"Baby Talk" by Alisha

Song#:  2571
Date:  12/21/1985
Debut:  90
Peak:  68
Weeks:  17
Genre:  Dance-Pop



Pop Bits:  Brooklyn-born Alisha Ann Itkin began singing at an early age. Her parents thought she had the goods to make it in the music industry and when Alisha was 14, they began to circulate a demo tape to various labels. Someone at Vanguard Records took notice and passed the tape along to their in-house producer, Mark S. Berry, who at the time was seeking a vocalist for a dance track he was working on. Alisha seemed exactly right for the job and she got to record the song "All Night Passion." The tune slowly broke in the dance clubs and eventually it reached #4 on the Dance chart. Alisha then signed with Vanguard for a debut album produced by Berry. Her second single, "Too Turned On," was another Dance hit getting to #6. But this third single would end up being her biggest overall hit. The song took off and made it to #1 at Dance while becoming her first to crossover to the Pop chart. While the single didn't peak very high, it stayed on the chart for quite a long spell. It would also get to #75 at R&B. Her self-titled debut album was issued out, yet despite the Dance hits, it was unable to chart. Alisha's Dance chart success got the attention of RCA and she would move over to that major label for her next album.

ReduxReview:  This song had to have been influenced by Madonna's "Into the Groove." The bass line especially sounds like a near ripoff. There is enough other stuff going on in the song to keep it from being lawsuit-worthy, however it didn't help that Alisha sounded an awful lot like Madonna. From what I've read, producer Berry was looking for just a really good vocalist to sing the first single "All Night Passion," but my guess is that when he was seeking one the words "Madonna-like" were probably uttered. I mean, he worked for Vanguard and most likely had access to killer session vocalists who could sing circles around Alisha, yet he chose a teenager with a capable voice who sounded like Madonna. Things that make you go hmmmm... Despite the Madonna similarities, the song itself is just okay. I don't find it very memorable and the production is a bit weak and on the tinny side. Alisha's voice doesn't do much for me either.

ReduxRating:  4/10

Trivia:  Double Shot!  1) This is actually a remake of a song originally recorded by singer Gregg Brown. It was written by Brown and Logankoya. Brown released the track in the UK in 1984, but it didn't get anywhere.   2) When an artist hits it big, sometimes imitators will follow. Trendsetter Madonna was certainly one who influenced a lot of folks and in the 80s there were plenty of Madonna-esque artists (sometimes intentional, sometimes not) coming out of the woodwork. Alisha is one who got lumped in the pile of Madonna imitators thanks to her voice and style of music. Many people took note of the similarities including Madge herself. In a 1989 interview for Rolling Stone, Madonna was asked how she felt about these artists capitalizing on her sound. Madonna said that at first she was peeved about it, but then later felt flattered. She also said that it throws her for a loop sometimes when one pops up unexpectedly on the radio as for a split second she thinks it's her. Alisha happened to be one of those artists and Madonna said of her:  "There's one girl in particular, a girl named Alisha, who's had a couple of songs that ripped off the chord progressions of some of my songs. And her voice sounds so much like mine when I sing in a higher register. I was shocked! She's definitely one who stunned me."

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"Own the Night" by Chaka Khan

Song#:  2570
Date:  12/21/1985
Debut:  93
Peak:  57
Weeks:  9
Genre:  R&B, Rock, Soundtrack



Pop Bits:  While the soundtrack to the hit TV series Miami Vice had a few previously released tracks, there were a few originals including Jan Hammer's theme song, which had recently hit #1. Another original was this tune from R&B star Chaka Khan, which would serve as the LP's third single. Unfortunately, it didn't quite catch fire and it stalled near mid-chart at Pop while getting to #66 at R&B. Although the song didn't do very well, the album was still selling and the following week after this song debuted on the Pop chart, the LP would return to the #1 spot for four weeks. Combined with it's previous seven week run at the top the album would spend a total of eleven non-consecutive weeks at #1. It would eventually sell over four million copies.

ReduxReview:  Producers Arif and Joe Mardin tried their darnedest to make something hit worthy out of this song, but it just didn't quite get there. It's not a bad song, but it's more of a b-side or album track. It just doesn't have the goods to truly be a memorable single. Khan is a powerhouse singer, yet she nearly sounds like she's just going through the motions. It didn't help that the song wasn't a good vehicle to showcase her voice. The rock edge of the track didn't do it any favors on the R&B chart. The production/arrangement is probably the best thing about the tune. It actually sounds like a song that should be on a soundtrack, so in that respect it was fine. It just wasn't a very good single choice.

