Song#: 3325
Date: 11/07/1987
Debut: 70
Peak: 12
Weeks: 19
Genre: Rock
Pop Bits: Heart's album Bad Animals was another multi-platinum success thanks to a pair of Top 10 hits including the #1 "Alone." Their previous self-titled album spawned four Top 10 hits and the band had hopes that the new album would do the same. However, this third single dashed their hopes. It would just stop shy of the Pop Top 10 while getting to #16 at Rock. It certainly wasn't a bad result, but it didn't bode well for further singles as it seemed that Bad Animals didn't have the same legs as their previous album.
ReduxReview: This song continues Heart's flirtation with commercial pop/rock. While it has a slight smell of industrial hit songwriting (see below), it's not too bad. It just didn't have the same spark and likability factor as their previous six Top 10s. Frankly, I think it is one of their most forgettable hits. It nearly cracked the Top 10, but in the years since the track has pretty much disappeared. It's also one of those songs that could have easily been done by other artists. I could hear Starship or Pat Benatar recording it. In other words, the track is kind of faceless and Heart didn't put a big enough of a stamp on it to truly make it their own.
ReduxRating: 5/10
Trivia: This song was co-written by Holly Knight and Heart's Nancy Wilson. Knight had certainly turned into a go-to hit songwriter. By this point in time she had co-written seven Pop Top 10 hits including one that appeared on Heart's self-titled 1985 comeback album, the #4 "Never." For this tune, Knight worked with Wilson and perhaps because of her co-writing status, Wilson got to perform the lead vocal. It was only the second Heart single where she got to sing the lead. The first was "These Dreams," which topped the Pop chart. Her sister Ann usually handled the lead vocals on most of the band's tracks, but once in a while Nancy got her chance at bat and the two hits made sure that her voice got heard.
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Saturday, November 21, 2020
Friday, November 20, 2020
"Kick the Wall" by Jimmy Davis & Junction
Song#: 3324
Date: 11/07/1987
Debut: 79
Peak: 67
Weeks: 6
Genre: Rock
Pop Bits: This Memphis-based band headed up by singer/songwriter/guitarist Jimmy Davis gained a good reputation and a large enough fan base to attracted MCA Records. The band signed on with MCA as the first act to be on their small offshoot QMI label (headed up by former MTV head Bob Pittman) and recorded their debut album Kick the Wall. This title track single would get issued out and it got a little bit of attention thanks to some exposure on MTV. The song was able to reach #32 at Rock while spending a few weeks on the Pop chart. The album sold a few minor copies, but the results seemed to be good enough for the band to plan for a second album. Unfortunately, QMI folded and it left Davis and the band without a label or ability to record a new LP. The prospects of starting over didn't sit well with the band and the members ended up going their own ways.
ReduxReview: I'm not sure what I was expecting, but this song wasn't it. From what I read, it seemed the band was known for more of a Southern rock sound. I imagined something akin to earlier 80s 38 Special or even Georgia Satellites, but what came out of my speakers was closer to Jackson Browne or Eddie Money. Then there was the long, quiet beginning (which weirdly had a "Dirty Diana" sound/feel) before the rock finally kicked in. It was more heartland than southern. It was well done, but I don't think it was the most pop friendly single. The tune was appropriate for rock radio, yet it really didn't click there either. Davis had a good voice and the band was prime, as was the production. They just needed a more radio friendly track to push them further.
ReduxRating: 6/10
Trivia: Double Shot! 1) On the heels of the Kick the Wall album, the band did get to record one more track. They co-wrote and recorded "My Way or the Highway" for the soundtrack to the 1988 horror flick A Nightmare on Elm Street 4: The Dream Master. That sequel would get mixed reviews, but did well at the box office. 2) After the band folded, Davis concentrated on songwriting and performing with other artists. A few of his songs got picked up by major artists. He co-wrote "Blame It on Love," a track on the 1992 Restless Heart album Big Iron Horses. Another co-write, "Keeping My Distance," ended up on Martina McBride's triple-platinum 1997 album Evolution.
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Date: 11/07/1987
Debut: 79
Peak: 67
Weeks: 6
Genre: Rock
Pop Bits: This Memphis-based band headed up by singer/songwriter/guitarist Jimmy Davis gained a good reputation and a large enough fan base to attracted MCA Records. The band signed on with MCA as the first act to be on their small offshoot QMI label (headed up by former MTV head Bob Pittman) and recorded their debut album Kick the Wall. This title track single would get issued out and it got a little bit of attention thanks to some exposure on MTV. The song was able to reach #32 at Rock while spending a few weeks on the Pop chart. The album sold a few minor copies, but the results seemed to be good enough for the band to plan for a second album. Unfortunately, QMI folded and it left Davis and the band without a label or ability to record a new LP. The prospects of starting over didn't sit well with the band and the members ended up going their own ways.
