Song#: 3332
Date: 11/14/1987
Debut: 83
Peak: 69
Weeks: 6
Genre: Pop, Blue-Eyed Soul
Pop Bits: This UK duo consisted of Scottish singer/songwriter John O'Kane and English musician Jeep Hook (possible real name John MacNichol). Both had been honing their skills with other bands and projects before connecting and forming Millions Like Us. The were signed to the Virgin Records offshoot label Circa and recorded a self-titled debut album. This first single was issued out and while it didn't do anything in their UK homeland, it made a slight impression in the US. The track made to to #28 at AC while spending a few weeks on the Pop chart. The album sold a couple copies and got to #171 on the chart. It seems the duo stayed together for a while following the album, but ultimately split as the 90s began.
ReduxReview: This easy-going track has a bit of a Michael McDonald feel to it. Even O'Kane's vocals have that similar mumble factor. Had McDonald recorded the song, it actually might have done better on the charts or at least gotten more attention due to his name. Although the tune was a pleasant listen, it didn't necessarily have a standout, memorable hook. The soulful groove and 80s production kept the song interesting, but it wasn't one that was going to easily cruise up the chart.
ReduxRating: 6/10
Trivia: Double Shot! 1) Jeep Hook had already experienced performing with a hit band in front of large crowds. Prior to forming Millions Like Us, Hook played with the British band Talk Talk. Although not listed as an official member, Hook toured with the band as a guitarist during their most successful period when they scored a big worldwide hit with "It's My Life." Hook later moved behind the scenes in music operating recording studios including one in Atlanta, Georgia, where he took up residence. He has also been on the faculty at the Atlanta Rock 'N Blues Camp where young musicians go to learn and live out their dreams of being in a rock band. 2) John O'Kane stayed signed to Circa as a solo artist and released a debut album in 1991 titled Solid. The LP and its singles failed to chart, but in 1992 O'Kane re-recorded a song from the album, "Stay," and released it as the single, "Stay with Me." It ended up on the UK chart at #41.
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Saturday, November 28, 2020
Friday, November 27, 2020
"I Want to Be Your Man" by Roger
Top 10 Alert!
Song#: 3331
Date: 11/14/1987
Debut: 88
Peak: 3
Weeks: 21
Genre: R&B
Pop Bits: The last time Roger (Troutman) was on the Pop chart was way back in 1981 when his debut solo album, The Many Facets of Roger, spawned the #79 (#1 R&B) remake of "I Heard It Through the Grapevine." A second solo effort would follow in 1984 along with works by his band Zapp. When '87 came rolling around, Roger decided it was time to work on a third solo album. He assembled Unlimited! and then pushed out this first single. It became a hit at R&B becoming his second song to top that chart. It then crossed over to Pop and after slowly catching on, it got near the top of the chart. The hit would send the album to #4 at R&B and #35 Pop. Unfortunately, the single would be Roger's last solo Top 10 at R&B and his final one to make the Pop chart. He would release one more solo album in 1991, but it failed to replicate the success of Unlimited!
ReduxReview: Here's a big #3 hit and I don't remember it at all. I'm guessing that it wasn't popular in my little town and the only place I heard it was the Top 40 countdown. It must have not made an impression on me as it doesn't sound familiar at all. You'd think I'd at least remember Roger's obsession with the talk box. While that tool can be overused, it was fairly effective here because it was used in the chorus. Troutman's then-current production has definitely kept the song grounded in the 80s. It's actually a nice jam, but I think a sleeker production without all the effects and synths would have made the song much better.
ReduxRating: 6/10
Trivia: Although this was Troutman's final solo R&B #1 and last solo Pop chart single, he did later reach #1 on both charts as a featured artist. In the fall of '95, rapper 2Pac recorded the song "California Love." Roger was featured singing on the chorus with his talk box effect. Dr. Dre contributed a rap. The song was 2Pac's first release after a stint in prison. It was a big double-platinum hit in 1996 reaching #1 at both Pop and R&B. The associated album, All Eyez on Me, would also reach #1 on both charts and sell over 5 million copies. A little less than a year after he recorded the song, 2Pac would be shot to death in Las Vegas.
