Tom Wait's original, which had a more lo-fi, gritty arrangement. Stewart was able to transition the tune from an art rock gem into a mainstream hit. That is not an easy feat so when it gets done right on an already brilliant tune the results can only elevate the song and I think that was accomplished here. As a big Waits fan, I tend to prefer his lived in original, but I certainly like and admire Stewart's update, which gave Waits as a songwriter his lone Pop chart hit.

ReduxRating:  9/10

Trivia:  Double Shot!  1) This is a remake of a song originally written and recorded by singer/songwriter Tom Waits. It was included on his 1985 album Rain Dogs. It was released as a single, but did not chart. Several artists would record the tune including Mary Chapin Carpenter and Bob Seger, but only one other artist besides Stewart has made the Pop chart with the song. Patty Smyth's 1987 cover would be a blip on the chart at #95.  2) Stewart would continue his hit streak into the next decade. His 1990 album Vagabond Heart would spawn two Pop Top 10 hits. The first would be "Rhythm of My Heart," which would get to #5 Pop/#2 AC/#13 Rock. Written by Marc T. Jordan and John Capek, the tune was based on the Scottish traditional "Loch Lomond." The song was first recorded by Dutch singer René Shuman for his 1986 self-titled debut album. After that, Stewart would release "The Motown Song," a track he recorded with The Temptations. It would get to #10 Pop/#3 AC. That tune was also a cover. It was originally written and recorded by Larry John McNally for the soundtrack to the 1986 film Quicksilver. Stewart would earn two more major hits in 1993. First was a live version of Van Morrison's "Have I Told You Lately" from Stewart's Unplugged...And Seated album that got to #5 Pop/#1 AC and went gold. Then a song co-written by Bryan Adams and performed by him, Stewart, and Sting for the film The Three Musketeers, "All for Love," would become a #1 Pop/#4 AC platinum seller. It was Stewart's first #1 Pop hit since 1978's "Da Ya Think I'm Sexy?" Stewart would continue to record, but the hits would dwindle and albums would not sell well. Then he experienced an unexpected comeback in 2002 when he recorded an album of pop standards. It Had to Be You: The Great American Songbook struck a chord with folks and it became a #4 triple platinum hit. Over the next decade, Stewart would record four more standards albums all of which made the Top 5 with 2004's third volume getting to #1. That third set would earn Stewart his one and only Grammy (Best Traditional Pop Vocal Album). A Motown covers album and a Christmas effort would also reach the Top 5. In 2013, Stewart would release his first album of original material since 2001 with Time. It would get to #7. Stewart would be a double inductee into the Rock and Roll Hall of Fame. Once for his solo career in 1994 and then in 2012 as a member of Faces.

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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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"I Remember You" by Skid Row

Top 10 Alert!

Song#:  4111

Date:  11/18/1989

Debut:  63

Peak:  6

Weeks:  20

Genre:  Hard Rock, Glam Metal

Pop Bits:  Skid Row's self-titled debut album had already reached gold level sales even before its second single "18 and Life" made the Pop Top 10 (#4). It quickly turned platinum after that hit and it would sell even more following the release of this third single. The power ballad would be a hit at radio and on MTV with the song making it to #6 Pop/#23 Rock. By mid-January of 90, the LP would reach the triple platinum mark. A few years later it would hit the 5x platinum mark. Oddly, the label would opt to not release a fourth single for the album, although a video for the track "Piece of Me" would be filmed and promoted on MTV.

ReduxReview:  The success of "18 and Life" really set this song up well. Following up that harder edged story tune with this power ballad was a brilliant move and it sent sales of the album soaring. There were a lot of metal power ballads at the end of the 80s, but this one ranks among the best. It has terrific melodies and a big hooky chorus with standout vocals by Sebastian Bach. Oddly, the band chose not to capitalize on their mainstream success with their second album and opted for more aggressive tracks that weren't necessarily radio friendly. The LP still sold quite well, however, grunge and inner turmoil would do in the band in the mid 90s. 

