Song#: 2908
Date: 10/25/1986
Debut: 77
Peak: 16
Weeks: 16
Genre: R&B, Adult Contemporary, Pop
Pop Bits: Ocean's sixth album, Love Zone, would be his second multi-platinum success thanks in part to three Top 10 hits including the #1 "There'll Be Sad Songs (To Make You Cry)." This fourth single was selected for release and it would end up doing very well at AC reaching #1 and staying there for three weeks. It was his third (and final) #1 on that chart. The tune would also be a success at R&B making it to #10. It crossed over to the Pop chart, but just couldn't quite make it into the Top 10. Still, the run of hit singles was impressive and they helped the album sell over two million copies.
ReduxReview: I vaguely remember this album closer. It's a lovely little tune that sounds like something Burt Bacharach and Carol Bayer Sager might have written for someone like Dionne Warwick. (Ocean co-write the song with producers Barry Eastmond and Wayne Braithwaite.) While it is pretty and well-done with a nice vocal from Ocean, it's not as memorable as Ocean's other hit singles. Perhaps a bigger, more effective arrangement might have sold the tune better. As-is it is pleasant, if unremarkable, listen.
ReduxRating: 5/10
Trivia: Ocean's first hit came in 1976 with "Love Really Hurts Without You." The song did okay in the US reaching #22, but it did much better in Europe, especially in the UK where it got to #2. Ocean would remain popular in England where he resided and the Love Zone album would be his best effort there reaching #2 and going gold. In addition to the four singles that were released in the US, the UK saw one additional track released. "Bittersweet" would be a minor hit getting to #44. After a five-single run from the album, Ocean's first hit would get a new dance remix and be issued out as a single. The '86 dance mix of "Love Really Hurts Without You" would grab a little bit of airplay and make it to #81 on the UK chart. The track was released in a few other European territories, but it was not put out in the US.
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Tuesday, October 1, 2019
Monday, September 30, 2019
"Crazay" by Jesse Johnson with Sly Stone
Song#: 2907
Date: 10/25/1986
Debut: 78
Peak: 53
Weeks: 16
Genre: R&B, Funk
Pop Bits: The former Time member's first solo album, Jesse Johnson's Revue (which was credited to that "group"), did quite well getting to #8 R&B and #43 Pop. It included three R&B Top 10's including the #4 "Be Your Man" (#61 Pop). It sold well enough to call for a follow-up album and Johnson came up with the solo billed Shockadelica. This first single, a duet with the legendary Sly Stone, was pushed out and it was a winner at R&B reaching #2. It would be his biggest hit on that chart and also the Pop chart where it nearly cracked the Top 50. It also got to #12 at Dance. It was a solid hit, but further singles couldn't keep pace and would only reach the R&B Top 30 while missing the Pop chart. The lack of further hits took a bit of a toll on album sales and it would top out at #15 R&B and #70 Pop, which was a slight dip from his debut effort.
ReduxReview: The Prince influence is still on full display here with this track's Minneapolis sound. What's good is that it doesn't sound like a ripoff. Johnson just took what he learned from his Prince/The Time days and applied it to his own songs. It worked well and this song ranks among Johnson's best efforts. It's a cool, hooky jam that could have been a solid entry in either Prince's or The Time's catalog. The tune should have done better on the Pop chart. I think the only thing I quibble with is the addition of Sly Stone. It was probably great to work with him and have his name to promote, but I don't think he really adds anything here. It's fine to have him aboard, but I think Johnson could have handled this on his own.
ReduxRating: 7/10
Trivia: The Shockadelica title gained an usual history. The word was something that Johnson had been using as a descriptor for a few years and he thought it would be a good album title. Johnson's former boss Prince got to hear the album prior to its release and Prince's only quibble was that the LP had a fantastic title but there wasn't a track on the album with the same name. He thought there should be. Johnson disagreed and it seemed that would be the end of it. However, Prince couldn't seem to get the title out of his head and it apparently bothered him to the point where he went to his studio and wrote one. He then sent it over to Johnson for him to use, but Johnson said no thanks. He wanted to do his work independently without the help or influence of Prince. According to Johnson, that is when Prince told him that if he didn't record and put it out, he would and when people hear the word "shockadelica", they would think of him, not Johnson. Johnson still declined. Prince then did record a version of the song and prior to Johnson's album being released, Prince got the song played on a Minneapolis radio station. Some folks say that this was a joke that Prince pulled on Johnson, but we all know that Prince could get...well...Prince-ly at times and chances are he was a little miffed that his song was rebuffed by Johnson. I mean...who would dare turn down Prince? Around the same time, Prince then was assembling a new album titled Camille and he decided to include the song on the project. Camille was a feminine alter-ego that Prince came up with and he wanted to release the album under the name and not associate his own. That project ended up being shelved, but then the song was going to part of his new triple-disc LP Crystal Ball. It was also slated to be the first single. But then his label balked at a triple album and it was pared down to his 1987 classic Sign o' the Times. "Shockadelica" did not make the album, but it did get released as the b-side to the set's second single "If I Was Your Girlfriend" (#12 R&B/#68 Pop). Note that Prince did release a triple-CD set in 1998 titled Crystal Ball, but only the title track was used from the original 1986 version.