ReduxReview: I'm not sure what I was expecting, but this song wasn't it. From what I read, it seemed the band was known for more of a Southern rock sound. I imagined something akin to earlier 80s 38 Special or even Georgia Satellites, but what came out of my speakers was closer to Jackson Browne or Eddie Money. Then there was the long, quiet beginning (which weirdly had a "Dirty Diana" sound/feel) before the rock finally kicked in. It was more heartland than southern. It was well done, but I don't think it was the most pop friendly single. The tune was appropriate for rock radio, yet it really didn't click there either. Davis had a good voice and the band was prime, as was the production. They just needed a more radio friendly track to push them further.
ReduxRating: 6/10
Trivia: Double Shot! 1) On the heels of the Kick the Wall album, the band did get to record one more track. They co-wrote and recorded "My Way or the Highway" for the soundtrack to the 1988 horror flick A Nightmare on Elm Street 4: The Dream Master. That sequel would get mixed reviews, but did well at the box office. 2) After the band folded, Davis concentrated on songwriting and performing with other artists. A few of his songs got picked up by major artists. He co-wrote "Blame It on Love," a track on the 1992 Restless Heart album Big Iron Horses. Another co-write, "Keeping My Distance," ended up on Martina McBride's triple-platinum 1997 album Evolution.
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Thursday, November 19, 2020
"(Baby Tell Me) Can You Dance" by Shanice Wilson
Song#: 3323
Date: 11/07/1987
Debut: 81
Peak: 50
Weeks: 13
Genre: R&B
Pop Bits: Born in Pittsburgh, Shanice Wilson ended up in L.A. at a young age thanks to her mom and aunt seeking a career in music. The two women couldn't get a break, but they soon realized that Shanice was developing into a talented singer and they switched focus from them to promoting the youngster. Work started to come her way including a stint on the 1984 children's program Kids Incorporated. As her teen years kicked off, Wilson caught the attention of A&M Records. They signed her to a deal and her debut album, Discovery, was released in the fall of '87. This first single got pushed out and it made the R&B Top 10 at #6 while reaching #16 at Dance. The song then crossed over to Pop and it did fairly well stopping at the halfway point. A follow-up single, "No 1/2 Steppin'," would get to #6 R&B, but failed to get on the other charts. The album would be a minor seller getting to #37 R&B/#149 Pop. The results were good for a young new artist, but it seems issues may have arisen with the label and/or Wilson's career direction because she would stay silent for the next four years.
ReduxReview: There's no doubt in my mind that A&M was trying to turn Shanice into another Janet Jackson, who was also on the label. The whole album was written and produced by Bryan Loren and tracks like this one were definitely a take on the Jam & Lewis productions found on Jackson's Control album. This song even featured a spoken word part a la "What Have You Done for Me Lately." It wasn't a bad Jam & Lewis imitation, but there were a couple of problems. First, Shanice was a far better singer than Jackson and this single did nothing to showcase her talent. Second, there was already a Janet Jackson and we didn't need another. The tune itself was fine. It just didn't feel original. Although it became a hit at R&B, I think Shanice deserved better. I'm sure it had to be hard though because she was just 14 and new in the business, so you take the advice and hope it works out. She would find her own voice over on Motown (see below) where she began co-writing her songs and having a bit more control over her career and it resulted in the irresistible hit "I Love Your Smile." As for this single, if you like Jam & Lewis circa this time period, this one is not a bad knock off.
ReduxRating: 5/10
Trivia: Double Shot! 1) Whatever issues Wilson had after her debut album, it seems all got ironed out and she was able to sign on with Motown Records in 1991. Late that year, her second album, Inner Child, was released. By this point she was going by the singular name of Shanice. Its first single, "I Love Your Smile," became her biggest hit reaching #1 R&B and #2 Pop. It would help make the album her only gold seller. She then scored another hit in 1992 with "Saving Forever for You," a song from the soundtrack to the TV show Beverly Hills 90210. It would get to #4 Pop and #20 R&B. Her second Motown album, 1994's 21...Ways to Grow, failed to replicate the success of her previous effort and Wilson would once again take an extended break and switch labels. Her self-titled 1999 album for LaFace Records would get her back in the spotlight with the single "When I Close My Eyes" getting to #4 R&B and #12 Pop. After that, Wilson's recording career cooled off. She would then sing background vocals for many top artists and appear in several TV programs, which included starring in her own reality show with her husband. Flex and Shanice would debut in 2014 on Oprah's OWN network and last for three seasons. 2) In 1984 at the age of 11, Shanice would compete in the junior vocalist category on the popular competition show Star Search. She would win her rounds and go on to be the category's grand champion for that year.