ReduxRating:  8/10

Trivia:  For Skid Row's next album, '91's Slave to the Grind, the band would go for an even heavier sound than their debut. Anticipation was high for the LP, which was released just a few weeks after Billboard changed their chart methodology for sales over to the point-of-sale Nielson SoundScan system. That change had a definite impact on the charts. Stats for sales was immediate and that led to many albums hitting their peak position right out of the box in the first week on the chart. Slave to the Grind would be one of them. It would debut at the #1 spot thanks to sales of over 130,000 in its first week of release. The LP would only spend a week at the top. While fans and some critics liked the band's direction, it didn't bode well for mainstream singles. Only one track, "Wasted Time," would make the Pop chart peaking at #88 (#30 Rock). Another song, "Monkey Business," would make it to #13 Rock. Yet despite the lack of hits, the LP would go double platinum. The band would then take a bit of a break due to the advent of grunge, but would return in '95 with the dark Subhuman Race. It would top out at #35. Lead singer Sebastian Bach would leave the band in '96 and the band would go on hiatus. They would reform in '99 without Bach and would continue on with various lead singers. They would record a few albums along the way. Bach would go on to a solo career and also work as a vocalist for other bands. He would branch out into reality TV and appear in several shows including the competition program Gone Country, which he would win. Perhaps most surprising is that Bach would perform in Broadway musicals. It began when he took over the lead role in Jekyll and Hyde in 2000. He would follow that up with a role in Rocky Horror Picture Show along with being in the touring cast and having the lead role in Jesus Christ Superstar.

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"No More Lies" by Michel'le

Top 10 Alert!

Gold Record Alert!

Song#:  4107

Date:  11/18/1989

Debut:  92

Peak:  7

Weeks:  29

Genre:  R&B, New Jack Swing

Pop Bits:  L.A.-born singer Michel'le Toussant caught people off guard with her two distinct voices. While she spoke in a high-pitched, thin, mousy tone, her singing voice was full bodied and powerful and both got folk's attention. As a teen, Michel'le spent time around L.A. doing vocal competitions, which eventually led to an audition with DJ Alonzo Williams. In addition to owning a club, Williams was also busy with his group the World Class Wreckin' Cru, which featured soon-to-be stars DJ Yella and Dr. Dre. Around that time, the Cru was working up a track that needed a female vocalist and Michel'le was brought in to give it a go. The resulting song, the '87's slow jam "Turn Off the Lights," would be released as a single and get to #84 Pop/#30 R&B. Along the way, Michel'le and Cru member Dr. Dre would dive into a relationship. Dre's other group, N.W.A., was signed to Ruthless Records and it wasn't long before Michel'le had her own deal with the label. She and Dre would co-write the majority of songs (with Dre serving as producer) on her self-titled debut album including this first single. Released in the fall of '89, it would become a hit at R&B reaching #2. The song would crossover to Pop where it would take a slow climb before finally landing in the Top 10. The single would sell well enough to go gold. A second single, "Nicety," would get to #5 R&B/#29 Pop while "Something in My Heart" would make it to #2 R&B/#31 Pop. The hits helped send the album to #5 R&B/#35 Pop and it would turn gold. It was a terrific start to her career and should have led to further success, but then it would take nearly ten years before she could record a follow up.

ReduxReview:  I had forgotten about this great jam. It was defiant and tough with hot production. Michel'le then took it to the next level with her powerful vocal. While it did well and made it to #7, it really should have easily made the Top 3. Michel'le definitely had the goods to be a bigger star and it was too bad that she didn't get to do an immediate follow up. By the time she got one out, it was too late. Despite that, we are still left with her debut album and this terrific hit. It also seems she doesn't get enough credit for helping to forge a new path in music. There are some folks that consider Michel'le's debut as the first hip hop soul album; or at least the influence for the genre. The general view is that Sean "Puffy" Combs first coined the term hip hop soul when promoting Mary J. Blige's 1992 debut What's the 411?, an album on which he served as executive producer. She was then dubbed the Queen of Hip Hop Soul. However, some argue that Michel'le working with Dr. Dre set the genre in motion.