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Date: 10/25/1986
Debut: 78
Peak: 53
Weeks: 16
Genre: R&B, Funk
Pop Bits: The former Time member's first solo album, Jesse Johnson's Revue (which was credited to that "group"), did quite well getting to #8 R&B and #43 Pop. It included three R&B Top 10's including the #4 "Be Your Man" (#61 Pop). It sold well enough to call for a follow-up album and Johnson came up with the solo billed Shockadelica. This first single, a duet with the legendary Sly Stone, was pushed out and it was a winner at R&B reaching #2. It would be his biggest hit on that chart and also the Pop chart where it nearly cracked the Top 50. It also got to #12 at Dance. It was a solid hit, but further singles couldn't keep pace and would only reach the R&B Top 30 while missing the Pop chart. The lack of further hits took a bit of a toll on album sales and it would top out at #15 R&B and #70 Pop, which was a slight dip from his debut effort.
ReduxReview: The Prince influence is still on full display here with this track's Minneapolis sound. What's good is that it doesn't sound like a ripoff. Johnson just took what he learned from his Prince/The Time days and applied it to his own songs. It worked well and this song ranks among Johnson's best efforts. It's a cool, hooky jam that could have been a solid entry in either Prince's or The Time's catalog. The tune should have done better on the Pop chart. I think the only thing I quibble with is the addition of Sly Stone. It was probably great to work with him and have his name to promote, but I don't think he really adds anything here. It's fine to have him aboard, but I think Johnson could have handled this on his own.
ReduxRating: 7/10
Trivia: The Shockadelica title gained an usual history. The word was something that Johnson had been using as a descriptor for a few years and he thought it would be a good album title. Johnson's former boss Prince got to hear the album prior to its release and Prince's only quibble was that the LP had a fantastic title but there wasn't a track on the album with the same name. He thought there should be. Johnson disagreed and it seemed that would be the end of it. However, Prince couldn't seem to get the title out of his head and it apparently bothered him to the point where he went to his studio and wrote one. He then sent it over to Johnson for him to use, but Johnson said no thanks. He wanted to do his work independently without the help or influence of Prince. According to Johnson, that is when Prince told him that if he didn't record and put it out, he would and when people hear the word "shockadelica", they would think of him, not Johnson. Johnson still declined. Prince then did record a version of the song and prior to Johnson's album being released, Prince got the song played on a Minneapolis radio station. Some folks say that this was a joke that Prince pulled on Johnson, but we all know that Prince could get...well...Prince-ly at times and chances are he was a little miffed that his song was rebuffed by Johnson. I mean...who would dare turn down Prince? Around the same time, Prince then was assembling a new album titled Camille and he decided to include the song on the project. Camille was a feminine alter-ego that Prince came up with and he wanted to release the album under the name and not associate his own. That project ended up being shelved, but then the song was going to part of his new triple-disc LP Crystal Ball. It was also slated to be the first single. But then his label balked at a triple album and it was pared down to his 1987 classic Sign o' the Times. "Shockadelica" did not make the album, but it did get released as the b-side to the set's second single "If I Was Your Girlfriend" (#12 R&B/#68 Pop). Note that Prince did release a triple-CD set in 1998 titled Crystal Ball, but only the title track was used from the original 1986 version.
