Song#: 3283
Date: 10/03/1987
Debut: 78
Peak: 61
Weeks: 8
Genre: Rock, Folk-Rock
Pop Bits: The band's third album, One Way Home, was not on track to replicate the double-platinum success of their previous album Nervous Night with the LP's first single, "Johnny B," halting at a low #61 on the Pop chart (#3 Rock). They needed something better to draw in the mainstream audience and this album opening track was selected to do that. Unfortunately, all it did was match the peak of the previous single while missing out on the Rock Top 10 (#13). With that result, the album topped out at #27. Luckily they retained a large enough fan base to make the album a gold seller just prior to the release of this single, but that was quite a dip from the sales of their breakthrough.
ReduxReview: This song might have done better if it had been released first. It was catchier and more upbeat than the darker "Johnny B." Still, it wasn't going to burn up the chart. The band always had a bit of a roots rock feel to their tunes, but the new LP pushed it further incorporated elements of British/Irish folk. Then it was all wrapped up in a big, sonic production via U2 or Simple Minds. It just didn't work. It's like they took everything that made Nervous Night appealing and tossed it out the window. None of it was bad and even this song had a bit of charm, but they came off like a different band and it wasn't what folks were expecting or wanting.
ReduxRating: 5/10
Trivia: This song, written by band members Eric Bazilian and Rob Hyman along with producer Rick Chertoff, was a commentary on televangelism (or teleministry). While controversy surrounding the people that run and preach on religious television programs had been around for a while, it was in the 80s that a bigger spotlight was put on it all with some of the biggest names in the business taking major falls from grace. Jim and Tammy Faye Bakker were among the first to really come under scrutiny. Their PTL Club show generated millions for the couple who lived a lavish lifestyle. They were investigated by the FCC and IRS for misuse of funds they raised via the show. Then in early '87, it came to light that Bakker had paid off Jessica Hahn to silence her on rape allegations concerning the show's co-host and also Bakker's own tryst with Hahn. Fraud charges came next and Bakker ended up in prison. Jimmy Swaggart would have his own troubles in '88 with a sex scandal. Yet despite the falls of these church leaders and questions surrounding others, people still flocked to megachurches and continued to tune in and donate money to televangelists.
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Saturday, October 10, 2020
Friday, October 9, 2020
"Don't You Want Me" by Jody Watley
Top 10 Alert!
Song#: 3282
Date: 10/03/1987
Debut: 80
Peak: 6
Weeks: 23
Genre: R&B, Dance-Pop
Pop Bits: Watley's self-titled solo album started out with a bang with lead single "I'm Looking for a New Love" reaching #2 Pop/#1 R&B/#1 Dance. A second single, "Still a Thrill," did well at R&B (#3) and Dance (#8), but it fizzled at Pop only getting to #56. Hoping for better overall results, this third single was released. It did much better at Pop becoming Watley's second solo Top 10 while getting to #3 at R&B and #1 at Dance. The album had already peaked at #10 at Pop and had been descending the chart, but this hit turned the LP around and it moved back up. By the end of the year it would be certified platinum.
ReduxReview: "Still a Thrill" was a cool jam of a track, but it really wasn't suited for Pop radio. This tune was a much better fit and indeed it got Watley back into the Pop Top 10. While the track may not have been as funky and powerful as "I'm Looking for a New Love," it was still a solid, hooky song with good production provided by Bernard Edwards. In my book, Watley was three-for-three in the singles department.
ReduxRating: 7/10
Trivia: Watley's vocal performance on this track was sampled and used in the 1990 song "Don't You Love Me" by the Italian house/Eurodisco outfit the 49ers. Released as a single, it would get to #1 on the US Dance chart while becoming the group's only song to make the US Pop chart at #78. The 49ers were made up of a quartet of DJs and producers. After releasing a couple of singles, they hired on Dawn Mitchell to provide vocals and be the face of the group. Their first big hit came in 1990 with "Touch Me," which contained a sample of Aretha Franklin's "Rock-A-Lott." It would reach #1 on the US Dance chart while making the Top 10 in several countries. "Don't You Love Me" would be the follow-up single and it did even better. However, the group's success was short-lived with further singles failing to replicate the same success. They would split in 1998.