ReduxRating:  8/10

Trivia:  After the success of her debut album, Michel'le should have recorded a follow up soon after. However, that didn't happen. Her volatile relationship with Dr. Dre, which has been accounted in various ways, was a factor along with having a baby. While she would make guest appearances on a few tracks for other artists, she was unable to record songs of her own. The turmoil led to substance abuse, which she would later address. Her relationship with Dre would come to an end after she found out he got married to another woman, but then she began to see another notorious rap impresario, Suge Knight. He would eventually help Michel'le get her second album out. Hung Jury would be released in 1998, but the lengthy time away didn't help things and with only two minor charting singles, the LP would only get to #56 R&B. Michel'le would end up marrying Knight (while he was in prison) and they would have a daughter. They would later divorce, but it was during those proceedings that Michel'le found out that their marriage was actually invalid because Knight had never gotten divorced from his previous wife. Since then, Michel'le has recorded a few singles and even branched out to reality TV. Starting in 2013, she appeared in three seasons of the TV One show R&B Divas: Los Angeles. Then in 2016 she was the subject of a Lifetime TV biopic titled Surviving Compton: Dre, Suge & Michel'le.

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"Rhythm Nation" by Janet Jackson

Top 10 Alert!

Gold Record Alert!

Song#:  4106

Date:  11/11/1989

Debut:  49

Peak:  2

Weeks:  17

Genre:  Dance-Pop, R&B, Funk

Pop Bits:  Jackson's fourth album Janet Jackson's Rhythm Nation 1814 got kicked off in a big way with its first single, "Miss You Much," quickly getting to #1 and staying there for four weeks. It would end up being a platinum seller. It was a highly successful start to what would be a record-setting run of singles from the album. While sales and chart-wise "Miss You Much" would do better, this title track second single would be the one to make a major statement. The topical tune and its associated military style video would both become iconic and help push Jackson's career into the stratosphere. The single would hit #1 at R&B and Dance while getting to #2 at Pop. It would sell well enough to go gold. By this point in time, the album had already spent four weeks at #1 and was on the verge of going double-platinum.

ReduxReview:  This was such a bad ass song and video. Jackson wanted to make a statement and she certainly did with this track. Then on the album it was the one-two-three punch of this song plus the equally effective "State of the World" followed by "The Knowledge." If Control was about independence and empowerment, then Rhythm Nation expanded to include what was going on in the world and this title track set the tone. Of course there was still some delicious dance-pop tracks like "Escapade" and the rockin' "Black Cat" to round out the set. While many folks consider this the peak of Jackson's power and creativity (and I do agree), that doesn't mean she still didn't do some interesting and adventurous work (the underrated The Velvet Rope comes to mind). However, Rhythm Nation would be her Thriller moment - hugely successful and highly influential.

ReduxRating:  9/10

Trivia:  The run of singles from Rhythm Nation 1814 would end up setting two chart records. While Jackson wouldn't be the first artist to earn seven Pop Top 10 hits from one album (her brother Michael would achieve that with Thirller as would Bruce Springsteen with singles from Born in the U.S.A.), she bested everyone by being the first (and still the only) artist to have seven Pop Top 5 singles from one album. In addition to that record, the album became the first to have three singles reach #1 in three different years. "Miss You Much" would top the chart in '89, then both "Escapade" and "Black Cat" would reach #1 in '90, and the finally "Love Will Never Do (Without You)" would get to the top in mid-January of '91. In total, Rhythm Nation would earn Jackson six Grammy nominations. The associated video album would win the Grammy for Best Music Video, Long Form."Rhythm Nation" would win an MTV Music Video Award for Best Choreography while "Love Will Never Do (Without You)" win Jackson one for Best Female Video. As of this posting date, the Rhythm Nation album has been certified 6x platinum. Her '93 follow up janet. would reach that same mark making both her biggest sellers in the US. On a worldwide scale, janet. would be her best seller at 14 million copies followed by Rhythm Nation with 12 million. Jackson would be induced into the Rock and Roll Hall of fame in 2019.

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"Free Fallin'" by Tom Petty

Top 10 Alert!

