"Faith" by George Michael

#1 Alert!

Gold Record Alert!

Song#:  3311
Date:  10/24/1987
Debut:  54
Peak:  1 (4 weeks)
Weeks:  20
Genre:  Pop, Rock



Pop Bits:  The summer of '87 saw the release of George Michael's first solo single "I Want Your Sex." In addition to being part of the Beverly Hills Cop II soundtrack, the song was also used to introduce Michael's upcoming debut solo album Faith. The single would be a big platinum hit reaching #2 at Pop. Next up for release was this title-track song. It debuted on the Pop chart just a week before the album hit stores. It would be another winner for Michael hitting #1 Pop and going gold. It would also get to #5 AC and #17 Dance. The tune's four weeks at #1 combined with its 20 weeks on the chart helped to make it the #1 charting single for 1988. The album would follow suit spending 12 non-consecutive weeks at #1 and becoming the top charting album for 1988. It would also go on to win the Grammy for Album of the Year. The song and the album firmly established Michael as a superstar.

ReduxReview:  With its retro Bo Diddley beat, this track stood apart from Michael's previous efforts. After the somewhat salacious "I Want Your Sex," the song was a refreshing blast of rock 'n' roll that appealed to a wide audience. The organ introduction was also unusual and was sort of a way to separate Michael from his teenybopper Wham! days (the organ actually incorporated a progression from the Wham! hit "Freedom"). The hit was inescapable back in the day and luckily I liked it. I skipped buying the single and went for the LP when it came out. Both are still excellent and fun to hear on occasion.

ReduxRating:  8/10

Trivia:  The video for this song, directed by Andy Morahan, defined George Michael's image for the time period. It showcased him as a macho rock musician performing in front of a jukebox with a guitar. Clad in Levi jeans, Ray Bans and a leather jacket, Michael sported scruffy short beard and wavy hair, both of which became trends of the day. The camera would focus on certain parts of Michael, but what got the most attention was a close up of his butt. That portion would get parodied on SNL. Once the hits and fame set in, Michael looked back and didn't necessarily like the image that he (via his record company) came up with and wanted to break away from it. For his next LP, 1990's Listen Without Prejudice, Vol 1, Michael wrote the song "Freedom! '90," which talked about his rise to fame, his naïveté as a young artist, and his need to escape what he had become. The song even references his famous butt shaking scene in the "Faith" video, "when you shake your ass, they notice fast and some mistakes were build to last." To further erase that image, the video for "Freedom! '90" didn't featured Michael. Directed by David Fincher, the video had supermodels lip syncing the song. Then iconic things from the "Faith" video including the jukebox and guitar were blown up. Released as the album's second single, it would reach #8 on the Pop chart and go gold.

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"Got My Mind Set on You" by George Harrison

#1 Alert!

Song#:  3310
Date:  10/24/1987
Debut:  66
Peak:  1 (1 week)
Weeks:  22
Genre:  Pop, Rock



Pop Bits:  Harrison's 1982 album, Gone Troppo, turned into an unexpected failure. With his previous seven solo studio albums peaking in the Top 15 (two going to #1), it seemed inevitable that the former Beatle's next effort would do the same. At the time Harrison wasn't thrilled with the quickly changing musical landscape of the early 80s and wanted a break from it all, but getting in his way was an obligation to do one more album for Warner Bros. He got it done, but his lack of interest in doing it along with the single "Wake Up My Love" stalling at #53 pretty much killed Gone Troppo. Harrison then was able to step away, but he didn't stay completely idle. He would make the occasional appearance at concerts or events and contribute a few songs to compilations and soundtracks. By the time '87 rolled around, Harrison got the itch to do a new project of his own. He hired on ELO's Jeff Lynne as co-producer (and co-writer on three tracks) and set out to record Cloud Nine. This first single was released and it put Harrison back on the map as a viable contemporary artist. The song would reach #4 at Rock and #1 at AC while becoming Harrison's third solo Pop #1. The album would also return Harrison to the Top 10 peaking at #8. It would become Harrison's second platinum-selling LP.