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Date: 10/03/1987
Debut: 80
Peak: 6
Weeks: 23
Genre: R&B, Dance-Pop
Pop Bits: Watley's self-titled solo album started out with a bang with lead single "I'm Looking for a New Love" reaching #2 Pop/#1 R&B/#1 Dance. A second single, "Still a Thrill," did well at R&B (#3) and Dance (#8), but it fizzled at Pop only getting to #56. Hoping for better overall results, this third single was released. It did much better at Pop becoming Watley's second solo Top 10 while getting to #3 at R&B and #1 at Dance. The album had already peaked at #10 at Pop and had been descending the chart, but this hit turned the LP around and it moved back up. By the end of the year it would be certified platinum.
ReduxReview: "Still a Thrill" was a cool jam of a track, but it really wasn't suited for Pop radio. This tune was a much better fit and indeed it got Watley back into the Pop Top 10. While the track may not have been as funky and powerful as "I'm Looking for a New Love," it was still a solid, hooky song with good production provided by Bernard Edwards. In my book, Watley was three-for-three in the singles department.
ReduxRating: 7/10
Trivia: Watley's vocal performance on this track was sampled and used in the 1990 song "Don't You Love Me" by the Italian house/Eurodisco outfit the 49ers. Released as a single, it would get to #1 on the US Dance chart while becoming the group's only song to make the US Pop chart at #78. The 49ers were made up of a quartet of DJs and producers. After releasing a couple of singles, they hired on Dawn Mitchell to provide vocals and be the face of the group. Their first big hit came in 1990 with "Touch Me," which contained a sample of Aretha Franklin's "Rock-A-Lott." It would reach #1 on the US Dance chart while making the Top 10 in several countries. "Don't You Love Me" would be the follow-up single and it did even better. However, the group's success was short-lived with further singles failing to replicate the same success. They would split in 1998.
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Thursday, October 8, 2020
"Dude (Looks Like a Lady)" by Aerosmith
Song#: 3281
Date: 10/03/1987
Debut: 84
Peak: 14
Weeks: 20
Genre: Rock, Blues-Rock
Pop Bits: The 80s had not been kind to Aerosmith. The two albums they released in '82 and '85 failed to reach gold level sales upon release and none of their singles reached the Pop chart. They were on the brink of becoming irrelevant, but then in '86 two things happened that helped to get their career back on track. First, they participated in a remake of their own hit "Walk This Way" with Run-D.M.C. The single would hit #4 at Pop, go gold, and put a spotlight back on Aerosmith. The band wanted to capitalize on their resurgence and in order to do so they decided it was time to get sober. The members agreed to go through rehab and once done they got back into the studio with a fresh new outlook. Working sober and extra hard, they were determined to make an album that would get them back on the charts. They chose to work with producer Bruce Fairbairn (Bon Jovi) and for the first time worked with outside songwriters. The results came out as Permanent Vacation and to announce their return this first single was released. It quickly became their first Top 10 at Rock reaching #4. At Pop, it started low, but gained momentum until it finally cracked the Top 20. It was their best result on the chart since "Walk This Way" hit #10 in 1976. A remix became their only song to reach the Dance chart at #41. The associated video would be a hit on MTV and would go on to be nominated for two MTV Music Video Awards.The album would just barely miss the Top 10 peaking at the dreaded #11, but it would end up being a multi-platinum hit that cemented the band's comeback.
ReduxReview: This was a brilliant comeback song for the band. Although they had help with the tune (see below), it still featured Tyler and Perry's signature bluesy rock touches with Tyler sounding fully on and engaged. Sobriety can do wonders. I totally loved the track and bought the single and later the album. Although they hated the idea of working with other songwriters, it paid off big time for them. Their writing became more succinct and played towards the mainstream. Fairbairn's meaty production also gave the band a fresh, crisp new sound. Being gay, I know I'm probably not supposed to like this song (see below), but I do. I can understand why others see it differently, but my opinion is that it was not written with malicious intent or to make fun of a certain group of people. There is even a line in it about not being judgemental. So, to each their own I guess. I thought it was a fun song and I still enjoy it. Plus it led to Aerosmith putting out more great material over the next decade.