Song#:  4098

Date:  11/04/1989

Debut:  72

Peak:  7

Weeks:  21

Genre:  Rock

Pop Bits:  Petty's debut solo album Full Moon Fever had by this point peaked at #3 and was just on the verge of hitting the double platinum mark. It reached those points thanks in part to a pair of #1 Rock tracks that also make the Pop Top 30 including the #12 "I Won't Back Down." To keep things rolling along, this third single was issued out. It would become Petty's third consecutive #1 at Rock while becoming his first solo-billed single to make the Pop Top 10. It would also get to #17 AC. A fourth single, "A Face in the Crowd," would get to #5 Rock/#46 Pop while the follow up "Yer So Bad" would get to #5 Rock. All of that attention would help album sales and in March of '90 the LP would go triple platinum (5x platinum later in 2000). The LP would be nominated for a Grammy for Album of the Year while this single would earn Petty a Grammy nod for Best Rock Vocal Performance, Male. It was and remains Petty's biggest selling studio album with or without the Heartbreakers. The only LP in his catalog that would surpass everything else was the 1993 TP/Heartbreakers compilation Greatest Hits (#2) which would eventually sell over 12 million copies

ReduxReview:  It's crazy to think that when Petty first played the album for his label, they didn't like it and didn't hear any hits. Obviously, it makes you wonder what the hell they were thinking. I mean, this album opening track was just a fresh blast of warm California sun n' rock. Add to it Petty's wailing on the chorus and it was just magic. Then there was "I Won't Back Down." I mean...c'mon. Luckily, a new regime at the label heard potential in the LP and pushed it out. The album is a classic and this song iconic. It was certainly a top moment for Petty that became only his second (and final) Pop Top 10 hit following 1979's #10 "Don't Do Me Like That" with the Heartbreakers. Considering Petty's amazing catalog, that stat is pretty sad. He and the band should have had a string of Top 10s. Over at Rock, Petty, with and without the Heartbreakers, earned twenty-five Top 10 hits including ten #1s.

ReduxRating:  9/10

Trivia:  While Petty would successfully continue his day job with the Heartbreakers, over the years he would issue out two solo-billed albums. In 1994 came Wildflowers, which would reach #5, go triple platinum and earn Petty a Grammy for Best Rock Vocal Performance, Male, via the single "You Don't Know How It Feels" (#1 Rock/#13 Pop). He wouldn't release another solo album until 2006 with Highway Companion (#4 Gold). Meanwhile, Petty and the band would continue on in 1991 with the #13 double platinum Into the Great Wide Open. Other albums would follow including 2014's Hypnotic Eye, which became the band's first album to hit #1. In 2002, Petty and the Heartbreakers would be inducted into the Rock and Roll Hall of Fame. Petty would die of an accidental overdose in 2017. It was believed that the pain he was in from various health conditions including a fractured hip led him to take too much pain medication.

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"Just Between You and Me" by Lou Gramm

Top 10 Alert!

Song#:  4088

Date:  10/28/1989

Debut:  83

Peak:  6

Weeks:  21

Genre:  Soft Rock

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

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

ReduxRating:  7/10

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

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"With Every Beat of My Heart" by Taylor Dayne

Top 10 Alert!

Song#:  4080

Date:  10/21/1989

Debut:  61

Peak:  5

Weeks:  18

Genre:  Dance-Pop

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

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

ReduxRating:  7/10

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

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"Just Like Jesse James" by Cher

Top 10 Alert!

Song#:  4078

Date:  10/21/1989

Debut:  90

Peak:  8

Weeks:  18

Genre:  Pop, Rock

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

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

ReduxRating:  7/10

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

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"Pump Up the Jam" by Technotronic

Top 10 Alert!

Platinum Record Alert!

Song#:  4071

Date:  10/14/1989

Debut:  86

Peak:  2

Weeks:  24

Genre:  House, Dance, Hip Hop

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

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

ReduxRating:  8/10

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

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"Everything" by Jody Watley

Top 10 Alert!

Song#:  4070

Date:  10/14/1989

Debut:  92

Peak:  4

Weeks:  23

Genre:  R&B, Pop

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

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

ReduxRating:  7/10

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

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