Song#: 2143
Date: 12/01/1984
Debut: 74
Peak: 53
Weeks: 9
Genre: Rock
Pop Bits: Bowie got his fifth US Top 10 hit with "Blue Jean," the lead single from his album Tonight. As a follow-up, this title-track song was released. Although not credited on the single's label (but listed in the credits on the album), Tina Turner made a guest appearance on this tune. She provided backing vocals, so it wasn't considered an actual duet. Despite the fact that both artists were experiencing career highs, the song didn't catch on and it stopped short of the top half of the Pop chart while getting to #28 Dance and #32 Rock.
ReduxReview: Bowie takes back his own song that he wrote for Iggy Pop (see below) and turns the rock song into a reflective reggae-tinged, mid-tempo ballad. I don't think it works all that well. It makes the song a bit bland. Even Turner can't do much to make this tune stand out. It was kind of a dud on the album, but it was even worse when turned into a single. My guess is that the label pushed this song out due to Turner's involvement, thinking her major popularity at the time would help carry the single. It didn't. There still has to be a good song involved and this one was not it. Stick with Iggy's original version.
ReduxRating: 4/10
Trivia: Double Shot! 1) This is a remake of a song originally performed by Iggy Pop. Bowie, who co-produced Pop's 1977 album Lust for Life, wrote and contributed this song to that album. Bowie then revived the song and made it the title track to his 1984 LP. It wouldn't be the only song Bowie would cover from Lust for Life. Also included on Tonight was the song "Neighborhood Threat," which Bowie also co-wrote for Pop. 2) In 1988, Tina Turner released a double-LP titled Tina Live in Europe. Chronicling her recent tours, the album featured two songs from a performance where David Bowie joined her on stage. They performed "Tonight" and "Let's Dance." In Europe, "Tonight (Live)" was released as a single and it did well in a couple of countries. It hit #1 in the Netherlands and #3 in Belgium.
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Saturday, August 26, 2017
Friday, August 25, 2017
"Missing You" by Diana Ross
Top 10 Alert!
Song#: 2142 Date: 12/01/1984
Debut: 82
Peak: 10
Weeks: 27
Genre: Pop, Adult Contemporary
Pop Bits: Ross returned to the Pop Top 20 for the first time in two years with the title track from her album Swept Away. That single would get to #19 Pop and #3 R&B. To follow it up, this ballad was issued. It took a while to get going, but it finally cracked the Pop Top 10. It was a terrific return for Ross, but unfortunately it would be her last single to get inside the Top 10. In fact, it would be her last to get into the top half of the Pop chart. This single was also a major hit at R&B, where it got to #1, and it would reach #4 at AC. The success of this song helped pull Ross out of a minor slump and return her to gold-level sales for the album.
ReduxReview: This is a lovely song and a wonderful tribute, not only to Gaye (see below), but to others that have passed as well. Ross gives a terrific reading and really brings it during the mid-section. It is definitely one of her better vocal performances. The song really does stand on its own and deserved to be a hit, but I've often wondered how it would have done if it wasn't tied to Gaye. Tribute songs sometimes bring out the sentimental in folks and can help to sell some copies. I'm sure that was part of the case here. However, Richie did do a nice job with the tune and I'm glad it caught on.
ReduxRating: 8/10
Trivia: This song was written and co-produced by Lionel Richie. It was done as a tribute to Marvin Gaye, who had been killed earlier in '84. Both Ross and Gaye were early Motown stars and maintained a friendship over the years. They even collaborated on an album in 1973 titled Diana & Marvin. That LP would spawn three charting singles including the #4 R&B/#12 Pop hit "You're a Special Part of Me."
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Thursday, August 24, 2017
"Operator" by Midnight Star
Song#: 2141
Date: 12/01/1984
Debut: 84
Peak: 18
Weeks: 17
Genre: R&B
Pop Bits: After three low-performing albums, this R&B band hit it big with their double-platinum fourth effort No Parking on the Dance Floor. It featured two R&B Top 10's, but the singles would only circulate the bottom of the Pop chart. Despite the lack of Pop support, the songs were popular and the album sold. It set them up well for the follow-up LP, Planetary Invasion. This first single would end up being their biggest overall hit staying at #1 at R&B for five weeks, It would also get to #15 Dance and finally break them through to the Pop Top 20. Despite the hit, sales of the album were on the slow side. It could only manage to go gold. That is still a great achievement, but it was slightly disappointing considering the size of this hit.
