Song#: 3208
Date: 08/01/1987
Debut: 98
Peak: 98
Weeks: 1
Genre: Pop
Pop Bits: This assembled NYC-based vocal trio's first single, "Show Me," was a hit in clubs and reached #4 on the Dance chart. The indie single didn't do too bad on the Pop chart nearly cracking the Top 40 (#44). Although they established themselves as a freestyle outfit with that first song, for their next single they took a different path and released this mid-tempo pop tune. It wasn't as well received and had a hard time breaking through. It scratched the R&B chart at #82 and spent one lone week on the Pop chart. If the trio was going to catch on in a bigger way, they were going to need something better than this, which did happen with their next single.
ReduxReview: This song has a young teen feel to it and I would have though it a bit too juvenile for trio of women in their 20s to sing, but thanks to their thin, high-pitched voices, it ended up working okay for them. However, anyone who was a fan of "Show Me" wasn't going to have interest in this single. It was nice that they changed things up with their second single, but as an indie artist trying to get established, it would have been better if they stuck with what got them noticed in the first place. This is a cute little tune, but nothing that was going to further their career. They were lucky that folks gave them a second chance with their next single, which returned them to their freestyle sound.
ReduxRating: 4/10
Trivia: This song was written by Pete Warner and Rainy Davis. Davis was a singer/songwriter from Brooklyn that began singing with a few NY groups. Her songwriting skills came in handy when through a friend she got the opportunity to write and submit a song to Janet Jackson. Davis and her husband/writing partner Warner came up with "Sweetheart." Unfortunately, by the time it was ready to send over to Jackson, she was already deep in her session for her album Control with Jimmy Jam and Terry Lewis. However, that disappointment led to something better. Davis was encouraged to record the song herself. She did and issued it out in '86 on the indie Supertronics label. It ended up doing fairly well reaching #24 R&B/#42 Dance. Its success led to a contract with Columbia Records. Davis recorded her debut album Sweetheart and its second single, "Lowdown So & So" would be her biggest hit reaching #9 Dance and #14 R&B. Her second album yielded only one minor charting single and that result left her off the Columbia roster. However, her original hit "Sweetheart" would later be recorded in 1998 by Mariah Carey and rapper/producer Jermaine Dupri. The song would appear on Dupri's debut album Life in 1472 while also being included on Carey's #1's album, both released in the fall in '98. While the track wasn't officially released in the US as a single, it did garner enough airplay for it to reach #53 on the R&B chart.
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Tuesday, July 28, 2020
Monday, July 27, 2020
"Touch of Grey" by The Grateful Dead
Top 10 Alert!
Song#: 3207
Date: 07/25/1987Debut: 77
Peak: 9
Weeks: 15
Genre: Rock
Pop Bits: By 1986, this storied band's future was a bit uncertain. Although they were still relentlessly touring, the Dead hadn't recorded a new studio album since 1980's Go to Heaven. In addition, the health of Jerry Garcia, who was often viewed as the leader of the band, was in decline due to years of drug usage, weight gain, and other issues. It began to affect his stage presence and the band's consistency. Ultimately, the toll of all his issues would push Garcia into a diabetic coma in July of '86. Everything with the band came to a sudden halt. Luckily, Garcia would come out of the coma five days later. His recovery was slow, but with a new lease on life, Garcia was determined to clean up his act and get the band back on track, which included recording a new album. A year after Garcia's coma, the band's twelfth studio album, In the Dark, was released. To promote the album and return of the band, this first single was pushed out. Surprisingly, the song took off and it reached #1 at Rock. It then crossed over to the Pop chart to not only become the band's first Top 40 entry, but their first (and only) Top 10 hit. The tune also did well at AC getting to #15. The hit would help make the album their first to reach the Top 10 (#6). It would eventually sell over two million copies. While this track would be the Dead's last to get on the Pop chart, its popularity helped to introduce the band to a whole new generation.
