Song#: 2471
Date: 09/21/1985
Debut: 88
Peak: 77
Weeks: 7
Genre: Pop, R&B, Dance
Pop Bits: After her 1983 album Ross failed to produce a sizable hit single, Diana Ross returned to gold-level sales with her next effort Swept Away. It featured three Top 20 hits including the #10 "Missing You." With momentum swinging her way, she decided to work with Barry Gibb on her next album. Gibb had been having great luck writing and producing hit singles and albums for stars like Barbra Streisand, Kenny Rogers, and Dionne Warwick, and it seemed like he could do the same for Ross. Gibb and his brothers went ahead and wrote a set of songs specifically for Ross. The project would be titled Eaten Alive and this title track would be issued out as the first single. In addition to Gibb co-writing, co-producing, and performing backing vocals on the track, Michael Jackson joined in and contributed to the writing, producing, and singing as well. With the dream team of the Gibb brothers, Jackson, and Ross creating this song, it seemed like the single would be a slam-dunk, surefire hit. Yet oddly, the song tanked at Pop. It couldn't even get out of the bottom quarter of the chart. Elsewhere, it did fine getting to #3 at Dance and #10 R&B, but even with the Michael Jackson name attached, pop radio listeners were just not interested in the song and promptly ignored it. The lack of a sizable Pop hit didn't help sales of the album, which also struggled on the chart.
ReduxReview: I think the old proverb "too many cooks spoil the broth" applies to this song. It was just way overdone and Ross is practically swallowed up by it all. In the chorus, especially the last go-rounds, you can't even hear her. You mainly hear Jackson's voice. That's not too surprising since apparently Jackson's contribution to the song was reworking the chorus, which sounds like something he would have recorded for himself. Yet even the Gibb brothers' verse work doesn't contain their usual signature melodic moves or phrasing. Ross tries to get through the song, but she is totally lost and there are points you can't even understand the words. The production is jarring and overwhelming as well with a bunch of synth fills and even a disturbing bone crunching chomp at the end. Top it all off with a crazy video featuring an overacting Ross with fangs and panther eyes and what you end up with is a giant mess. That said, there is still something about the song I kinda like. Perhaps I just get a kick out of it because it is such a fascinating, crazy-ass disaster. It was a giant misstep by everyone involved, yet I don't mind hearing it every once in a great while and chuckling that they all thought this was a good idea.
ReduxRating: 5/10
Trivia: The elaborate video for this song was based on H.G. Wells' 1896 sci-fi classic The Island of Dr. Moreau in which a shipwrecked scientist finds himself on an island where the main inhabitant, Dr. Moreau, is experimenting on animals giving them human traits through painful surgeries. The novel was first adapted into a movie in 1932 as Island of Lost Souls. That version featured a woman that was created via a panther, which is the character Ross plays in her video. The story was revived for a 1977 film under the novel's title. It starred Burt Lancaster and Michael York. Then there was the 1996 version starring Marlon Brando and Val Kilmer that was an infamous box office bomb. In Ross' video, the shipwreck survivor was played by actor/singer Joseph Gian. Gian would later go on to work on several TV shows and films including a recurring role on the hit nighttime soap Knots Landing. He also competed on the talent show Star Search in 1986. He was the male vocalist champion for a five week run and was a semi-finalist at the end of the season. In the "Eaten Alive" video, he ends up getting..well...eaten alive...by Diana Ross after she turns into a panther.
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Saturday, July 21, 2018
Friday, July 20, 2018
"Janet" by Commodores
Song#: 2470
Date: 09/21/1985
Debut: 89
Peak: 87
Weeks: 4
Genre: R&B, Adult Contemporary
Pop Bits: The Commodores' second LP following the departure of Lionel Richie would be their best effort. Nightshift would be a gold album thanks to the Grammy-winning #3 title track single. Unfortunately, their follow-up singles from the album didn't fare as well. This third single stalled at a low #65 at R&B while making a brief appearance at the bottom of the Pop chart. It was, however, a solid hit for them at AC getting to #8, which was their final Top 10 for them on that chart. Nightshift would also be the Commodores' final album for Motown, the label they had been recording with since 1974. They would move over to Polydor for their next LP.