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Date: 11/07/1987
Debut: 81
Peak: 50
Weeks: 13
Genre: R&B
Pop Bits: Born in Pittsburgh, Shanice Wilson ended up in L.A. at a young age thanks to her mom and aunt seeking a career in music. The two women couldn't get a break, but they soon realized that Shanice was developing into a talented singer and they switched focus from them to promoting the youngster. Work started to come her way including a stint on the 1984 children's program Kids Incorporated. As her teen years kicked off, Wilson caught the attention of A&M Records. They signed her to a deal and her debut album, Discovery, was released in the fall of '87. This first single got pushed out and it made the R&B Top 10 at #6 while reaching #16 at Dance. The song then crossed over to Pop and it did fairly well stopping at the halfway point. A follow-up single, "No 1/2 Steppin'," would get to #6 R&B, but failed to get on the other charts. The album would be a minor seller getting to #37 R&B/#149 Pop. The results were good for a young new artist, but it seems issues may have arisen with the label and/or Wilson's career direction because she would stay silent for the next four years.
ReduxReview: There's no doubt in my mind that A&M was trying to turn Shanice into another Janet Jackson, who was also on the label. The whole album was written and produced by Bryan Loren and tracks like this one were definitely a take on the Jam & Lewis productions found on Jackson's Control album. This song even featured a spoken word part a la "What Have You Done for Me Lately." It wasn't a bad Jam & Lewis imitation, but there were a couple of problems. First, Shanice was a far better singer than Jackson and this single did nothing to showcase her talent. Second, there was already a Janet Jackson and we didn't need another. The tune itself was fine. It just didn't feel original. Although it became a hit at R&B, I think Shanice deserved better. I'm sure it had to be hard though because she was just 14 and new in the business, so you take the advice and hope it works out. She would find her own voice over on Motown (see below) where she began co-writing her songs and having a bit more control over her career and it resulted in the irresistible hit "I Love Your Smile." As for this single, if you like Jam & Lewis circa this time period, this one is not a bad knock off.
ReduxRating: 5/10
Trivia: Double Shot! 1) Whatever issues Wilson had after her debut album, it seems all got ironed out and she was able to sign on with Motown Records in 1991. Late that year, her second album, Inner Child, was released. By this point she was going by the singular name of Shanice. Its first single, "I Love Your Smile," became her biggest hit reaching #1 R&B and #2 Pop. It would help make the album her only gold seller. She then scored another hit in 1992 with "Saving Forever for You," a song from the soundtrack to the TV show Beverly Hills 90210. It would get to #4 Pop and #20 R&B. Her second Motown album, 1994's 21...Ways to Grow, failed to replicate the success of her previous effort and Wilson would once again take an extended break and switch labels. Her self-titled 1999 album for LaFace Records would get her back in the spotlight with the single "When I Close My Eyes" getting to #4 R&B and #12 Pop. After that, Wilson's recording career cooled off. She would then sing background vocals for many top artists and appear in several TV programs, which included starring in her own reality show with her husband. Flex and Shanice would debut in 2014 on Oprah's OWN network and last for three seasons. 2) In 1984 at the age of 11, Shanice would compete in the junior vocalist category on the popular competition show Star Search. She would win her rounds and go on to be the category's grand champion for that year.
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Wednesday, November 18, 2020
"Hungry Eyes" by Eric Carmen
Top 10 Alert!