ReduxRating: 8/10
Trivia: Double Shot! 1) This song was co-written by Steven Tyler, Joe Perry, and hit-making songwriter Desmond Child. Although the stories on how the song came about vary in detail, for the most part it seemed that the lyrics were inspired by a meet-up the band had with Mötley Crüe. Apparently, when Tyler entered the bar where Mötley Crüe was, he saw someone with big blonde hair and thought it was a woman. Then he found out it was Mötley Crüe's lead singer Vince Neil. Neil then kind of got made fun of with someone mentioning that the dude looked like a lady. Tyler and Perry then began work on a tune that was based on the identity error. Initially, Tyler sang the chorus as "crusin' for the ladies," but Desmond Child quickly nixed it. Tyler then said he had been initially singing "dude looks like a lady," but thought it wasn't working. Child assure Tyler that his first version was the song's title. 2) This song was not without controversy. There were many folks that considered the song transphobic and thought it portrayed trans women in a negative way. Child would defend the song as being about acceptance. Still, the song remained a sore spot for some and years later when Caitlyn Jenner mentioned that "Dude (Looks Like a Lady)" was a sort of theme song for her, LGBT activists took her to task for it because they still considered the song transphobic.
_________________________________________________________________________________
Date: 10/03/1987
Debut: 84
Peak: 14
Weeks: 20
Genre: Rock, Blues-Rock
Pop Bits: The 80s had not been kind to Aerosmith. The two albums they released in '82 and '85 failed to reach gold level sales upon release and none of their singles reached the Pop chart. They were on the brink of becoming irrelevant, but then in '86 two things happened that helped to get their career back on track. First, they participated in a remake of their own hit "Walk This Way" with Run-D.M.C. The single would hit #4 at Pop, go gold, and put a spotlight back on Aerosmith. The band wanted to capitalize on their resurgence and in order to do so they decided it was time to get sober. The members agreed to go through rehab and once done they got back into the studio with a fresh new outlook. Working sober and extra hard, they were determined to make an album that would get them back on the charts. They chose to work with producer Bruce Fairbairn (Bon Jovi) and for the first time worked with outside songwriters. The results came out as Permanent Vacation and to announce their return this first single was released. It quickly became their first Top 10 at Rock reaching #4. At Pop, it started low, but gained momentum until it finally cracked the Top 20. It was their best result on the chart since "Walk This Way" hit #10 in 1976. A remix became their only song to reach the Dance chart at #41. The associated video would be a hit on MTV and would go on to be nominated for two MTV Music Video Awards.The album would just barely miss the Top 10 peaking at the dreaded #11, but it would end up being a multi-platinum hit that cemented the band's comeback.
ReduxReview: This was a brilliant comeback song for the band. Although they had help with the tune (see below), it still featured Tyler and Perry's signature bluesy rock touches with Tyler sounding fully on and engaged. Sobriety can do wonders. I totally loved the track and bought the single and later the album. Although they hated the idea of working with other songwriters, it paid off big time for them. Their writing became more succinct and played towards the mainstream. Fairbairn's meaty production also gave the band a fresh, crisp new sound. Being gay, I know I'm probably not supposed to like this song (see below), but I do. I can understand why others see it differently, but my opinion is that it was not written with malicious intent or to make fun of a certain group of people. There is even a line in it about not being judgemental. So, to each their own I guess. I thought it was a fun song and I still enjoy it. Plus it led to Aerosmith putting out more great material over the next decade.
ReduxRating: 8/10
Trivia: Double Shot! 1) This song was co-written by Steven Tyler, Joe Perry, and hit-making songwriter Desmond Child. Although the stories on how the song came about vary in detail, for the most part it seemed that the lyrics were inspired by a meet-up the band had with Mötley Crüe. Apparently, when Tyler entered the bar where Mötley Crüe was, he saw someone with big blonde hair and thought it was a woman. Then he found out it was Mötley Crüe's lead singer Vince Neil. Neil then kind of got made fun of with someone mentioning that the dude looked like a lady. Tyler and Perry then began work on a tune that was based on the identity error. Initially, Tyler sang the chorus as "crusin' for the ladies," but Desmond Child quickly nixed it. Tyler then said he had been initially singing "dude looks like a lady," but thought it wasn't working. Child assure Tyler that his first version was the song's title. 2) This song was not without controversy. There were many folks that considered the song transphobic and thought it portrayed trans women in a negative way. Child would defend the song as being about acceptance. Still, the song remained a sore spot for some and years later when Caitlyn Jenner mentioned that "Dude (Looks Like a Lady)" was a sort of theme song for her, LGBT activists took her to task for it because they still considered the song transphobic.