ReduxReview: The band already had a couple of classics to their credit before this tune came along. It was another winner for them that finally broke them through at Pop. With a great groove, 80s effects, and a hot performance, this had to hit. It was their peak moment on the charts and deservedly so. It really should have gone Top 10 at Pop.
ReduxRating: 8/10
Trivia: Band member Bo Watson would also lend his songwriting talents to other artists. One of his first major efforts outside of Midnight Star was when he co-wrote "Meeting in the Ladies Room" for Klymaxx. That song would be a #4 R&B hit for the vocal group in 1985. Later on, he would help supply singer Toni Braxton with her first major crossover hit. "Another Sad Love Song" would get to #7 Pop and #2 R&B in 1993.
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Date: 12/01/1984
Debut: 84
Peak: 18
Weeks: 17
Genre: R&B
Pop Bits: After three low-performing albums, this R&B band hit it big with their double-platinum fourth effort No Parking on the Dance Floor. It featured two R&B Top 10's, but the singles would only circulate the bottom of the Pop chart. Despite the lack of Pop support, the songs were popular and the album sold. It set them up well for the follow-up LP, Planetary Invasion. This first single would end up being their biggest overall hit staying at #1 at R&B for five weeks, It would also get to #15 Dance and finally break them through to the Pop Top 20. Despite the hit, sales of the album were on the slow side. It could only manage to go gold. That is still a great achievement, but it was slightly disappointing considering the size of this hit.
ReduxReview: The band already had a couple of classics to their credit before this tune came along. It was another winner for them that finally broke them through at Pop. With a great groove, 80s effects, and a hot performance, this had to hit. It was their peak moment on the charts and deservedly so. It really should have gone Top 10 at Pop.
ReduxRating: 8/10
Trivia: Band member Bo Watson would also lend his songwriting talents to other artists. One of his first major efforts outside of Midnight Star was when he co-wrote "Meeting in the Ladies Room" for Klymaxx. That song would be a #4 R&B hit for the vocal group in 1985. Later on, he would help supply singer Toni Braxton with her first major crossover hit. "Another Sad Love Song" would get to #7 Pop and #2 R&B in 1993.
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Wednesday, August 23, 2017
"Let It All Blow" by Dazz Band
Song#: 2140
Date: 12/01/1984
Debut: 95
Peak: 84
Weeks: 7
Genre: R&B, Electro-Funk
Pop Bits: The two albums that followed their Grammy-winning #5 hit "Let It Whip" did fine at R&B with both getting to #12. Each LP also featured a #9 R&B single ("On the One for Fun" and "Joystick"). However, they just couldn't seem to crossover again to the Pop chart in a major way. Their third attempt came via their sixth album, Jukebox. To get things started, this first single was issued. Like their previous two #9 hits at R&B, this one also hit that same mark. Unfortunately, like their previous hits, it did not do well at Pop. It circled the lower quarter of the chart for a few weeks and then disappeared. It would be their last single to reach the Pop chart and their final one to reach the R&B Top 10. They would continue to record and get some songs posted on the R&B chart, but their peak days would start to wane after this single.
ReduxReview: Armed with new technology that was certainly on display during the opening of this song, the band continued with their brand of funk for the 80s. This time, they decided to let the groove speak for itself and limited the vocals to just a few sections. Although it is a delicious groove full of 80s synth inflections and effects, the problem is that there is no real hook. It's quite fun to listen to, but without some kind of memorable hook, the tune ends up being forgettable.
ReduxRating: 6/10
Trivia: Like "Let It Whip," this song was co-written and co-produced by Reggie Andrews. Andrews, who worked behind the scenes and was not a band member, had been working with the band since their debut LP in 1980. He stepped into the producer's role with their third album and guided their biggest seller, Keep It Live, which featured "Let It Whip." He would continue to work with the band through to the Jukebox LP, which would be his last with them. Andrews attempted his own career in the mid-70s. He joined up with the R&B/fusion group Karma. That band would sign with Horizon Records (an A&M label) and issue two LPs in 1976 and 1977. Their first album, Celebration, would include their only significant hit, the #10 Dance track "Funk de Mambo." After two albums with little results, the band broke up and Andrews turned to studio work. Soon he would hook up with the Dazz Band.