ReduxRating:  5/10

Trivia:  This is a remake of a song that was originally recorded by soul star George McCrae. He recorded the song for his 1984 album of the same name. His version was issued out as a single, but the only thing it could so was reach a low #59 on the Dance chart. McCrae is mostly known for his 1974 disco hit "Rock Me Baby." That single reached #1 at Pop and R&B (also #19 AC). McCrae would grab two more R&B Top 10's, but things quickly cooled and his singles stopped charting before the 80s even began. The song was written by Franne Golde, Mary Dean Lauria, and Marti Sharron. Golde had scored earlier in the year co-writing "Nightshift" by the Commodores (#3 Pop) while Sharron had success in 1984 co-writing "Jump (For My Love)" by the Pointer Sisters (#3 Pop).

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"Day By Day" by The Hooters

Song#:  2569
Date:  12/14/1985
Debut:  85
Peak:  18
Weeks:  18
Genre:  Rock



Pop Bits:  The Philly band's second album Nervous Night was slowly building up an audience. With the second single "And We Danced" nearly making the Pop Top 20 (#21, #3 Rock), people were taking notice. This third single would be another winner for them that would get into the Top 20 while hitting #3 at Rock. It would end up being their biggest hit. The singles would help the album move up to #12 and eventually it would be a double-platinum seller.

ReduxReview:  This jangly rock track was a good follow-up to "And We Danced." It featured another big hook that easily lured in listeners. While I liked this track, I thought "And We Danced" was a much better song. I was actually a bit surprised when it popped into the Top 20. I remember seeing the title of this song when it first charted. I hadn't heard it yet and I was a little confused as I thought, "did this band actually do a remake?" For a half second I thought they might have made a bold choice and done a cover of "Day By Day" from the 1971 Broadway musical Godspell. (In 1972, "Day By Day" was released as a single from the original cast soundtrack. It got to #13 on the Pop chart.) I quickly learned they did not and it was their own original.

ReduxRating:  7/10

Trivia:  The Hooters got to perform early on during the US portion of the Live Aid concert held in Philadelphia on July 13, 1985. They were slotted in just after Joan Baez opened the concert in the morning. It made sense to have the band there as they were from Philly and they had just broken through nationally with their Nervous Night album. Yet one person was not happy to have them on the bill. Live Aid organizer Bob Geldoff balked at the band getting stage time. He had no idea who they were or why they would even be involved. Pressured by other people including promoter Bill Graham, the band was allowed to perform. Years later in 2004, a DVD of the concert was finally released, yet The Hooters' performance was not included. According to Hooter Eric Bazilian, just a few short weeks after the DVD came out, the band found themselves headlining a concert in Germany. Their opening act? Bob Geldof!

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"Somewhere" by Barbra Streisand

Grammy Alert!

Rated 10 Alert!

Song#:  2568
Date:  12/14/1985
Debut:  86
Peak:  43
Weeks:  14
Genre:  Pop, Standards



Pop Bits:  As 1985 rolled around, Streisand was at a bit of a crossroads. Although her 1980 album Guilty would be her best selling studio LP and her directorial debut Yentl was a success, her 1984 album Emotion was a disappointment. Streisand's mainstream pop/rock career, which took off with 1971's Stoney End, had a lot of ups and a few downs, but she seemed to be able to keep up with music trends. Yet, the 80s brought on more drastic changes with new wave and synthpop leading the way and even though she tried to stay on-trend with aspects of Emotion, it just didn't work out and it was a signal that perhaps she needed to reevaluate her place in the day's music scene. What Streisand did next confounded many folks including her label. She decided it was the right time to return to her original roots and make an album of Broadway songs that she personally loved. Appropriately titled The Broadway Album, Streisand forged ahead with the recording despite naysayers and even filmed the process for a TV special. This West Side Story song complete with a modern arrangement by producer David Foster was selected to be the first single. As expected, the tune did well at AC getting to #5. The single couldn't quite get inside the Pop Top 40, but its #43 peak was still considered a success due to the style of the song and the fact that none of the singles from Emotion did that well. It helped lure folks to the album, which shot to the top of the chart becoming Streisand's sixth #1. It would end up selling over four million copies and be considered one of Streisand's best albums.