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Wednesday, October 7, 2020
"Should've Know Better" by Richard Marx
Top 10 Alert!
Song#: 3280
Date: 09/26/1987
Debut: 64
Peak: 3
Weeks: 21
Genre: Pop, Rock
Pop Bits: Marx had been doing session work and songwriting for other artists for a few years before breaking out on his own. Right off the bat he earned a hit when his debut single "Don't Mean Nothing" reached #3. It was from his self-titled debut album as was this follow-up track. It would do equally as well also peaking at #3 for one week and spending 21 weeks on the chart. It would also get to #7 Rock while becoming his first song to chart at AC getting to #30. This hit would help the album reach its initial peak of #19, but later in the summer of '88 it would end up cracking the Top 10 thanks to a chart-topping hit.
ReduxReview: This was the perfect follow-up to "Don't Mean Nothing." That song was kind of bluesy and fun. This one was a more straight-forward pop/rock tune in the Journey vein that was a bit more serious. The two tracks complimented each other well and showed that Marx wasn't relying on one specific sound. His next two singles would expand on that variety. While I really liked "Don't Mean Nothing," I'm kind of partial to this track. The production is terrific and I like the darker tone, especially in the quiet mid-section. It was an excellent one-two punch from Marx.
ReduxRating: 8/10
Trivia: Thanks to all the connections Marx made via session and songwriting work, his debut album featured several big name contributors including former Eagles Joe Walsh, Randy Meisner, and Timothy B. Schmit. Schmit would provided background vocals on this track along with Tubes leader Fee Waybill. Also providing some background vocals on the album were two singers who would soon have hits of their own. Karyn White would go on to have four Pop Top 10 hits including the 1992 #1 "Romantic." Marx's wife, Cynthia Rhodes, would join the band Animotion and reach #9 in 1989 with "Room to Move."
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Date: 09/26/1987
Debut: 64
Peak: 3
Weeks: 21
Genre: Pop, Rock
Pop Bits: Marx had been doing session work and songwriting for other artists for a few years before breaking out on his own. Right off the bat he earned a hit when his debut single "Don't Mean Nothing" reached #3. It was from his self-titled debut album as was this follow-up track. It would do equally as well also peaking at #3 for one week and spending 21 weeks on the chart. It would also get to #7 Rock while becoming his first song to chart at AC getting to #30. This hit would help the album reach its initial peak of #19, but later in the summer of '88 it would end up cracking the Top 10 thanks to a chart-topping hit.
ReduxReview: This was the perfect follow-up to "Don't Mean Nothing." That song was kind of bluesy and fun. This one was a more straight-forward pop/rock tune in the Journey vein that was a bit more serious. The two tracks complimented each other well and showed that Marx wasn't relying on one specific sound. His next two singles would expand on that variety. While I really liked "Don't Mean Nothing," I'm kind of partial to this track. The production is terrific and I like the darker tone, especially in the quiet mid-section. It was an excellent one-two punch from Marx.
ReduxRating: 8/10
Trivia: Thanks to all the connections Marx made via session and songwriting work, his debut album featured several big name contributors including former Eagles Joe Walsh, Randy Meisner, and Timothy B. Schmit. Schmit would provided background vocals on this track along with Tubes leader Fee Waybill. Also providing some background vocals on the album were two singers who would soon have hits of their own. Karyn White would go on to have four Pop Top 10 hits including the 1992 #1 "Romantic." Marx's wife, Cynthia Rhodes, would join the band Animotion and reach #9 in 1989 with "Room to Move."
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Tuesday, October 6, 2020
"Heaven Is a Place on Earth" by Belinda Carlisle
#1 Alert!
Rated 10 Alert!
Song#: 3279
Date: 09/26/1987
Debut: 72
Peak: 1 (1 week)
Weeks: 21
Genre: Pop
Pop Bits: Carlisle's first solo album after the breakup of The Go-Go's, Belinda, was a #13 gold seller thanks to the #3 hit "Mad About You." That album had a retro 60s pop flair that was different from the rock of The Go-Go's. For her second solo disc, Carlisle switched labels from IRS to MCA and started working with producer Rick Nowels, who had produced Stevie Nick's 1985 platinum LP Rock a Little and co-wrote "I Can't Wait" (#16 Pop). For the new album Heaven on Earth, Carlisle skipped the retro sound and dove head first into 80s pop. This first single, written by Nowels and Ellen Shipley, demonstrated Carlisle's new sound and it was warmly greeted by radio and record buyers. It would top the Pop chart for a week while reaching #7 at AC. The hit would help the album match the peak of her debut (#13). The song would earn Carlisle a Grammy nomination for Best Pop Vocal Performance, Female.