Song#: 3322
Date: 11/07/1987
Debut: 88
Peak: 4
Weeks: 25
Genre: Pop, Soundtrack
Pop Bits: The last time Carmen had a sizable hit was back in 1984 when "I Wanna Hear It from Your Lips" made it to #35 Pop and #10 AC. However, the associated self-titled album didn't do well peaking at a minor #128. With that result, it seemed that Carmen wasn't really motivated or anxious to get back in the studio to record a follow up. His extended break might have lasted significantly longer had it not been for Jimmy Ienner, a producer who had worked with Carmen's old band The Raspberries. Ienner was working as the musical supervisor on an upcoming film titled Dirty Dancing. He had a song that was a fit for the movie, but it needed a singer. Ienner thought Carmen would be the right guy for the job and reached out to him. After some convincing, Carmen agreed to sing the song and produce it as well. "Hungry Eyes" would make it on the soundtrack and then be issued out as the LP's second single. It would do well at AC getting to #2 while becoming Carmen's second solo song to reach the Pop Top 10; twelve years after he got to #2 with "All By Myself." While the single took a little extra time climbing the chart reaching its peak in its fifteenth week, it stayed popular enough to remain on the chart for another 10 weeks. The week after this single debuted on the Pop chart, the soundtrack album would hit #1.
ReduxReview: This was a well-written pop tune with a solid 80s production job by Carmen. It was hooky and it appealed to a wide age range of people. It checked all the boxes for something that I'd dig, but I didn't really like the track. The mid-tempo groove seemed sluggish to me and I wasn't a fan of the title. I found it a little goofy. Then the track got overplayed on the radio and that didn't help. I ignored the song back then, but these days I don't mind it so much. It's a good piece of 80s pop that finally got Carmen a second Top 10.
ReduxRating: 6/10
Trivia: This song was written by Franke Previte and John DeNicola. It was originally recorded by Previte's former band Franke & the Knockouts in 1984 during sessions for the band's third LP Makin' the Point. However, the song failed to make the final track listing for the LP and ended up on the shelf. A few years later, Previte was asked to write a song for the Dirty Dancing soundtrack. He and DeNicola (along with Donald Markowitz) came up with "(I've Had) The Time of My Life," which would go on to become a #1 Oscar-winning song. More songs were needed for the film, so Previte offered up the unused "Hungry Eyes" track. It seemed to fit the bill and Eric Carmen was tapped to do the recording. The original Franke & the Knockouts version of the song would be released as a bonus track on the 1998 UK reissue of the Makin' the Point album and then on the band's 1999 US compilation The Sweetheart Collection.
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Date: 11/07/1987
Debut: 88
Peak: 4
Weeks: 25
Genre: Pop, Soundtrack
Pop Bits: The last time Carmen had a sizable hit was back in 1984 when "I Wanna Hear It from Your Lips" made it to #35 Pop and #10 AC. However, the associated self-titled album didn't do well peaking at a minor #128. With that result, it seemed that Carmen wasn't really motivated or anxious to get back in the studio to record a follow up. His extended break might have lasted significantly longer had it not been for Jimmy Ienner, a producer who had worked with Carmen's old band The Raspberries. Ienner was working as the musical supervisor on an upcoming film titled Dirty Dancing. He had a song that was a fit for the movie, but it needed a singer. Ienner thought Carmen would be the right guy for the job and reached out to him. After some convincing, Carmen agreed to sing the song and produce it as well. "Hungry Eyes" would make it on the soundtrack and then be issued out as the LP's second single. It would do well at AC getting to #2 while becoming Carmen's second solo song to reach the Pop Top 10; twelve years after he got to #2 with "All By Myself." While the single took a little extra time climbing the chart reaching its peak in its fifteenth week, it stayed popular enough to remain on the chart for another 10 weeks. The week after this single debuted on the Pop chart, the soundtrack album would hit #1.
ReduxReview: This was a well-written pop tune with a solid 80s production job by Carmen. It was hooky and it appealed to a wide age range of people. It checked all the boxes for something that I'd dig, but I didn't really like the track. The mid-tempo groove seemed sluggish to me and I wasn't a fan of the title. I found it a little goofy. Then the track got overplayed on the radio and that didn't help. I ignored the song back then, but these days I don't mind it so much. It's a good piece of 80s pop that finally got Carmen a second Top 10.
ReduxRating: 6/10
Trivia: This song was written by Franke Previte and John DeNicola. It was originally recorded by Previte's former band Franke & the Knockouts in 1984 during sessions for the band's third LP Makin' the Point. However, the song failed to make the final track listing for the LP and ended up on the shelf. A few years later, Previte was asked to write a song for the Dirty Dancing soundtrack. He and DeNicola (along with Donald Markowitz) came up with "(I've Had) The Time of My Life," which would go on to become a #1 Oscar-winning song. More songs were needed for the film, so Previte offered up the unused "Hungry Eyes" track. It seemed to fit the bill and Eric Carmen was tapped to do the recording. The original Franke & the Knockouts version of the song would be released as a bonus track on the 1998 UK reissue of the Makin' the Point album and then on the band's 1999 US compilation The Sweetheart Collection.