ReduxReview: This song is far better than their previous single "Animal Instinct," which seemed like an attempt to fit in with other pop/rock hits of the time period. It didn't work and perhaps because of that, this song didn't get a real shot to make an impact. It really should have been the second single. While it's not something that would burn up the charts, it should have done much better. It's a nice groovin' tune with a good hook and wasn't all that far away from what Earth, Wind & Fire were doing at the time with songs like "Joanna." At least AC got a good dose of the song.
ReduxRating: 7/10
Trivia: The Nightshift album was also the debut of the band's new lead singer, British-born J.D. Nicholas. On their first post-Richie album Commodores 13, three members of the band shared lead vocal duties. Feeling that they needed a steady lead singer, they sought to hire one for their next album. One person that came to mind was Nicholas, who had been the lead singer in the UK funk/disco band Heatwave. Nicholas was also hired in as a replacement singer for that band when it's lead vocalist and founder Johnny Wilder became paralyzed from a car accident. Wilder would still provide vocals on the band's recordings, but Nicholas would handle them in concert. The Commodores later scooped up Nicholas after an audition and he has remained with the band ever since.
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Date: 09/21/1985
Debut: 89
Peak: 87
Weeks: 4
Genre: R&B, Adult Contemporary
Pop Bits: The Commodores' second LP following the departure of Lionel Richie would be their best effort. Nightshift would be a gold album thanks to the Grammy-winning #3 title track single. Unfortunately, their follow-up singles from the album didn't fare as well. This third single stalled at a low #65 at R&B while making a brief appearance at the bottom of the Pop chart. It was, however, a solid hit for them at AC getting to #8, which was their final Top 10 for them on that chart. Nightshift would also be the Commodores' final album for Motown, the label they had been recording with since 1974. They would move over to Polydor for their next LP.
ReduxReview: This song is far better than their previous single "Animal Instinct," which seemed like an attempt to fit in with other pop/rock hits of the time period. It didn't work and perhaps because of that, this song didn't get a real shot to make an impact. It really should have been the second single. While it's not something that would burn up the charts, it should have done much better. It's a nice groovin' tune with a good hook and wasn't all that far away from what Earth, Wind & Fire were doing at the time with songs like "Joanna." At least AC got a good dose of the song.
ReduxRating: 7/10
Trivia: The Nightshift album was also the debut of the band's new lead singer, British-born J.D. Nicholas. On their first post-Richie album Commodores 13, three members of the band shared lead vocal duties. Feeling that they needed a steady lead singer, they sought to hire one for their next album. One person that came to mind was Nicholas, who had been the lead singer in the UK funk/disco band Heatwave. Nicholas was also hired in as a replacement singer for that band when it's lead vocalist and founder Johnny Wilder became paralyzed from a car accident. Wilder would still provide vocals on the band's recordings, but Nicholas would handle them in concert. The Commodores later scooped up Nicholas after an audition and he has remained with the band ever since.
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Thursday, July 19, 2018
"One in a Million" by Eddie and the Tide
Song#: 2469
Date: 09/21/1985
Debut: 90
Peak: 85
Weeks: 2
Genre: Rock
Pop Bits: This Bay area band was started up by singer/songwriter Steve Rice. Wanting to get involved in the music industry, Rice put out an ad in the local paper looking for other musicians who wanted to do the same. He rounded out the band with four other guys and initially they were called The Suburbs. Unfortunately due to another band having the same name, they were forced to make a change. After making lists of potential names, Rice went to bed and had a dream about a band named Eddie and the Tide. That ended up being the band name and Rice then became "Eddie." A club owner showed interest in the band and eventually became their manager and helped them to record an indie EP in 1982 and a full album in 1984. Both recordings became solid sellers locally and that along with their growing fan base got them signed to Atco Records. Within a year's time, the band had recorded their major label debut album Go Out and Get It. This first single was pushed out and it got some attention at Rock getting to #22. The song was able to cross over to the Pop chart, but just for a very minor two weeks. Despite the tepid results, Atco kept them on for a second LP, 1987's Looking for Adventure. Nothing happened with it and the band was dropped. They recorded two more indie albums before breaking up sometime around 1993.