ReduxReview: A lot of folks were surprised by this hit including me. I wasn't even remotely a fan of the band. I just didn't connect with their songs and jam bands were definitely not my thing. So when their return was starting to get touted, I just shrugged my shoulders in a "so what" manner. I mean, what could they possible do that would appeal to me? And then this track came out. Whether they were aiming to do something more commercial or not, they came up with one of their most appealing radio-friendly songs of their career. It didn't take me long to hook into the tune. The genial track with its comfortable, lived-in groove and lyrics about aging gracefully sort of swayed me into their corner. Even the production was just right with the muted cowbell and tinkling keyboard adding some sweetness. The video was pretty cool too. While I liked the song, it didn't turn me into a Deadhead. I still can't get into a lot of their music, but at least I can say that I do like something of theirs. It also provided an opening for me to listen to some of their most regarded recordings.
ReduxRating: 8/10
Trivia: The Dead weren't what you'd call an MTV-ready band. Their eclectic style, merging of various genres, and lengthy jams certainly didn't fit within the era of Madonna and Bon Jovi. They never even made themselves necessarily radio-ready either by trying to write a hit. So it was a bit of a surprise when the more concise, straightforward "Touch of Grey" appeared. Then it was an even bigger surprise when the band shot an actual music video for the tune - their first done specifically for MTV. But the biggest surprise of all was that both the song and the video caught on. The video, directed by Justin Kreutzmann (son of Dead drummer Bill Kreutzmann), featured a stage performance by the band, but the members were portrayed by life-sized marionette skeletons. About two-thirds of the way through the skeletons were replaced with the actual band members. It got viewers' attention and became a hit on MTV, which helped the song reach the Pop Top 10.
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Sunday, July 26, 2020
"Back to Paradise" by 38 Special
Song#: 3206
Date: 07/25/1987
Debut: 81
Peak: 41
Weeks: 11
Genre: Southern Rock, Soundtrack
Pop Bits: After seven studio albums (three platinum, one gold) and seven Pop Top 40 entries, 38 Special and their label decided it was time to issue out a hits compilation. Titled Flashback: The Best of 38 Special, the album featured nine previously released songs, three live tracks, and two new tunes including this song, which had been used in the comedy film Revenge of the Nerds II: Nerds in Paradise. It was released as a single to help promote both the movie and the hits package. The tune easily made it to #4 on the Rock chart while just missing out on the Pop Top 40 at the dreaded #41. The compilation would end up reaching #35 and would go platinum. Following its release, there would be personnel changes in the band and the new lineup would return with an album in '88.
ReduxReview: Here is another track from the Vallance/Adams assembly line (see below) and like many of their other collaborations for other artists, it wasn't a major hit. It did get to #4 at Rock, but the tune just wasn't in the same league as some of the band's earlier hits. There was also a certain smell that made it seem like a soundtrack song; a kind of hooky commercialism that made it sound like a promo tune and something that the band wouldn't necessarily have recorded for one of their albums. Still, the band rallied and made it into something palatable for their fans. Just not enough of them showed up to make it a bigger hit.
ReduxRating: 5/10
Trivia: Double Shot! 1) Revenge of the Nerds II: Nerds in Paradise was the sequel to the hit 1984 teen/frat comedy Revenge of the Nerds, which starred Anthony Andrews and Robert Carradine. That film wasn't necessarily a critical favorite, but audiences loved it and the flick ended up being a solid box office hit. Of course the smell of money resulted in the decision to do a sequel and Nerds in Paradise was made. Critics hated it, but audiences showed up and the film ended up making money. The original film had a soundtrack album, but none of the songs from the LP hit the charts. The sequel featured several new tunes, but a soundtrack was not officially culled and released. However, this 38 Special song was considered the film's theme and was released as a single. There would be two more Nerds movies to follow, but both were made for TV and not released theatrically. 2) With their 1986 album Strength in Numbers, 38 Special began working with Jim Vallance, the songwriting partner of Bryan Adams. The association began after the band recorded the Vallance/Adams tune "Teacher, Teacher" (#25 Pop/#4 Rock) for the movie Teachers. The collaboration seemed to work out well, so when a theme was needed for the Nerds sequel, Vallance and Adams had "Back to Paradise" ready for 38 Special to record.