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Sunday, September 29, 2019
"The Future's So Bright, I Gotta Wear Shades" by Timbuk 3
Song#: 2906
Date: 10/25/1986
Debut: 85
Peak: 19
Weeks: 16
Genre: Alternative Rock, Folk-Rock
Pop Bits: In 1978, musician Barbara Kooyman was getting herself established in Madison in order to attend the University of Wisconsin. She happened to walk into a coffee shop where Pat MacDonald was performing. She loved his songs and it wasn't long before they were dating and each was maintaining and performing with their own bands. Eventually, Kooyman (her stage name was Barbara K) decided to break up her band and she joined up with MacDonald's outfit. Along the way, the two got married. After MacDonald's band called it quits, the couple came up with the idea to perform together and create their own rhythm section without hiring other band members. They moved to Austin, Texas, and soon began to get gigs around town as Timbuk 3. They got a break when the MTV show The Cutting Edge came to town. The monthly program showcased new talent from a few regions of the country. It was a joint venture between MTV and I.R.S. Records. Scouts for the show liked what the duo had to offer and they got on the show. They were also invited to perform at an event for the show in L.A. It was there that the head of I.R.S. heard the duo and decided to sign them. Work began on a debut album with little expectations to become a major success. In fact, just a few thousand vinyl LPs and cassettes were pressed for release. The final product was titled Greetings from Timbuk3 and it was decided that this song would be the first single. Promos got pressed and passed around while the duo hit the road to perform. Unexpectedly, DJs began spinning the promo and the song started to catch on. The label had to quickly get singles, LPs and CDs pressed as demand began to grow for the duo's music. By the end of '86, the single made the Pop Top 20 while getting to #14 at Rock. A second single, "Life Is Hard," got to #35 at Rock, but failed to make the Pop chart. Still, the album did well getting to #50. All together, it was enough to capture the attention of the Grammy folks and the duo got a nomination for Best New Artist. The duo certainly hit the big time, but keeping their audience proved to be difficult. Their second album was far less successful peaking at #107 with no singles charting at Pop. They would record two more albums for I.R.S. that didn't chart followed by two indie LPs and one EP. By 1995, Timbuk 3 called it a day professionally and personally with the pair getting a divorce.
ReduxReview: Yeah, this just wasn't my cup of tea. It's like some goofy tune from the Woodstock era that despite its frivolous sunny disposition had a cynical dark side. Come for the hippie-ish, hooky, folk-rock...stay for the deceptively smart lyrics that most people didn't get (or really want to)! I've seen acts like this before. Quirky musicians that perform locally and gain a solid following. Sure they may have higher aspirations than playing the local venues, but sometimes their music just doesn't translate to a wider, mainstream audience. I think Timbuk 3 were like that, however what they had over other similar artists is this song. Even though I didn't much care for it (I smelled one-hit wonder from a mile away), I did recognize that it was a cute little jam with a hooky, quotable title that would play well to a lot of people. The problem was that offbeat acts like this don't tend to last long. They were not going to be commercially viable like other pop artists. They were not going to purposely write a hit song and were not going to let others write for them, so their shelf life was limited before this hit was even off the chart. Still, they had their moment in the sun and even got a Grammy nod.
ReduxRating: 5/10
Trivia: Double Shot! 1) Pat MacDonald would go on to record some solo albums, but he also collaborated with a few high-profile artists. Songs he co-wrote showed up on albums by Night Ranger, Peter Frampton, and Alannah Myles. He also co-wrote a few with the legendary Cher. These were songs that Cher had lyrically started at a songwriter's workshop and via connections, MacDonald was brought in to flesh out the tunes. These songs plus others that Cher co-wrote created an album she wanted to release, but her label deemed it uncommercial and refused to put it out. The project sat around for several years before Cher just decided to release it digitally on her own. It was issued out on Cher's website in 2000 as not.com.mercial. 2) This song's sound and title certainly made it one that had a lot of appeal to advertisers. Yet it's never been heard in any commercial or featured in any ad campaign. Why is that? It is because both MacDonald and Kooyman have refused to grant the rights for use. They have their own reasons why, but it kind of boils down to them not wanting their artistic vision commercialized or used to sell masses of products. The companies they have turned down are not minor players - Ford, Ray-Bans, and even the US Army have come calling to no avail. It was even reported that they turned down an offer of $900,000 from AT&T. Like they say, money can't buy everything.