ReduxReview:  I think when I heard this song for the first time I nearly shit my pants. Yes! Finally! Streisand bucking trends and recording the music she wanted to do. And not only that, but doing it with such power, grace, and emotion. It was spectacular. I'm one of the few folks who kind of liked the Emotion album, but even I knew that it just wasn't working and no matter how hard they tried, Streisand was not going to become an MTV generation synthpop diva. It was time for her to shift gears in her career and she certainly did with The Broadway Album. Everything about it was perfect - the timing, the songs, the arrangements, the production, etc. This song in particular was brilliantly done. I have a love/loathe relationship with David Foster, but he really took this classic tune and transformed it into something magical and ethereal. Of course, Streisand's last note is the kicker. She can hold a note nearly forever and I've always hoped that she actually did hold out this note until she turned blue and that there was no studio trickery involved, but either way, it worked. I nearly wore out the grooves on my copy of the album and I still consider it one of my all-time favorites.

ReduxRating:  10/10

Trivia:  Quad Shot!  1) The album would earn Streisand a Grammy for Best Pop Vocal Performance, Female. It was her fifth win in that category. David Foster would win a Grammy for his arrangement of "Somewhere." The album would be nominated for Album of the Year.  2) This song was composed by Leonard Bernstein and Stephen Sondheim for the 1957 Broadway musical West Side Story. In the stage version, this song is actually performed by an off-stage vocalist during a ballet scene. In the original Broadway production, Reri Grist sang the song. She also played the role of Consuelo. In the 1961 Oscar-winning film version, Maria and Tony (played by Natalie Wood and Richard Beymer, but voices dubbed by Marni Nixon and Jimmy Bryant) sing the song as a duet.  3) A slew of artists would cover the song but only four would reach the Pop chart with a version: Streisand, singer P.J. Proby (#91, 1965), blue-eyed soul singer Len Barry (#26, 1966), and the cast of the TV show Glee (#75, 2011). Phil Collins did a version in 1996 that made it to #7 on the AC chart and the Pet Shop Boys reached #16 on the Dance chart with their 1997 take, but neither song reached the Pop chart.  4) In 1964, The Supremes recorded an album of show tunes and standards titled There's a Place for Us. One of the tunes they covered was "Somewhere," sung by Diana Ross. Their version featured a spoken word monologue that when done in concert could be changed to reflect on a particular place or event. The album ended up getting shelved even though the trio would perform some of the songs in their concerts, especially "Somewhere." One particularly memorable performance of the song came in 1968 when Diana Ross & the Supremes appeared on the Tonight Show the day after the assassination of Dr. Martin Luther King. The spoken word section was altered for the occasion.

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"Secret" by Orchestral Manoeuvres in the Dark

Song#:  2567
Date:  12/14/1985
Debut:  91
Peak:  63
Weeks:  13
Genre:  Synthpop



Pop Bits:  After scoring five Top 10's in their UK homeland, OMD finally broke through on the US Pop chart with "So in Love" (#26), the first single from their sixth album Crush. For a follow-up, this track was chosen for the next single. Although it lingered around for a while, it couldn't quite manage to get into the top half of the Pop chart. Still, "So in Love" put them on the map in America and that would help them greatly with their next charting single.

ReduxReview:  This percolating track just doesn't have the same hooky, radio friendly vibe as "So in Love." It's a lovely little track, but I'm not sure I'd pay attention to it if I had heard it on the radio. One of the best parts of the song is the bridge with all of its layered harmonies. OMD is one of those bands that I should have hooked into back in the day as their synthpop sound was right up my alley. Yet I just didn't connect with their songs. Apparently, the Crush album signaled a change in their sound/direction to something more slick and commercial. Critics and fans of the band were not that impressed and preferred the experimental sound of their previous albums. Save for a few songs, I didn't care much for either era of the band.

ReduxRating:  5/10

Trivia:  In 1988, this song would find its way onto the soundtrack album for the film Arthur 2: On the Rocks. It was the sequel to the highly successful 1981 film Arthur that starred Dudley Moore, Liza Minnelli, and Sir John Gielgud, who won an Best Supporting Actor Oscar for his role. Moore and Minnelli would reprise their roles in the sequel, but the original writer/director Steve Gordon died in 1982 and that work was picked up by others. The late-coming sequel would end up being a box office bomb that would help earn Minnelli a Golden Raspberry Award for Worst Actress (in combo with her other major dud that year, Rent-A-Cop). The original Arthur would be remade in 2001 with Russell Brand, Jennifer Garner, and Helen Mirren. It was also a box office and critical failure.

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