ReduxReview:  When I first heard this song, I thought it was so stupid. It was goofy and repetitive. Even "Weird Al" Yankovic made fun of the tune's repetitive nature with his parody "(This Song's Just) Six Words Long." Yet the more I heard the song, the more it just stuck in my brain. And then like the objects in the associated video (see below), I just couldn't help bopping along. I had to face it - the song was just irresistible, infectious, and fun. Helping it along was the spot-on production by Jeff Lynne, who was able to make Harrison's tracks sound modern and hip while retaining a retro Beatles feel. I still get a kick out of this tune.

ReduxRating:  8/10

Trivia:  Triple Shot!  1) This is a remake of a song written by Rudy Clark and recorded by James Ray in 1962. Ray's original take was issued out as a single, but it failed to chart. Harrison had discovered the obscure song when he visited the US in 1963, about five months before the Beatles made their famous first trip to the States. Harrison came to the US to visit his older sister Louise. She had emigrated to the US with her husband, who worked in the mining industry. They settled in Benton, Illinois, which was outside of St. Louis. While visiting, Harrison went to a record shop and happened to purchase a record titled "I've Got My Mind Set on You" by James Ray. Twenty-four years after he purchased that disc, Harrison revived the old tune and it became a hit.  2) The memorable video for this song was inspired by the cult comedy/horror film Evil Dead II. The movie featured inanimate objects coming to life, especially in a scene where things like books, lamps, and a mounted deer head laugh at the main character. In the music video, Harrison sings the song and plays guitar while sitting in a library-style room. As the video progresses, objects in the room come to life and start to move in time with the music. It proved to be very popular on MTV and was eventually nominated for three MTV Music Video Awards.  3) This was the last solo song by a Beatle to reach #1 on the Pop chart. In fact, it was the also the last Top 10 solo effort by a Beatle. Paul McCartney would make it to #4 in 2015 with "FourFiveSeconds," but that was a collaboration with Rihanna and Kanye West. The song also broke a four-way tie between the Beatles. By this point, each Beatle had scored two completely solo #1 hits. This hit made George Harrison the Beatle with the most #1 solo hits. Obviously, if you include Paul McCartney's hits with Wings and his duet singles, he would have the most with nine.

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"Cherry Bomb" by John Cougar Mellencamp

Top 10 Alert!

Rated 10 Alert!

Song#:  3309
Date:  10/24/1987
Debut:  78
Peak:  8
Weeks:  21
Genre:  Folk-Rock, Americana



Pop Bits:  Mellencamp got his eighth Pop Top 10 hit with "Paper in Fire" (#9), the lead single from his album The Lonesome Jubilee. The track would reach #1 at Rock and this follow-up single would do the same. It would end up peaking just a notch higher at Pop than his previous single. The song would also do well at AC making it to #12. By this point in time, the album had reached its peak of #6 and gone platinum. However, this hit would help drive album sales to the double-platinum level by January of '88.

ReduxReview:  This is one of those songs that even though it is upbeat, the nostalgia factor is so great that it can make me cry. I just think this song is brilliant. From the reflective lyrics to the fiddle fills in the chorus, everything about it just fills my heart with such a warm feeling. I know that is kind of corny to say, but it really does. The lyrics contain so many good lines like "dancin' meant everything," "holdin hands meant somethin'," and "17 has turned 35." While the song is mainly about Mellencamp's experiences, it can really be applied to most anyone. Folks can hear this and think, "yeah, I remember when a sport was a sport." I also love the middle instrumental break with that unison lick leading to the break with snaps and "say yeah" vocals. Just awesome. Plus I love the accordion. I mean, c'mon. Not many folks could make an accordion seem like the coolest thing in a pop song, but Mellencamp did. For me, this was more than just a damn good pop song. It was something alive that triggered feelings and memories. It was warm, comfortable, and lived in, like a favorite jacket you'd wear when going out and having fun with your friends.