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Tuesday, November 17, 2020
"I Live for Your Love" by Natalie Cole
Song#: 3321
Date: 11/07/1987
Debut: 90
Peak: 13
Weeks: 22
Genre: Pop, Adult Contemporary
Pop Bits: Cole's Everlasting LP was shaping up to be a sizable comeback for her. Its first single, "Jump Start," did well reaching #13 at Pop while getting to #2 at R&B. Next up for release was this follow-up single. The ballad would prove to be another winner at Pop matching the peak of "Jump Start" marking the first time Cole scored back-to-back Top 20 hits. The tune also did well at AC (#2) and R&B (#4). The two singles would help the album reach gold level sales in March of '88, her first album to do so since 1979. The news would get even better with her next single.
ReduxReview: This three-quarter time ballad was wonderfully written and given a nice 80s AC production by Dennis Lambert. It was enhanced even further by Cole's excellent vocals. The song definitely played towards the adult crowd and indeed it went to #2 at AC, but it still had a contemporary enough sound that it appealed to Pop and R&B listeners as well. I thought it was a lovely tune and it became the first Natalie Cole single I bought. I think the song still holds up well.
ReduxRating: 8/10
Trivia: In addition to both peaking at #13 on the Pop chart, the "Jump Start" and "I Live for Your Love" singles had something else in common. Both 45 vinyl singles featured the same b-side song "More Than the Stars." That song was written by Natalie Cole along with her cousin Eddie Cole. The pair also produced the track. The ballad featured an appearance by Latin star José Feliciano, who played guitar and contributed background vocals. It was a bit rare for two consecutive singles by an artist to share a b-side song, but there was usually a good reason behind it. In Cole's case, the song was the only one on her Everlasting album that she had a hand in writing. It was not a candidate for the a-side of a single, but getting it on the b-side would net her extra money if the single became a hit. When a single would sell, the money generated would typically be split between the two songs. Therefore, as a writer/publisher, you stood to make quite a bit of money if your song made it to the b-side of a gold seller. That's why many times back in the day, artists who could write songs would try to get another track they wrote on the b-side. Many times it would be an instrumental or remix version of the a-side. It was a smart financial move for the artist and it probably paid off pretty well for Cole since she got her song on the b-sides to both hits.
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Date: 11/07/1987
Debut: 90
Peak: 13
Weeks: 22
Genre: Pop, Adult Contemporary
Pop Bits: Cole's Everlasting LP was shaping up to be a sizable comeback for her. Its first single, "Jump Start," did well reaching #13 at Pop while getting to #2 at R&B. Next up for release was this follow-up single. The ballad would prove to be another winner at Pop matching the peak of "Jump Start" marking the first time Cole scored back-to-back Top 20 hits. The tune also did well at AC (#2) and R&B (#4). The two singles would help the album reach gold level sales in March of '88, her first album to do so since 1979. The news would get even better with her next single.
ReduxReview: This three-quarter time ballad was wonderfully written and given a nice 80s AC production by Dennis Lambert. It was enhanced even further by Cole's excellent vocals. The song definitely played towards the adult crowd and indeed it went to #2 at AC, but it still had a contemporary enough sound that it appealed to Pop and R&B listeners as well. I thought it was a lovely tune and it became the first Natalie Cole single I bought. I think the song still holds up well.
ReduxRating: 8/10
Trivia: In addition to both peaking at #13 on the Pop chart, the "Jump Start" and "I Live for Your Love" singles had something else in common. Both 45 vinyl singles featured the same b-side song "More Than the Stars." That song was written by Natalie Cole along with her cousin Eddie Cole. The pair also produced the track. The ballad featured an appearance by Latin star José Feliciano, who played guitar and contributed background vocals. It was a bit rare for two consecutive singles by an artist to share a b-side song, but there was usually a good reason behind it. In Cole's case, the song was the only one on her Everlasting album that she had a hand in writing. It was not a candidate for the a-side of a single, but getting it on the b-side would net her extra money if the single became a hit. When a single would sell, the money generated would typically be split between the two songs. Therefore, as a writer/publisher, you stood to make quite a bit of money if your song made it to the b-side of a gold seller. That's why many times back in the day, artists who could write songs would try to get another track they wrote on the b-side. Many times it would be an instrumental or remix version of the a-side. It was a smart financial move for the artist and it probably paid off pretty well for Cole since she got her song on the b-sides to both hits.
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