ReduxReview: This mysterious sounding track takes a couple of listens before it hooks you. The verses are the best part and they really set a cool tone. The chorus is solid, but I think it needed a little more oomph production-wise to really make it snap and stand out. This certainly could have done better on the chart. I wonder if the title was an issue as The Romantics had a Top 40 hit just the previous year with the same title. Sometimes that causes confusion especially if people think the second song is a remake of the first one. Regardless, this one was strong enough to stand on its own.
ReduxRating: 7/10
Trivia: Double Shot! 1) Their first album for Atco got a helping hand from another Bay area resident, rock star Eddie Money. Money produced the majority of the album and co-wrote three songs with Rice. Although Money had produced some of his own records and perhaps a song or two for other artists, it seems that this was Money's first gig producing a full album for someone else. Having Money's name attached to the project most likely helped draw some attention to the band. 2) Before they signed with Atco, the band submitted a video to MTV for their "battle of the bands" series MTV Basement Tapes. The show featured videos from unsigned acts that would compete for viewer votes. Six videos would be shown each episode and the one with the most votes would move on to the next stage of the competition. In 1984, Eddie and the Tide's video for their song "Running Wild, Running Free" made it to the finals and seemed to be the odds on favorite to win. But in an upset, a band called TRAK made up of the four DeRita brothers ended up winning for the video to their song "Dancin'." Although the band won some kind of recording contract with EMI, it doesn't seem like they recorded anything for the label. Their lead singer was 13-year-old Kurt. Around the same time, Kurt also appeared on another competition show, Star Search. He competed in the junior vocalist category.
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Date: 09/21/1985
Debut: 90
Peak: 85
Weeks: 2
Genre: Rock
Pop Bits: This Bay area band was started up by singer/songwriter Steve Rice. Wanting to get involved in the music industry, Rice put out an ad in the local paper looking for other musicians who wanted to do the same. He rounded out the band with four other guys and initially they were called The Suburbs. Unfortunately due to another band having the same name, they were forced to make a change. After making lists of potential names, Rice went to bed and had a dream about a band named Eddie and the Tide. That ended up being the band name and Rice then became "Eddie." A club owner showed interest in the band and eventually became their manager and helped them to record an indie EP in 1982 and a full album in 1984. Both recordings became solid sellers locally and that along with their growing fan base got them signed to Atco Records. Within a year's time, the band had recorded their major label debut album Go Out and Get It. This first single was pushed out and it got some attention at Rock getting to #22. The song was able to cross over to the Pop chart, but just for a very minor two weeks. Despite the tepid results, Atco kept them on for a second LP, 1987's Looking for Adventure. Nothing happened with it and the band was dropped. They recorded two more indie albums before breaking up sometime around 1993.
ReduxReview: This mysterious sounding track takes a couple of listens before it hooks you. The verses are the best part and they really set a cool tone. The chorus is solid, but I think it needed a little more oomph production-wise to really make it snap and stand out. This certainly could have done better on the chart. I wonder if the title was an issue as The Romantics had a Top 40 hit just the previous year with the same title. Sometimes that causes confusion especially if people think the second song is a remake of the first one. Regardless, this one was strong enough to stand on its own.
ReduxRating: 7/10
Trivia: Double Shot! 1) Their first album for Atco got a helping hand from another Bay area resident, rock star Eddie Money. Money produced the majority of the album and co-wrote three songs with Rice. Although Money had produced some of his own records and perhaps a song or two for other artists, it seems that this was Money's first gig producing a full album for someone else. Having Money's name attached to the project most likely helped draw some attention to the band. 2) Before they signed with Atco, the band submitted a video to MTV for their "battle of the bands" series MTV Basement Tapes. The show featured videos from unsigned acts that would compete for viewer votes. Six videos would be shown each episode and the one with the most votes would move on to the next stage of the competition. In 1984, Eddie and the Tide's video for their song "Running Wild, Running Free" made it to the finals and seemed to be the odds on favorite to win. But in an upset, a band called TRAK made up of the four DeRita brothers ended up winning for the video to their song "Dancin'." Although the band won some kind of recording contract with EMI, it doesn't seem like they recorded anything for the label. Their lead singer was 13-year-old Kurt. Around the same time, Kurt also appeared on another competition show, Star Search. He competed in the junior vocalist category.