ReduxRating:  10/10

Trivia:  Double Shot!  1) This song takes a look back at Mellencamp's teenage years through his adult eyes. While the Cherry Bomb club featured in the song was fictitious, it was based on a real club from Mellencamp's youth. In his hometown of Seymour, Indiana, a local church's basement became a hangout for the town's teenagers. According to Mellencamp, it was called The Last Exit Teen Club and he spent quite a bit of time there. Although teens would gather there for various dances and such, it seems that the club would also feature live music. A 1967 newspaper clipping from the Louisville, Kentucky, paper The Courier-Journal featured an advertisement about upcoming live music shows by acts associated with Triangle Talent. One of the listings had the band The Blues playing at The Last Exit Teen Club in Seymour on a Saturday night. It is unknown whether a young Mellencamp ever performed at the club.  2) The b-side to this single featured Mellencamp doing a rare remake. He did a version of the 1978 song "Shama Lama Ding Dong," which was featured in the film National Lampoon's Animal House. In the movie, the song was performed by the fictional band Otis Day and the Knights. The lead vocals on the track were actually sung by Lloyd Williams, but on screen the song was lip synced by actor DeWayne Jessie.

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"Eagles Fly" by Sammy Hagar

Song#:  3308
Date:  10/24/1987
Debut:  90
Peak:  82
Weeks:  13
Genre:  Rock



Pop Bits:  Although Hagar had signed up as Van Halen's new lead singer in 1985, he still owned his label (Geffen) one more solo album. Co-produced with his new bandmate Eddie Van Halen, Hagar came up with I Never Said Goodbye. Its first single, "Give to Live," did fairly well getting to #1 at Rock and #23 Pop. Next up for release was this track. It was unable to find a big audience and stalled at #22 Rock while staying near the basement of the Pop chart. However, the tune must have gained some attention in a few markets over time as the single spent a lengthy 13 weeks on the chart, which was highly unusual for a song that peaked so low. The album would end up doing well peaking at #14 and going gold. It would be Hagar's last solo album for ten years.

ReduxReview:  This is a grand, near-epic song for Hagar and it ended up sounding pretty damn good. I think his brief time in VH recording 5150 helped him shape this track. It was a big rock anthem with a solid hook and a nice mid-section that didn't get overrun with a massive guitar or keyboard solo. It definitely ranks as one of Hagar's best solo efforts. It should have done better on the charts (and probably should have been picked up for use in a film), but even though it was a good track, it didn't have quite the same mainstream appeal as some of his bigger singles, or even tracks from his first effort with VH.

ReduxRating:  7/10

Trivia:  Apparently, Hagar wrote this song following his 1984 LP VOA, but before he joined Van Halen. He had intended it to be included on his next solo disc. The song got set aside once Hagar got involved with Van Halen. However, at one point the song was considered for inclusion on Van Halen's first LP with Hagar, 5150. The album was nearly wrapped up, but it needed one more tune. Hagar dragged this song out of the closet and played an acoustic version of it for his new bandmates, who ended up rejecting it because it wasn't the right sound for the band (they ended up writing "Dreams" instead). The song then got to see the light of day when Hagar had to fulfill an agreement with Geffen and record a solo album. Hagar then got Eddie Van Halen to lend a hand and help produce tracks and play bass only - no guitar playing. Hagar would handle the guitar duties. Van Halen was apparently chomping at the bit to add something on guitar, so Hagar finally let him add a quick line in the instrumental section of "Eagles Fly."

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"American Dream" by Simon F.

Song#:  3307
Date:  10/24/1987
Debut:  91
Peak:  91
Weeks:  2
Genre:  Pop, Rock



Pop Bits:  Simon Fellows got started in the business as a writer for the British music magazine NME (New Musical Express), yet aspirations to become a musician himself led him to forming the duo Intaferon with Simon Gillham. The pair were able to sign with Chrysalis Records and release three singles in 1983 and 1984. Two of the songs became low charters in the UK, but it seems that wasn't enough for the duo, who decided to go their own ways. Fellows was able to keep on with Chrysalis and recorded a 1985 debut solo album titled Gun. It would be credited to Simon F and would be released in both the UK and US. Unfortunately, nothing came from it and Fellows lost his contract with Chrysalis. After a move to the States, Fellows signed on with Reprise Records and recorded his second Simon F. album, Never Never Land. This first single got issued out and it became a blip on the Pop chart for two short weeks. In turn, the album failed to chart and quickly disappeared.