_________________________________________________________________________________
Date: 10/25/1986
Debut: 85
Peak: 19
Weeks: 16
Genre: Alternative Rock, Folk-Rock
Pop Bits: In 1978, musician Barbara Kooyman was getting herself established in Madison in order to attend the University of Wisconsin. She happened to walk into a coffee shop where Pat MacDonald was performing. She loved his songs and it wasn't long before they were dating and each was maintaining and performing with their own bands. Eventually, Kooyman (her stage name was Barbara K) decided to break up her band and she joined up with MacDonald's outfit. Along the way, the two got married. After MacDonald's band called it quits, the couple came up with the idea to perform together and create their own rhythm section without hiring other band members. They moved to Austin, Texas, and soon began to get gigs around town as Timbuk 3. They got a break when the MTV show The Cutting Edge came to town. The monthly program showcased new talent from a few regions of the country. It was a joint venture between MTV and I.R.S. Records. Scouts for the show liked what the duo had to offer and they got on the show. They were also invited to perform at an event for the show in L.A. It was there that the head of I.R.S. heard the duo and decided to sign them. Work began on a debut album with little expectations to become a major success. In fact, just a few thousand vinyl LPs and cassettes were pressed for release. The final product was titled Greetings from Timbuk3 and it was decided that this song would be the first single. Promos got pressed and passed around while the duo hit the road to perform. Unexpectedly, DJs began spinning the promo and the song started to catch on. The label had to quickly get singles, LPs and CDs pressed as demand began to grow for the duo's music. By the end of '86, the single made the Pop Top 20 while getting to #14 at Rock. A second single, "Life Is Hard," got to #35 at Rock, but failed to make the Pop chart. Still, the album did well getting to #50. All together, it was enough to capture the attention of the Grammy folks and the duo got a nomination for Best New Artist. The duo certainly hit the big time, but keeping their audience proved to be difficult. Their second album was far less successful peaking at #107 with no singles charting at Pop. They would record two more albums for I.R.S. that didn't chart followed by two indie LPs and one EP. By 1995, Timbuk 3 called it a day professionally and personally with the pair getting a divorce.
ReduxReview: Yeah, this just wasn't my cup of tea. It's like some goofy tune from the Woodstock era that despite its frivolous sunny disposition had a cynical dark side. Come for the hippie-ish, hooky, folk-rock...stay for the deceptively smart lyrics that most people didn't get (or really want to)! I've seen acts like this before. Quirky musicians that perform locally and gain a solid following. Sure they may have higher aspirations than playing the local venues, but sometimes their music just doesn't translate to a wider, mainstream audience. I think Timbuk 3 were like that, however what they had over other similar artists is this song. Even though I didn't much care for it (I smelled one-hit wonder from a mile away), I did recognize that it was a cute little jam with a hooky, quotable title that would play well to a lot of people. The problem was that offbeat acts like this don't tend to last long. They were not going to be commercially viable like other pop artists. They were not going to purposely write a hit song and were not going to let others write for them, so their shelf life was limited before this hit was even off the chart. Still, they had their moment in the sun and even got a Grammy nod.
ReduxRating: 5/10
Trivia: Double Shot! 1) Pat MacDonald would go on to record some solo albums, but he also collaborated with a few high-profile artists. Songs he co-wrote showed up on albums by Night Ranger, Peter Frampton, and Alannah Myles. He also co-wrote a few with the legendary Cher. These were songs that Cher had lyrically started at a songwriter's workshop and via connections, MacDonald was brought in to flesh out the tunes. These songs plus others that Cher co-wrote created an album she wanted to release, but her label deemed it uncommercial and refused to put it out. The project sat around for several years before Cher just decided to release it digitally on her own. It was issued out on Cher's website in 2000 as not.com.mercial. 2) This song's sound and title certainly made it one that had a lot of appeal to advertisers. Yet it's never been heard in any commercial or featured in any ad campaign. Why is that? It is because both MacDonald and Kooyman have refused to grant the rights for use. They have their own reasons why, but it kind of boils down to them not wanting their artistic vision commercialized or used to sell masses of products. The companies they have turned down are not minor players - Ford, Ray-Bans, and even the US Army have come calling to no avail. It was even reported that they turned down an offer of $900,000 from AT&T. Like they say, money can't buy everything.
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Saturday, September 28, 2019
"You Be Illin'" by Run-D.M.C.
Song#: 2905
Date: 10/25/1986
Debut: 86
Peak: 29
Weeks: 18
Genre: Rap
Pop Bits: Hip-hop would never be the same after this trio's third album, Raising Hell. It was a turning point for the genre and it would be the first rap album to go multi-platinum. That was mainly thanks to the rap-rock crossover hit "Walk This Way," which got to #4 at Pop and #8 R&B. Up next was this third single from the album. It was an original work and it ended up doing fairly well getting to #12 at R&B and making it inside the Pop Top 30. "Walk This Way" certainly helped to open doors and it helped this song make a bit of an impact on the charts. More mainstream acceptance of rap was still a ways away, but the fact that these guys put a full-on original rap/hip-hop tune in the Pop Top 30 was a signal that times were changing.