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Date: 07/25/1987
Debut: 81
Peak: 41
Weeks: 11
Genre: Southern Rock, Soundtrack
Pop Bits: After seven studio albums (three platinum, one gold) and seven Pop Top 40 entries, 38 Special and their label decided it was time to issue out a hits compilation. Titled Flashback: The Best of 38 Special, the album featured nine previously released songs, three live tracks, and two new tunes including this song, which had been used in the comedy film Revenge of the Nerds II: Nerds in Paradise. It was released as a single to help promote both the movie and the hits package. The tune easily made it to #4 on the Rock chart while just missing out on the Pop Top 40 at the dreaded #41. The compilation would end up reaching #35 and would go platinum. Following its release, there would be personnel changes in the band and the new lineup would return with an album in '88.
ReduxReview: Here is another track from the Vallance/Adams assembly line (see below) and like many of their other collaborations for other artists, it wasn't a major hit. It did get to #4 at Rock, but the tune just wasn't in the same league as some of the band's earlier hits. There was also a certain smell that made it seem like a soundtrack song; a kind of hooky commercialism that made it sound like a promo tune and something that the band wouldn't necessarily have recorded for one of their albums. Still, the band rallied and made it into something palatable for their fans. Just not enough of them showed up to make it a bigger hit.
ReduxRating: 5/10
Trivia: Double Shot! 1) Revenge of the Nerds II: Nerds in Paradise was the sequel to the hit 1984 teen/frat comedy Revenge of the Nerds, which starred Anthony Andrews and Robert Carradine. That film wasn't necessarily a critical favorite, but audiences loved it and the flick ended up being a solid box office hit. Of course the smell of money resulted in the decision to do a sequel and Nerds in Paradise was made. Critics hated it, but audiences showed up and the film ended up making money. The original film had a soundtrack album, but none of the songs from the LP hit the charts. The sequel featured several new tunes, but a soundtrack was not officially culled and released. However, this 38 Special song was considered the film's theme and was released as a single. There would be two more Nerds movies to follow, but both were made for TV and not released theatrically. 2) With their 1986 album Strength in Numbers, 38 Special began working with Jim Vallance, the songwriting partner of Bryan Adams. The association began after the band recorded the Vallance/Adams tune "Teacher, Teacher" (#25 Pop/#4 Rock) for the movie Teachers. The collaboration seemed to work out well, so when a theme was needed for the Nerds sequel, Vallance and Adams had "Back to Paradise" ready for 38 Special to record.
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Saturday, July 25, 2020
"Fake" by Alexander O'Neal
Song#: 3205
Date: 07/25/1987
Debut: 85
Peak: 25
Weeks: 15
Genre: R&B, Electro-Funk
Pop Bits: Originally from Mississippi, O'Neal made the move to Minneapolis in the early 70s and began performing with several local bands. After nearly being part of a Prince-signed band (see below), he ended up getting signed as a solo artist with Tabu Records. The writing/production team of Jimmy Jam and Terry Lewis, who had already been writing and producing for other Tabu artists like The S.O.S. Band and Cherrelle, were brought in along with Monte Moir to write and produce O'Neal's 1985 self-titled debut album. It would do well spawning a pair of R&B Top 20s and reaching #21 on the R&B chart. Then O'Neal got an extra boost when he recorded "Saturday Love," a duet with Cherrelle that was from her second solo disc High Priority. That song got to #2 R&B and #26 Pop. This setup O'Neal well for his second LP, Hearsay. All tracks save for one were written by Jam and Lewis with the duo producing the whole album. This first single was released and it became O'Neal's first and only song to top the R&B chart. It also hit #7 at Dance. The song then crossed over to Pop where it got to #25, which would end up being his best effort on that chart. The album would become O'Neal's biggest hit reaching #2 R&B/#29 Pop. It would also reach gold-level sales.