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Wednesday, July 18, 2018
"Lover Come Back to Me" by Dead or Alive
Song#: 2468
Date: 09/21/1985
Debut: 94
Peak: 75
Weeks: 7
Genre: Synthpop, Dance-Pop
Pop Bits: This UK band's second album Youthquake was doing quite well thanks to its first single, the #11 Pop/#4 Dance hit "You Spin Me Round (Like a Record)." This next track was selected to be the second single and it did fairly well at Dance getting to #13. However, it just couldn't make much of a dent in the Pop chart and it stalled after making it a quarter of the way up. Despite the lack of a significant follow-up, the album still sold very well and ended up being certified gold.
ReduxReview: The production team of Stock, Aitken and Waterman (SAW) applied their studio magic to the band's excessively hooky "You Spin Me Round" and it worked out very well. SAW do the same with this track, but the song is not nearly as strong. The opening beats have the feel of an updated version of Donna Summer's "I Feel Love," yet the verse and bridge are quite weak. The chorus isn't too bad with its defiant "kick right down," but the track as a whole just doesn't stay in my mind for very long.
ReduxRating: 5/10
Trivia: Although this second single didn't go anywhere on the Pop chart, a third single was pushed out. "My Heart Goes Bang (Get Me to the Doctor)" couldn't reach the Pop chart, but it was another winner for the band at Dance getting to #15. Although their success on the Pop chart was very limited, the band did quite well filling up the dance floors. They would end up with seven Top 10's on the Dance chart including two #1's.
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Date: 09/21/1985
Debut: 94
Peak: 75
Weeks: 7
Genre: Synthpop, Dance-Pop
Pop Bits: This UK band's second album Youthquake was doing quite well thanks to its first single, the #11 Pop/#4 Dance hit "You Spin Me Round (Like a Record)." This next track was selected to be the second single and it did fairly well at Dance getting to #13. However, it just couldn't make much of a dent in the Pop chart and it stalled after making it a quarter of the way up. Despite the lack of a significant follow-up, the album still sold very well and ended up being certified gold.
ReduxReview: The production team of Stock, Aitken and Waterman (SAW) applied their studio magic to the band's excessively hooky "You Spin Me Round" and it worked out very well. SAW do the same with this track, but the song is not nearly as strong. The opening beats have the feel of an updated version of Donna Summer's "I Feel Love," yet the verse and bridge are quite weak. The chorus isn't too bad with its defiant "kick right down," but the track as a whole just doesn't stay in my mind for very long.
ReduxRating: 5/10
Trivia: Although this second single didn't go anywhere on the Pop chart, a third single was pushed out. "My Heart Goes Bang (Get Me to the Doctor)" couldn't reach the Pop chart, but it was another winner for the band at Dance getting to #15. Although their success on the Pop chart was very limited, the band did quite well filling up the dance floors. They would end up with seven Top 10's on the Dance chart including two #1's.
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Tuesday, July 17, 2018
"Hurts to Be in Love" by Gino Vannelli
Song#: 2467
Date: 09/21/1985
Debut: 95
Peak: 57
Weeks: 12
Genre: Soft Rock
Pop Bits: Although Vannelli's title-track single to his album Black Cars was a hit in his native Canada getting to #4, when it crossed the border into the States, it just couldn't do as well. The song stalled right before entering the Top 40 at #42. Hoping for something better, this next track was issued out. Once again it did fine in Canada (#14), but ended up floating around the bottom half of the Pop chart for a few months. The news was better on the AC front where the song became his third Top 10 hit (#6).