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Date: 11/14/1987
Debut: 88
Peak: 3
Weeks: 21
Genre: R&B
Pop Bits: The last time Roger (Troutman) was on the Pop chart was way back in 1981 when his debut solo album, The Many Facets of Roger, spawned the #79 (#1 R&B) remake of "I Heard It Through the Grapevine." A second solo effort would follow in 1984 along with works by his band Zapp. When '87 came rolling around, Roger decided it was time to work on a third solo album. He assembled Unlimited! and then pushed out this first single. It became a hit at R&B becoming his second song to top that chart. It then crossed over to Pop and after slowly catching on, it got near the top of the chart. The hit would send the album to #4 at R&B and #35 Pop. Unfortunately, the single would be Roger's last solo Top 10 at R&B and his final one to make the Pop chart. He would release one more solo album in 1991, but it failed to replicate the success of Unlimited!
ReduxReview: Here's a big #3 hit and I don't remember it at all. I'm guessing that it wasn't popular in my little town and the only place I heard it was the Top 40 countdown. It must have not made an impression on me as it doesn't sound familiar at all. You'd think I'd at least remember Roger's obsession with the talk box. While that tool can be overused, it was fairly effective here because it was used in the chorus. Troutman's then-current production has definitely kept the song grounded in the 80s. It's actually a nice jam, but I think a sleeker production without all the effects and synths would have made the song much better.
ReduxRating: 6/10
Trivia: Although this was Troutman's final solo R&B #1 and last solo Pop chart single, he did later reach #1 on both charts as a featured artist. In the fall of '95, rapper 2Pac recorded the song "California Love." Roger was featured singing on the chorus with his talk box effect. Dr. Dre contributed a rap. The song was 2Pac's first release after a stint in prison. It was a big double-platinum hit in 1996 reaching #1 at both Pop and R&B. The associated album, All Eyez on Me, would also reach #1 on both charts and sell over 5 million copies. A little less than a year after he recorded the song, 2Pac would be shot to death in Las Vegas.
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Thursday, November 26, 2020
"What's Too Much" by Smokey Robinson
Song#: 3330
Date: 11/14/1987
Debut: 90
Peak: 79
Weeks: 10
Genre: R&B
Pop Bits: Robinson would earn his second solo gold album with One Heartbeat. The LP featured back-to-back Pop Top 10 hits, which was a first for Robinson as a solo artist. He tried to keep the streak going with this third single from the album, but it wasn't able to capture the same audience who liked the first two singles. While the song did okay at R&B (#16) and AC (#15), it just couldn't get anywhere on the Pop chart and after a little over two months the song disappeared. Still, the One Heartbeat (#1 R&B/#26 Pop) album proved to be his second best solo effort after 1981's Being with You (#1 R&B/#10 Pop).
ReduxReview: One Heartbeat was a strategic album for Robinson. The two hits from the album were written by outside songwriters and most likely selected for their chart potential. The balance of the album was written or co-written by Robinson, which included this third single (co-written with Ivory Stone). His songwriting skills were spotty during the 80s, but this track was a solid one for him. The slinky song had a slightly jazzy feel similar to tunes from Sade. It fit his voice well and the light-handed 80s production was appropriate. I thought it was a good, memorable song, but the subtle tune may not have been the right fit for Pop. It should have done better on all the charts.
ReduxRating: 7/10
Trivia: Robinson wouldn't issue out another solo studio LP until 1990, however, he stayed active recording a few songs with other artists. In 1988, he did a duet with Dolly Parton for her album Rainbow. They performed "I Know You By Heart," which was written by George Merrill and Shannon Rubicam along with Dean Pitchford. Merrill and Rubicam were on a hot streak writing a pair of #1's for Whitney Houston while also scoring their own hits as the duo Boy Meets Girl. "I Know You By Heart" seemed like a sure bet coming from Parton and Robinson, but when released as a single, it failed to make a big impression.. The best it could do was reach #22 on the AC chart. For the album, Parton also did a cover of a song originally written by Robinson. She recorded "Two Lovers," which Mary Wells took to #1 R&B/#7 Pop in 1962. Rainbow was one of Parton's worst performing albums of her career. It was released around the time as her failed TV variety series. She would finally set aside her pop/mainstream ambitions to refocus on country music and in 1989 she returned with the gold-selling #3 country album White Limozeen. Her next two non-holiday studio albums would return her to platinum status.