ReduxReview: This definitely had Jam and Lewis' hands all over it. The funky Minneapolis groove, staccato keyboards, synth sweeps, and crisp production were telltale signs of their work. It was also quite reminiscent of work they did as members of The Time. It was another hit for the team and it didn't hurt that their former Flyte Tyme lead singer O'Neal was up front. The trio's history together certainly worked in O'Neal's favor as he sounded perfectly at home on this track. While Jam and Lewis would have far bigger crossover hits, this was still a tasty single from the earlier part of their career. Unfortunately, it has kind of gotten lost over time. Also, I think O'Neal's album may be the first headed up by Jam and Lewis to incorporate interludes between songs. They would apply that technique to great effect on their second LP with Janet Jackson Rhythm Nation 1814.
ReduxRating: 7/10
Trivia: In the late 70s, O'Neal would become the lead singer of Flyte Tyme, a popular Minneapolis funk band that included future superstar songwriters/producers Jimmy Jam and Terry Lewis. O'Neal got the job after original lead singer, Cynthia Johnson, left the band (she would go on to sing the lead vocals on "Funkytown," the 1979 #1 hit by Lipps Inc.). When Prince was looking to expand his footprint and form a band that would basically be the face for his own songs and productions, he found Flyte Tyme. He would get the band signed but there would be changes. O'Neal would be out as lead singer and replaced by Morris Day and the band's name would change to The Time. That band would go on to have some solid success, but by 1983 Jam and Lewis had been fired from the band. They had already been writing/producing for other artists, so being free of The Time gave them the opportunity to expand their new business, which included working for Tabu artists The S.O.S. Band and Cherrelle. With O'Neal now on the label, that gave the old Flyte Tyme members the opportunity to work together again.
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Date: 07/25/1987
Debut: 85
Peak: 25
Weeks: 15
Genre: R&B, Electro-Funk
Pop Bits: Originally from Mississippi, O'Neal made the move to Minneapolis in the early 70s and began performing with several local bands. After nearly being part of a Prince-signed band (see below), he ended up getting signed as a solo artist with Tabu Records. The writing/production team of Jimmy Jam and Terry Lewis, who had already been writing and producing for other Tabu artists like The S.O.S. Band and Cherrelle, were brought in along with Monte Moir to write and produce O'Neal's 1985 self-titled debut album. It would do well spawning a pair of R&B Top 20s and reaching #21 on the R&B chart. Then O'Neal got an extra boost when he recorded "Saturday Love," a duet with Cherrelle that was from her second solo disc High Priority. That song got to #2 R&B and #26 Pop. This setup O'Neal well for his second LP, Hearsay. All tracks save for one were written by Jam and Lewis with the duo producing the whole album. This first single was released and it became O'Neal's first and only song to top the R&B chart. It also hit #7 at Dance. The song then crossed over to Pop where it got to #25, which would end up being his best effort on that chart. The album would become O'Neal's biggest hit reaching #2 R&B/#29 Pop. It would also reach gold-level sales.
ReduxReview: This definitely had Jam and Lewis' hands all over it. The funky Minneapolis groove, staccato keyboards, synth sweeps, and crisp production were telltale signs of their work. It was also quite reminiscent of work they did as members of The Time. It was another hit for the team and it didn't hurt that their former Flyte Tyme lead singer O'Neal was up front. The trio's history together certainly worked in O'Neal's favor as he sounded perfectly at home on this track. While Jam and Lewis would have far bigger crossover hits, this was still a tasty single from the earlier part of their career. Unfortunately, it has kind of gotten lost over time. Also, I think O'Neal's album may be the first headed up by Jam and Lewis to incorporate interludes between songs. They would apply that technique to great effect on their second LP with Janet Jackson Rhythm Nation 1814.