ReduxReview: Carlisle hit it out of the park with this single. It was pretty much pop perfection. The chorus was unforgettable and it was smart to have it at the top of the song. It immediately established the hook and you just couldn't ignore it. The dreamy mid-section was spot-on and then to top it off, a little guitar section followed by a key change. It was an expertly crafted pop single and there was no doubt it would top the chart. While her rock cred took a hit, she was gaining more fans than losing them. Looking back, it is kind of odd to think that this confection was done by someone who in 1977 got her start as a drummer for the L.A. punk band the Germs under the moniker of Dottie Danger. Carlisle went through quite the metamorphosis.
ReduxRating: 10/10
Trivia: The associated video for the song was directed by Academy Award winner Diane Keaton. It was Keaton's second directorial effort following a 1982 17-minute documentary short about her sister titled What Does Dorrie Want?" Keaton would also direct the video for Carlisle's follow-up single "I Get Weak" (#2 Pop). Keaton would direct another documentary, 1987's Heaven (nothing in common with Carlisle's song), and then direct a few TV episodes for shows like China Beach and Twin Peaks. The first theatrical film she directed was the 1995 comedy/drama Unstrung Heroes starring Andie MacDowell. Critics were positive about the movie and it did fairly well at the box office. Her second effort, 2000's Hanging Up starring Keaton, Meg Ryan, and Lisa Kudrow did not garner good reviews, but it ended up doing okay at the box office on a worldwide basis.
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Date: 09/26/1987
Debut: 72
Peak: 1 (1 week)
Weeks: 21
Genre: Pop
Pop Bits: Carlisle's first solo album after the breakup of The Go-Go's, Belinda, was a #13 gold seller thanks to the #3 hit "Mad About You." That album had a retro 60s pop flair that was different from the rock of The Go-Go's. For her second solo disc, Carlisle switched labels from IRS to MCA and started working with producer Rick Nowels, who had produced Stevie Nick's 1985 platinum LP Rock a Little and co-wrote "I Can't Wait" (#16 Pop). For the new album Heaven on Earth, Carlisle skipped the retro sound and dove head first into 80s pop. This first single, written by Nowels and Ellen Shipley, demonstrated Carlisle's new sound and it was warmly greeted by radio and record buyers. It would top the Pop chart for a week while reaching #7 at AC. The hit would help the album match the peak of her debut (#13). The song would earn Carlisle a Grammy nomination for Best Pop Vocal Performance, Female.
ReduxReview: Carlisle hit it out of the park with this single. It was pretty much pop perfection. The chorus was unforgettable and it was smart to have it at the top of the song. It immediately established the hook and you just couldn't ignore it. The dreamy mid-section was spot-on and then to top it off, a little guitar section followed by a key change. It was an expertly crafted pop single and there was no doubt it would top the chart. While her rock cred took a hit, she was gaining more fans than losing them. Looking back, it is kind of odd to think that this confection was done by someone who in 1977 got her start as a drummer for the L.A. punk band the Germs under the moniker of Dottie Danger. Carlisle went through quite the metamorphosis.
ReduxRating: 10/10
Trivia: The associated video for the song was directed by Academy Award winner Diane Keaton. It was Keaton's second directorial effort following a 1982 17-minute documentary short about her sister titled What Does Dorrie Want?" Keaton would also direct the video for Carlisle's follow-up single "I Get Weak" (#2 Pop). Keaton would direct another documentary, 1987's Heaven (nothing in common with Carlisle's song), and then direct a few TV episodes for shows like China Beach and Twin Peaks. The first theatrical film she directed was the 1995 comedy/drama Unstrung Heroes starring Andie MacDowell. Critics were positive about the movie and it did fairly well at the box office. Her second effort, 2000's Hanging Up starring Keaton, Meg Ryan, and Lisa Kudrow did not garner good reviews, but it ended up doing okay at the box office on a worldwide basis.
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