ReduxReview: I was so unhip at the time (I'm only slightly better these days) that I thought "you be illin'" meant the person was actually sick. Especially since the rap included food things like KFC. In reality, I was the one that was illin' as it really means acting foolish. Yeah, that's pretty much me. Despite me not being hep with the lingo, this was a pretty great track. The scratching, bass line, and the horn stabs were a solid foundation for a terrific rap. It should have been a Top 10 hit, but since pop radio was still reluctant to rap music as the time, Top 30 wasn't a bad result. Regardless of chart position, it was another classic from the trio.
ReduxRating: 8/10
Trivia: While many artists cover hit songs or classic tracks from various genres like pop, rock, R&B, jazz, etc., not as many take a stab at remaking a rap tune. Rap can be much more difficult to cover since it is nearly like trying to recite another artist's vision or poetry. Plus as artist has to be quite clever to figure out how to present a rap in a new way. There are several successful examples of rap tracks being remade by non-rap artists. "You Be Illin'" is one of them. It was covered by the Americana old-time string band the Carolina Chocolate Drops. Their folk-ified version was a bonus track on their 2012 album Leaving Eden. The trio had been together since 2005 and had released two albums before breaking through to a wider audience with their 2010 effort Genuine Negro Jig. The LP would reach #1 on the Bluegrass chart and #2 at Folk. It would also win the Grammy for Best Traditional Folk Album. Lead singer and violin/banjo player Rhiannon Giddens branched out to a solo career in 2014. She would earn three Grammy nods with two of her releases being nominated for best Best Folk Album. (Note: I have a couple of favorite offbeat rap covers. Irish folk artist Luka Bloom did an excellent version of LL Cool J's 1987 #1 R&B/#14 Pop hit "I Need Love" for his 1992 album The Acoustic Motorbike. Singer/songwriter Tori Amos recorded a creepy version of Eminem's "'97 Bonnie & Clyde" for her 2001 covers LP Strange Little Girls. Look 'em up.)
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Date: 10/25/1986
Debut: 86
Peak: 29
Weeks: 18
Genre: Rap
Pop Bits: Hip-hop would never be the same after this trio's third album, Raising Hell. It was a turning point for the genre and it would be the first rap album to go multi-platinum. That was mainly thanks to the rap-rock crossover hit "Walk This Way," which got to #4 at Pop and #8 R&B. Up next was this third single from the album. It was an original work and it ended up doing fairly well getting to #12 at R&B and making it inside the Pop Top 30. "Walk This Way" certainly helped to open doors and it helped this song make a bit of an impact on the charts. More mainstream acceptance of rap was still a ways away, but the fact that these guys put a full-on original rap/hip-hop tune in the Pop Top 30 was a signal that times were changing.
ReduxReview: I was so unhip at the time (I'm only slightly better these days) that I thought "you be illin'" meant the person was actually sick. Especially since the rap included food things like KFC. In reality, I was the one that was illin' as it really means acting foolish. Yeah, that's pretty much me. Despite me not being hep with the lingo, this was a pretty great track. The scratching, bass line, and the horn stabs were a solid foundation for a terrific rap. It should have been a Top 10 hit, but since pop radio was still reluctant to rap music as the time, Top 30 wasn't a bad result. Regardless of chart position, it was another classic from the trio.
ReduxRating: 8/10
Trivia: While many artists cover hit songs or classic tracks from various genres like pop, rock, R&B, jazz, etc., not as many take a stab at remaking a rap tune. Rap can be much more difficult to cover since it is nearly like trying to recite another artist's vision or poetry. Plus as artist has to be quite clever to figure out how to present a rap in a new way. There are several successful examples of rap tracks being remade by non-rap artists. "You Be Illin'" is one of them. It was covered by the Americana old-time string band the Carolina Chocolate Drops. Their folk-ified version was a bonus track on their 2012 album Leaving Eden. The trio had been together since 2005 and had released two albums before breaking through to a wider audience with their 2010 effort Genuine Negro Jig. The LP would reach #1 on the Bluegrass chart and #2 at Folk. It would also win the Grammy for Best Traditional Folk Album. Lead singer and violin/banjo player Rhiannon Giddens branched out to a solo career in 2014. She would earn three Grammy nods with two of her releases being nominated for best Best Folk Album. (Note: I have a couple of favorite offbeat rap covers. Irish folk artist Luka Bloom did an excellent version of LL Cool J's 1987 #1 R&B/#14 Pop hit "I Need Love" for his 1992 album The Acoustic Motorbike. Singer/songwriter Tori Amos recorded a creepy version of Eminem's "'97 Bonnie & Clyde" for her 2001 covers LP Strange Little Girls. Look 'em up.)