ReduxRating: 7/10
Trivia: In the late 70s, O'Neal would become the lead singer of Flyte Tyme, a popular Minneapolis funk band that included future superstar songwriters/producers Jimmy Jam and Terry Lewis. O'Neal got the job after original lead singer, Cynthia Johnson, left the band (she would go on to sing the lead vocals on "Funkytown," the 1979 #1 hit by Lipps Inc.). When Prince was looking to expand his footprint and form a band that would basically be the face for his own songs and productions, he found Flyte Tyme. He would get the band signed but there would be changes. O'Neal would be out as lead singer and replaced by Morris Day and the band's name would change to The Time. That band would go on to have some solid success, but by 1983 Jam and Lewis had been fired from the band. They had already been writing/producing for other artists, so being free of The Time gave them the opportunity to expand their new business, which included working for Tabu artists The S.O.S. Band and Cherrelle. With O'Neal now on the label, that gave the old Flyte Tyme members the opportunity to work together again.
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Friday, July 24, 2020
"Jump Start" by Natalie Cole
Song#: 3204
Date: 07/25/1987
Debut: 87
Peak: 13
Weeks: 18
Genre: Dance-Pop, R&B
Pop Bits: Cole's career in the 70s was red hot. She accumulated five gold and two platinum albums, had five R&B #1 hits and three Pop Top 10s. She also had three Grammys to her credit. But then came the 80s. She recorded four albums for three different labels and none of them yielded anything close to a significant hit with the exception of "Someone That I Used to Know" (#21 Pop/#21 R&B/#3 AC) from her 1980 album Don't Look Back, which was her first LP to not go gold. To make matters worse, Cole had been struggling with drug addiction for years and it was taking a toll personally and professionally. She began to get cleaned up in 1983, but was still having a difficult time reestablishing her career. She signed on with Manhattan Records in '86 and they brought in some hit makers to help create an album that would put her back on the charts. This cast included brothers Reggie and Vincent Calloway who had been having solid success with their own group Midnight Star along with producing/writing hits for Klymaxx and The Whispers. They recorded a couple of tracks with Cole including this first single that they wrote. The song was well received at R&B where it became Cole's first Top 10 (#2) since 1979. That success then bled over to the Pop chart where it nearly made the Top 10. It also got to #28 at Dance. It was a significant comeback for Cole, but it would only be the start to a highly successful second act.
ReduxReview: This was a good vehicle for the return of Cole. The Calloways had the right song for her and their production reflected the day's trends. It was a fun, catchy tune that was made all the better by Cole's voice. Of course, she was far better than this song, but the tune was what she needed to get back on the charts and on that level it succeeded. The track has lost its luster over the years and has nearly become a forgotten hit in her catalog. Still, it went a long way in reestablishing Cole's career.
ReduxRating: 6/10
Trivia: The album would secure Cole her first Grammy nomination in eight years. She would get a nod for Best R&B Vocal Performance, Female. The winner that year would be Aretha Franklin for her Aretha album, which for Franklin could have been interpreted as a revenge win. Back in 1967 and 1968, the Grammy organization made changes to the R&B categories and created separate male, female, and duo/group awards. Franklin won the very first award for her hit "Respect." Then amazingly, she kept winning the award for the next seven years. Then in 1976 along came Natalie Cole. Cole's debut album, Inseparable, included songs written by the team of Chuck Jackson and Marvin Yancy that had originally been turned down by Franklin. Still needing a hit for LP, Jackson and Yancy came up with "This Will Be." It did the trick reaching #1 R&B/#6 Pop. The single put Cole on the map and also got her compared to Aretha, who was none to pleased with that. At the 1976 Grammys, Cole would be the singer to end Franklin's streak of wins. In that competition year Franklin wasn't nominated as she didn't secure a sizable hit. However, for the '77 Grammys, both Cole and Franklin were nominated. Cole won for her #1 R&B hit "Sophisticated Lady (She's a Different Lady)." Apparently that win along with the attention given to Cole and some possible miscommunication/gossip being tossed around about Cole was enough for Franklin to basically dismiss Cole and the pair were never friendly after that Grammy show. Cole wasn't the first and wouldn't be the last singer that Aretha would either feud or have issues with (lists can be found online...). So it was probably a sweet victory for Franklin to win over Cole following Cole's comeback. However, in 1992 Cole would win in a Grammy category that Franklin would never get a nomination in, Album of the Year. Cole's Unforgettable...With Love would snag that top award.