ReduxReview: This smokey track is a bit reminiscent of Foreigner's #2 hit "Waiting for a Girl Like You" with a little blue-eyed soul tossed in for good measure. It's actually a good song that is well produced, but it just couldn't seduce a broader audience outside of the AC market. I'm not all that surprised as it does have the feel of a late 70s track and that sound wasn't gonna attract the kids. At least it did well at AC.
ReduxRating: 6/10
Trivia: When a young Vannelli first set his sights on a music career in Canada, he was able to get signed there to RCA Records. For his first single, Vannelli decided to use a modified version of his last name for the credit and he became Vann-Elli. He recorded two songs for the label and a single was released in 1970. The song "Gina Bold" was the a-side that got promoted. It ended up being a tiny blip on the Canadian chart at #92. With little results coming from the single, Vannelli had to move on and three years later he was able to get signed to A&M Records in L.A. He would record seven albums for A&M before switching to Polydor for Black Cars.
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Date: 09/21/1985
Debut: 95
Peak: 57
Weeks: 12
Genre: Soft Rock
Pop Bits: Although Vannelli's title-track single to his album Black Cars was a hit in his native Canada getting to #4, when it crossed the border into the States, it just couldn't do as well. The song stalled right before entering the Top 40 at #42. Hoping for something better, this next track was issued out. Once again it did fine in Canada (#14), but ended up floating around the bottom half of the Pop chart for a few months. The news was better on the AC front where the song became his third Top 10 hit (#6).
ReduxReview: This smokey track is a bit reminiscent of Foreigner's #2 hit "Waiting for a Girl Like You" with a little blue-eyed soul tossed in for good measure. It's actually a good song that is well produced, but it just couldn't seduce a broader audience outside of the AC market. I'm not all that surprised as it does have the feel of a late 70s track and that sound wasn't gonna attract the kids. At least it did well at AC.
ReduxRating: 6/10
Trivia: When a young Vannelli first set his sights on a music career in Canada, he was able to get signed there to RCA Records. For his first single, Vannelli decided to use a modified version of his last name for the credit and he became Vann-Elli. He recorded two songs for the label and a single was released in 1970. The song "Gina Bold" was the a-side that got promoted. It ended up being a tiny blip on the Canadian chart at #92. With little results coming from the single, Vannelli had to move on and three years later he was able to get signed to A&M Records in L.A. He would record seven albums for A&M before switching to Polydor for Black Cars.
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Monday, July 16, 2018
"Head Over Heels" by Tears for Fears
Top 10 Alert!
Song#: 2466 Date: 09/14/1985
Debut: 49
Peak: 3
Weeks: 20
Genre: New Wave
Pop Bits: After two big #1 hits from their album Songs from the Big Chair, the duo issued out this third single. Although it wouldn't reach the top of the Pop chart, it did very well getting to #3. It was also a winner at Rock (#7) and AC (#5). Back in their UK homeland, this was the fourth single from the album and it stalled just shy of the Top 10 at #12.
ReduxReview: This song grabs you right away with a banged out piano melody that sounds regal and grand. From there it dips into verses with memorable little touches inserted along the way followed by a hooky chorus. Add to that the phased drum fill to the "la-la's" over the original piano melody and you end up with a catchy track that stood out on the radio. It was their third excellent single in a row and by this point I had to buy the album. However, for me the balance of the album didn't match the quality of the three singles and I was a bit disappointed at the time. I like the LP a bit better now, but really I all need to hear from it are the three big singles.
ReduxRating: 8/10
Trivia: When this song was originally written, it was meant to follow directly after another song titled "Broken" as sort of a two-song suite. Both songs contain the piano melody heard at the beginning of "Head Over Heels." In their concerts, the band would perform "Broken," then flow into "Head Over Heals," and then finish off with another small section of "Broken." When putting together Songs from the Big Chair they decided to keep the songs as they would do them in concert. They recorded the two main songs in the studio, but for the "Broken" tag ending, they used a live version that had been previously recorded. Therefore, when you hear the full album version of "Head Over Heals" that includes the tag ending, you hear the applause of the crowd as they finish the song. A studio version of the tag ending was recorded, but it was only used on a 12" mix of the whole medley titled the "Preacher Mix." It was titled as such due to an intro where Roland Orzabal recites lyrics to another Tears for Fears song ("I Believe") like a preacher talking through a megaphone.