ReduxReview:  The Intaferon singles were steeped in British new wave. Simon F.'s Gun album kept some of the new wave elements, but incorporated a more mainstream rock/synth rock sound. He kind of kept the same sound for Never Never Land, but I think one of the issues he had was that he wore his influences on his sleeves. This single definitely had a David Bowie feel to it with it's "bop-bop-ba-ooh" background vocals and chugging "Heroes"-like groove. The LP's potential next single (which never got officially released), "New York Girl," was rocker straight out of the Billy Idol playbook. Then the track "Love Bomb" totally reflected ELO. The tracks were well-done, but they didn't necessarily sound original. It was like the label said "hey, Billy Idol is popular - do something like that" and Fellows did. Because of that, it was hard to get a feel for who Simon F. was as a musician. Still, this single had its moments. The production was clean and the groove-stopping chorus provided some interest. Fellows' voice was solid as well. He had potential, but songs like this were just too haunted by the influences.

ReduxRating:  6/10

Trivia:  Despite the results of this single and the album, Fellows got a second shot with Reprise. However, for his second effort, Here Comes the 21st Century, Fellows went for a more alt rock/hard rock sound and changed his credited name to F Machine. Its only single, "Runaway Train," failed to chart and that ended Fellows' time at Reprise. He would release a few more indie singles under the F Machine name, but nothing much came from them. After a final stab to try and get a record deal, Fellows then decided on a new career path. He began writing fiction and published his first novel, Don't Breathe the Air, in 2013. Four more novels would follow. Then Fellows used the knowledge he gained from his recording days and return to music journalism with the book The Chrysalis Records Story. It was set to be published in 2020, but due to the COVID-19 pandemic, it was delayed until 2021.

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"Need You Tonight" by INXS

#1 Alert!

Rated 10 Alert!

 Song#:  3306
Date:  10/24/1987
Debut:  93
Peak:  1 (1 week)
Weeks:  25
Genre:  Blues-Rock, Funk Rock



Pop Bits:  Over the course of four albums, Australia's INXS had slowly been gaining an audience in the US. Then their fifth album, 1986's Listen Like Thieves, finally broke them through in a major way. It became a gold selling #11 hit (later double-platinum) on the strength of their first Pop Top 10 single, "What You Need" (#5). It set the stage for bigger success and after the LP's supporting tour was finished, the band took cues from the success of "What You Need" and began to write and record an album that was much more singles oriented. They retained producer Chris Thomas, who had guided Listen Like Thieves, and came up with their sixth effort, Kick. This first single was issued out and it debuted low on the chart. However, thanks in part to the associated video on MTV, the song gained momentum and by late January '88 it finally reached the top of the Pop chart. The song also got to #7 Dance, #12 Rock, and #73 R&B. It would end up being the band's biggest hit in the US. A month after the song topped the chart, the album would reach its peak of #3. In March of '88 it would be certified triple-platinum.

ReduxReview:  The opening beat made my ears perk up, but it was that indelible guitar lick that smacked me across the face and said "pay attention!" I mean, c'mon. The first 20 seconds were just brilliant and the song only got better from there. The groove, the hooks, those little synth fills, and the sexy lyrics made the song stand out, yet Michael Hutchence's sly, breathy, horny performance is what took the tune to the next level. The song certainly stood on its own, but then "Mediate" (see below) provided a cool coda. I played this single to death back then. I never tired of it either. I still absolutely love it. Just hearing those opening few seconds can push me into a groovy, sexy mood followed by (unfortunate to others around) a slinky dance. Oh yeah....  (Note: Bonnie Raitt did a fantastic cover of this tune for her 2016 album Dig in Deep.)