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Date: 12/01/1984
Debut: 95
Peak: 84
Weeks: 7
Genre: R&B, Electro-Funk
Pop Bits: The two albums that followed their Grammy-winning #5 hit "Let It Whip" did fine at R&B with both getting to #12. Each LP also featured a #9 R&B single ("On the One for Fun" and "Joystick"). However, they just couldn't seem to crossover again to the Pop chart in a major way. Their third attempt came via their sixth album, Jukebox. To get things started, this first single was issued. Like their previous two #9 hits at R&B, this one also hit that same mark. Unfortunately, like their previous hits, it did not do well at Pop. It circled the lower quarter of the chart for a few weeks and then disappeared. It would be their last single to reach the Pop chart and their final one to reach the R&B Top 10. They would continue to record and get some songs posted on the R&B chart, but their peak days would start to wane after this single.
ReduxReview: Armed with new technology that was certainly on display during the opening of this song, the band continued with their brand of funk for the 80s. This time, they decided to let the groove speak for itself and limited the vocals to just a few sections. Although it is a delicious groove full of 80s synth inflections and effects, the problem is that there is no real hook. It's quite fun to listen to, but without some kind of memorable hook, the tune ends up being forgettable.
ReduxRating: 6/10
Trivia: Like "Let It Whip," this song was co-written and co-produced by Reggie Andrews. Andrews, who worked behind the scenes and was not a band member, had been working with the band since their debut LP in 1980. He stepped into the producer's role with their third album and guided their biggest seller, Keep It Live, which featured "Let It Whip." He would continue to work with the band through to the Jukebox LP, which would be his last with them. Andrews attempted his own career in the mid-70s. He joined up with the R&B/fusion group Karma. That band would sign with Horizon Records (an A&M label) and issue two LPs in 1976 and 1977. Their first album, Celebration, would include their only significant hit, the #10 Dance track "Funk de Mambo." After two albums with little results, the band broke up and Andrews turned to studio work. Soon he would hook up with the Dazz Band.
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Tuesday, August 22, 2017
"Easy Lover" by Philip Bailey & Phil Collins
Top 10 Alert!
Gold Record Alert!
Song#: 2139 Date: 11/24/1984
Debut: 63
Peak: 2
Weeks: 23
Genre: Pop, Rock, R&B
Pop Bits: Since 1972, Bailey had been performing with Earth, Wind & Fire. An original member, Bailey would share lead vocal duties on many songs and was known for his falsetto contributions. He was out front on several of the band's hits including "Shining Star" (#1, 1975) and "September" (#8, 1978). As the 80s started, Bailey decided it was time to do a project on his own. He issued the debut album Continuation in 1983, which contained the #10 R&B hit "I Know." For his follow-up, Bailey hit up his friend Phil Collins to produce the album and the pair came up with Chinese Wall. This single from the album was co-written by the pair along with Nathan East and its pop/rock sound caught on. The duet would reach #5 Rock, #3 R&B, #7 Dance, and #15 AC, while nearly topping the Pop chart. With the track being a multi-format hit, sales of the single were brisk and it would easily go gold. The album would hit that gold mark as well. It would be Bailey's peak moment as a solo artist.
ReduxReview: Yeah, this had Phil Collins' hands all over it. The song could have easily been done for one of his own solo albums. The pop/rock track fit Bailey quite well. EWF were more R&B based, so this stretch for Bailey was a nice change of pace. The vocal pairing with Collins worked as well. With a great chorus, solid production and Collins' popularity at the time, there was really no way this was gonna miss. It's just a bummer Bailey didn't do more rock and collaborate with Collins again.
ReduxRating: 8/10
Trivia: Bailey and Collins would received a Grammy nomination for this song in the Best Pop Vocal Performance, Duo or Group, category. Bailey would also get a nod himself in the Best R&B Vocal Performance, Male, for the album. In the second year of the MTV Video Music Awards, the video for this song would win a statue in the Best Overall Performance in a Video category.
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Monday, August 21, 2017
"Neutron Dance" by The Pointer Sisters
Top 10 Alert!