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Sunday, July 15, 2018
"One Night Love Affair" by Bryan Adams
Song#: 2465
Date: 09/14/1985
Debut: 56
Peak: 13
Weeks: 15
Genre: Rock
Pop Bits: Adams' fourth album, Reckless, finally reached the #1 spot for a couple of weeks in August. It was helped along by the #5 showing of the LP's fourth single "Summer of '69." With the album still securely in the Top 5, it was decided that a fifth single would be released. This album opening track was selected and it would become Adams' fourth Top 10 at Rock getting to #7. At Pop, the song ran out of steam before it could reach the Top 10. Still, the hit made Adams one of only three artists to get five Top 20's from one album. The other two artists being Michael Jackson and Bruce Springsteen (however, all their hits were Top 10's).
ReduxReview: The hits from Adams just kept a-rollin' along and this was another single-worthy track from an album full of radio-ready rock tunes. Adams and his writing partner Jim Vallance were really at their peak when they penned songs for this album. They even wrote a bunch of solid songs on the side that were picked up by other artists as well. Adams would go on to have bigger hits than the ones on Reckless, but I don't think he's ever been as consistent of a writer as he was during this time period.
ReduxRating: 7/10
Trivia: Just prior to this song being issued as a single, it was used in the sci-fi comedy Real Genius, which starred Val Kilmer. It was Kilmer's second film and second starring role. His first leading role was in the spoof/action comedy Top Secret! in 1984. Real Genius received mixed reviews and was a moderate box office hit. It has since become a bit of a cult movie with certain folks debating the validity of the (fictional) scientific aspects of the film. The film's final scene which involves filling a house with popcorn that was popped by a laser was even put to the test on the popular science TV show MythBusters. Although their tests showed that perhaps a house could possibly fill up with popcorn that was popped via a laser (they used heat induction for the test), it would never bust through doors and windows or ruin a house as it did in the movie because the popcorn was too soft and could never attain the density and pressure needed to break through windows or doors.
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Date: 09/14/1985
Debut: 56
Peak: 13
Weeks: 15
Genre: Rock
Pop Bits: Adams' fourth album, Reckless, finally reached the #1 spot for a couple of weeks in August. It was helped along by the #5 showing of the LP's fourth single "Summer of '69." With the album still securely in the Top 5, it was decided that a fifth single would be released. This album opening track was selected and it would become Adams' fourth Top 10 at Rock getting to #7. At Pop, the song ran out of steam before it could reach the Top 10. Still, the hit made Adams one of only three artists to get five Top 20's from one album. The other two artists being Michael Jackson and Bruce Springsteen (however, all their hits were Top 10's).
ReduxReview: The hits from Adams just kept a-rollin' along and this was another single-worthy track from an album full of radio-ready rock tunes. Adams and his writing partner Jim Vallance were really at their peak when they penned songs for this album. They even wrote a bunch of solid songs on the side that were picked up by other artists as well. Adams would go on to have bigger hits than the ones on Reckless, but I don't think he's ever been as consistent of a writer as he was during this time period.
ReduxRating: 7/10
Trivia: Just prior to this song being issued as a single, it was used in the sci-fi comedy Real Genius, which starred Val Kilmer. It was Kilmer's second film and second starring role. His first leading role was in the spoof/action comedy Top Secret! in 1984. Real Genius received mixed reviews and was a moderate box office hit. It has since become a bit of a cult movie with certain folks debating the validity of the (fictional) scientific aspects of the film. The film's final scene which involves filling a house with popcorn that was popped by a laser was even put to the test on the popular science TV show MythBusters. Although their tests showed that perhaps a house could possibly fill up with popcorn that was popped via a laser (they used heat induction for the test), it would never bust through doors and windows or ruin a house as it did in the movie because the popcorn was too soft and could never attain the density and pressure needed to break through windows or doors.
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