ReduxRating:  10/10

Trivia:  Double Shot!  1) This was one of the last songs recorded for the album. As the song was being finished up in the studio, band member Andrew Farriss brought in a song that he had written called "Mediate." It was based on a poem that he had composed. Apparently when Farriss played his demo in the studio, "Need You Tonight" was playing in the background. It was quickly noticed that the two songs shared a tempo and basically the same rhythm. Producer Chris Thomas came up with the idea to segue the songs together on the album much like Queen did with "We Will Rock You" and "We Are the Champions" for their 1977 album News of the World. The melding of the two tracks worked well. However, when it came time to release the single, only "Need You Tonight" was released. "Mediate" wasn't even included as a b-side.  2) Although "Need You Tonight" was released as a single without "Mediate," for the associated video the two songs were used together. The portion for "Need You Tonight" combined some animation with layered images of the band. The part for "Mediate" had band members one at a time flipping through cue cards that went along with the lyrics of the song. This was an homage to a video that was shot for Bob Dylan's 1965 song "Subterranean Homesick Blues," which was Dylan's first single to make the US Pop chart (#39). The video served as the opening portion of the documentary Don't Look Back, which chronicled Dylan's 1965 tour of England. In the video, Dylan is filmed in a hotel alley flipping through cue cards that go along with the song. He and fellow folk/rock star Donovan created the cue cards. Some of the cards featured misspelled words, which INXS mimicked for their video. The INXS video would go on to win five MTV Music Video Award including Video of the Year.

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"True Faith" by New Order

Song#:  3305
Date:  10/24/1987
Debut:  95
Peak:  32
Weeks:  18
Genre:  Alternative Rock



Pop Bits:  This British group was formed after the post-punk/goth band Joy Division came to a sudden end (see below). Three members of that group decided to keep going and after adding a new member, they became New Order. Initially, the band stayed close to the sound of Joy Division while adding synths. Their debut album, 1981's Movement, wasn't particularly successful, but their second album, 1983's Power, Corruption & Lies, was a #4 hit in the UK. That LP took the band in a more techno/dance oriented direction. That same year, the band scored their first UK Top 10 hit with the non-album single "Blue Monday" (#9). That song would cross the pond and become a #5 hit on the US Dance chart. Two more albums would follow along with a few singles that would do well in the UK and on the US Dance chart. In 1987, the band would issue out the compilation Substance 1987, which collected up their 12" singles and respective b-sides. Also included was this new track, which made it to #4 in the UK. It then became the band's first single to crack the US Pop chart. It ended up doing well getting inside the Top 40. That exposure along with their cult status helped the album reach #36. It would go gold by February of '88. A couple of years later it would become their first and only album to reach platinum status.

ReduxReview:  I've always had difficulty getting into New Order's music. I feel that they are a band that I should really like, but for the most part I haven't been able to connect with their tracks. There are a handful that I enjoy, such as this synthpop-ish single, yet most of their music is distant and cold with very little of it sticking in my brain. Every now and then I'll listen to one of their albums to see if perhaps it can get me on board the New Order train, but that hasn't happened yet. Maybe it never will. In the meantime I'll just have to stick with some of their better known, groovier tracks like this one.

ReduxRating:  6/10

Trivia:  Inspired by a 1976 Sex Pistols concert, Bernard Sumner and Peter Hook decided to form a band. They hired a drummer and then via an ad, they found a lead singer in Ian Curtis. The band was initially called Warsaw, but after changes in personnel (new drummer Stephen Morris) and to avoid any confusion with a similarly named group, they renamed themselves Joy Division in 1978. An EP was quickly recorded and released in '78 with a full-length debut, Unknown Pleasures, following in '79. While the LP wasn't successful on initial release, the band was quickly gaining fans. However, the newfound pressure on the band was taking a toll on lead singer Curtis, who had recently been diagnosed with epilepsy. Curtis' condition was quite severe and he was subject to frequent seizures some of which would happen during performances by the band. The condition along with his drinking, smoking, side effects from medications, a marriage that was on the brink of ending, and career pressure was all becoming too much for Curtis. After recording the band's second LP, Closer, Curtis attempted suicide in April 1980. He recovered and then began to prepare for the band's first tour of the US. Unfortunately, the night before the trip, Curtis hung himself in the kitchen of his home. He was 23. Joy Division's Closer album would be issued out a couple of months later. It would reach #6 in the UK. The remaining three members of the band decided to continue on, but in accordance with an agreement they all had, they would change the band's name. Eventually they decided on New Order.

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