Song#: 2138 Date: 11/24/1984
Debut: 73
Peak: 6
Weeks: 23
Genre: R&B, Dance-Pop, Soundtrack
Pop Bits: By this point in time, The Pointer Sisters' album Break Out was over a year old and had already spawned four charting hits with three of them hitting the Pop Top 10. It seemed like the LP had run its course, but there was one more surprise to be had. This track from the album started to get used behind a scene during the production of the upcoming Eddie Murphy comedy Beverly Hills Cop. The song fit the scene well, but producers were not keen to keep the song in the film and asked producer Richard Perry to supply another. He convinced them that this really was the perfect song and it got into the final cut of the film and on the soundtrack. It would end up being the first single released from the soundtrack and the fifth from Break Out. The single would take a while to get going, but once the movie was a hit, the tune took off. It got to #4 at Dance, #13 R&B, and #23 AC. It would also become the Sisters' seventh and final Top 10 hit at Pop.
ReduxReview: This is really a kooky song. It borders on the insipid. It's so dorky that it should not have worked at all, but it actually did. There was something about that old R&B/honky tonk bass synth riff, quick step beat, the Sisters' gospel-influenced performance, and pull-yourself-up lyrics that got people dancing. Of course it helped that it was in a memorable scene from a major box office smash. Is it among my favorite Pointer Sisters songs? Not really. However, it is hard not to start jammin' when this comes on.
ReduxRating: 6/10
Trivia: This song was written by Allee Willis and Danny Sembello. Originally, it was written for a different film. The two writers were told about a scene in the movie Streets of Fire that took place on a bus, which was headed away from a city that had a nuclear holocaust. Apparently there would be a doo-wop group on board singing, so that image prompted Willis and Sembello to come up with "Neutron Dance." Unfortunately, the song didn't make the film, but it did get the attention of producer Richard Perry and The Pointer Sisters. Initially, Ruth Pointer was reluctant to sing it because it brought to mind things that were prominent in the news at the time like nuclear bombs. However, Willis convinced her to sing it and a hit was born. In an interview, Willis also said that a line in the song was taken from a real-life moment that happened when they were writing the tune. During the songwriting session, Willis happened to look out her front window and noticed a guy trying to break into her car. She ran out the door yelling "someone stole my brand new Chevrolet!" The incident and line seemed to fit the song perfectly, so it got included.
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Sunday, August 20, 2017
"Misled" by Kool & the Gang
Top 10 Alert!
Song#: 2137 Date: 11/24/1984
Debut: 81
Peak: 10
Weeks: 24
Genre: R&B
Pop Bits: Kool & the Gang's career hit a bit of a slump a couple years earlier. They had been following a formula set by their producer Eumir Deodato and it just wasn't working any longer. They decided to forge out on their own and the results were good with the ballad "Joanna" scoring well on three charts (#1 R&B/#2 Pop/#2 AC). Having found their footing as producers, they set out to record their next LP, Emergency. It would end up being the best-selling album of their career. This first single got things started. It did well getting to #3 R&B, #9 Dance, and #10 Pop. Their next two singles would do even better.
ReduxReview: I don't hear this song much anymore and that is too bad. The Gang rocked it up for this one and it paid off. It starts off a bit slow, but once it gets into gear, it's pretty hot. The chorus really makes this song jam and the sound is different for the band. It fits them well and makes me wish they would have explored their rock side a bit more. I'd definitely put this in a list of their best tunes.
ReduxRating: 8/10
Trivia: Kool & the Gang would reach the peak of their popularity in the UK in the early 80s. From 1979 to 1985, the band scored seven Top 10's there. Later on in 2004, they embarked on a project that had the band revisiting their hits with other artists. The double-disc set, title The Hits: Reloaded, was geared towards the UK market. While there were a few US-based artists featured, such as Ashanti and Blackstreet, several of the artists were from the UK. Spandau Ballet's lead singer Tony Hadley was one of those artists. He performed "Misled" with the band. The collection was released in the US, but it was cut down to one CD. Missing from the set were the songs done by UK artists that didn't necessarily have name recognition in the US. Hadley's contribution was cut as were ones from Beverly Knight, Lulu, Atomic Kitten, and Jamelia.
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