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Date: 07/25/1987
Debut: 87
Peak: 13
Weeks: 18
Genre: Dance-Pop, R&B
Pop Bits: Cole's career in the 70s was red hot. She accumulated five gold and two platinum albums, had five R&B #1 hits and three Pop Top 10s. She also had three Grammys to her credit. But then came the 80s. She recorded four albums for three different labels and none of them yielded anything close to a significant hit with the exception of "Someone That I Used to Know" (#21 Pop/#21 R&B/#3 AC) from her 1980 album Don't Look Back, which was her first LP to not go gold. To make matters worse, Cole had been struggling with drug addiction for years and it was taking a toll personally and professionally. She began to get cleaned up in 1983, but was still having a difficult time reestablishing her career. She signed on with Manhattan Records in '86 and they brought in some hit makers to help create an album that would put her back on the charts. This cast included brothers Reggie and Vincent Calloway who had been having solid success with their own group Midnight Star along with producing/writing hits for Klymaxx and The Whispers. They recorded a couple of tracks with Cole including this first single that they wrote. The song was well received at R&B where it became Cole's first Top 10 (#2) since 1979. That success then bled over to the Pop chart where it nearly made the Top 10. It also got to #28 at Dance. It was a significant comeback for Cole, but it would only be the start to a highly successful second act.
ReduxReview: This was a good vehicle for the return of Cole. The Calloways had the right song for her and their production reflected the day's trends. It was a fun, catchy tune that was made all the better by Cole's voice. Of course, she was far better than this song, but the tune was what she needed to get back on the charts and on that level it succeeded. The track has lost its luster over the years and has nearly become a forgotten hit in her catalog. Still, it went a long way in reestablishing Cole's career.
ReduxRating: 6/10
Trivia: The album would secure Cole her first Grammy nomination in eight years. She would get a nod for Best R&B Vocal Performance, Female. The winner that year would be Aretha Franklin for her Aretha album, which for Franklin could have been interpreted as a revenge win. Back in 1967 and 1968, the Grammy organization made changes to the R&B categories and created separate male, female, and duo/group awards. Franklin won the very first award for her hit "Respect." Then amazingly, she kept winning the award for the next seven years. Then in 1976 along came Natalie Cole. Cole's debut album, Inseparable, included songs written by the team of Chuck Jackson and Marvin Yancy that had originally been turned down by Franklin. Still needing a hit for LP, Jackson and Yancy came up with "This Will Be." It did the trick reaching #1 R&B/#6 Pop. The single put Cole on the map and also got her compared to Aretha, who was none to pleased with that. At the 1976 Grammys, Cole would be the singer to end Franklin's streak of wins. In that competition year Franklin wasn't nominated as she didn't secure a sizable hit. However, for the '77 Grammys, both Cole and Franklin were nominated. Cole won for her #1 R&B hit "Sophisticated Lady (She's a Different Lady)." Apparently that win along with the attention given to Cole and some possible miscommunication/gossip being tossed around about Cole was enough for Franklin to basically dismiss Cole and the pair were never friendly after that Grammy show. Cole wasn't the first and wouldn't be the last singer that Aretha would either feud or have issues with (lists can be found online...). So it was probably a sweet victory for Franklin to win over Cole following Cole's comeback. However, in 1992 Cole would win in a Grammy category that Franklin would never get a nomination in, Album of the Year. Cole's Unforgettable...With Love would snag that top award.
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