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Friday, September 27, 2019
"Like Flames" by Berlin
Rated 10 Alert!
Song#: 2904 Date: 10/25/1986
Debut: 93
Peak: 82
Weeks: 5
Genre: Rock
Pop Bits: Berlin hit a career peak when their Top Gun soundtrack tune, "Take My Breath Away," hit #1. The track would also go on to win the Oscar for Best Original Song. While the band had been divided on whether or not to record the song, as they didn't write it and it wasn't indicative of their sound, they could agree that the hit certainly put them in a new spotlight. More people would be paying attention to their next move. Yet when it came time to record their next album, the band (reduced to a core trio now) found themselves at odds again on direction. In the end, they brought in producer Bob Ezrin (Alice Cooper, Kiss) and shifted from the new wave synthpop that got them noticed to an edgier rock sound. The album would be titled Count Three and Pray and this first single announced the band's new direction. Unfortunately, it seemed their new sound wasn't what folks wanted and the single disappeared after a few short weeks on the chart. The album sold a few copies thanks to the inclusion of "Take My Breath Away," but it stopped at a minor #61 and failed to reach any sales certifications like their previous two discs (gold and platinum). A second single failed to chart and Berlin's momentum after their smash hit quickly dissipated. The failure of the LP caused further internal struggles and later in '87 the band called it quits. A hits compilation, Best of Berlin 1979-1988 would be released in '88 and it would eventually be a gold seller.
ReduxReview: I've always been a bit torn about Count Three and Pray. I do think it was absolutely the wrong album to release as the time. They were coming off a huge international synthpop hit and radically changing their sound was a mistake. Not only did they alienate folks who loved "Take My Breath Away," but they also lost a chunk of their fans who jammed to the band's new wave synthpop. An intense rock album wasn't what either wanted. The album was basically a career (and band) killer. What I get torn about is that I absolutely loved the LP. I played that thing constantly and it quickly became one of my all-time favorites (still is). While I still adored their previous synthpop discs, this album took the band to a whole new level. Ezrin gave them a meaty sound and Nunn never sounded better. Their lyrics were sharper and there was a new maturity showing through. They were forced to put "Take My Breath Away" on the LP, but it really shouldn't have been there as it didn't belong. Besides that, the album is an absolute gem. This lead single got things revved up in a big way and I used to play it about as loud as my car speakers would tolerate. I wasn't sure if it would be a hit, but I thought it would do far better than #82. I just think that since it wasn't "Take My Breath Away, Pt. 2," people didn't want to hear it and DJs didn't want to play it. What a shame. It's a rockin' tune that deserved a better fate, as did the album.
ReduxRating: 10/10
Trivia: Triple Shot! 1) After Berlin folded, lead singer Terri Nunn settled on a solo career and put out a debut album in 1991 titled Moment of Truth. It failed to chart. She would then buy the Berlin name and form a new band. Under that moniker, Nunn would release three albums. In 2019, Nunn got back together with original members John Crawford (who wrote the majority of the band's songs) and keyboardist David Diamond. They released a reunion album titled Transcendance. 2) This song wouldn't quite be Berlin's last to reach the Pop chart. In 1992, a remix of "Take My Breath Away" was issued out. It was credited to Berlin featuring Terri Nunn. This was most likely spurred by the song becoming a hit again in the UK the previous year. The song was originally a #1 hit when first released '86. Then near the end of 1990, the song regained popularity thanks to Top Gun being aired on TV in Britain along with its use in a car commercial (for Peugeot). A reissue of the original song got it back on the chart where it peaked at #3. 3) "Like Flames" has been covered by a couple of artists. In 2000, rocker Alannah Myles (of "Black Velvet" fame) released a version. A German broadcast network hired producer Frank Peterson to record the song for use during their coverage of European football. Peterson got Myles to sing the tune. It briefly charted in Germany (#98). Dutch eurodance group Twenty 4 Seven recorded a version in 2007. It did well reaching #20 on the Dutch chart.
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