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Date: 11/14/1987
Debut: 90
Peak: 79
Weeks: 10
Genre: R&B
Pop Bits: Robinson would earn his second solo gold album with One Heartbeat. The LP featured back-to-back Pop Top 10 hits, which was a first for Robinson as a solo artist. He tried to keep the streak going with this third single from the album, but it wasn't able to capture the same audience who liked the first two singles. While the song did okay at R&B (#16) and AC (#15), it just couldn't get anywhere on the Pop chart and after a little over two months the song disappeared. Still, the One Heartbeat (#1 R&B/#26 Pop) album proved to be his second best solo effort after 1981's Being with You (#1 R&B/#10 Pop).
ReduxReview: One Heartbeat was a strategic album for Robinson. The two hits from the album were written by outside songwriters and most likely selected for their chart potential. The balance of the album was written or co-written by Robinson, which included this third single (co-written with Ivory Stone). His songwriting skills were spotty during the 80s, but this track was a solid one for him. The slinky song had a slightly jazzy feel similar to tunes from Sade. It fit his voice well and the light-handed 80s production was appropriate. I thought it was a good, memorable song, but the subtle tune may not have been the right fit for Pop. It should have done better on all the charts.
ReduxRating: 7/10
Trivia: Robinson wouldn't issue out another solo studio LP until 1990, however, he stayed active recording a few songs with other artists. In 1988, he did a duet with Dolly Parton for her album Rainbow. They performed "I Know You By Heart," which was written by George Merrill and Shannon Rubicam along with Dean Pitchford. Merrill and Rubicam were on a hot streak writing a pair of #1's for Whitney Houston while also scoring their own hits as the duo Boy Meets Girl. "I Know You By Heart" seemed like a sure bet coming from Parton and Robinson, but when released as a single, it failed to make a big impression.. The best it could do was reach #22 on the AC chart. For the album, Parton also did a cover of a song originally written by Robinson. She recorded "Two Lovers," which Mary Wells took to #1 R&B/#7 Pop in 1962. Rainbow was one of Parton's worst performing albums of her career. It was released around the time as her failed TV variety series. She would finally set aside her pop/mainstream ambitions to refocus on country music and in 1989 she returned with the gold-selling #3 country album White Limozeen. Her next two non-holiday studio albums would return her to platinum status.
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Wednesday, November 25, 2020
"Someone to Love Me for Me" by Lisa Lisa and Cult Jam featuring Full Force
Song#: 3329
Date: 11/14/1987
Debut: 92
Peak: 78
Weeks: 10
Genre: R&B
Pop Bits: The group's second album, Spanish Fly, would be their first to reach the Pop and R&B Top 10s (#7 on each chart) and their second to go platinum. This was mainly due to a pair of back-to-back #1's (also on both charts), "Head to Toe" and "Lost in Emotion." Hopes were high that the album would spawn a third major hit, but this single would only do well at R&B getting to #7. It didn't do well on the Pop chart topping out at a very low #78. Despite the results, the group certainly had made their mark and were at the peak of their career.
ReduxReview: It was a smart move to follow up the two upbeat #1's with a ballad, but this wasn't the right one for a mainstream audience. Done almost in trio form with Lisa Lisa and two members of Full Force and enhanced by gospel-like background vocals, the tune didn't have the same appeal as their other hit ballad, the #3 R&B/#8 Pop "All Cried Out." It made for a good album track, but I don't think it was the best candidate for a single.
ReduxRating: 5/10
Trivia: A third single from the album, "Everything Will B-Fine," failed to make the Pop chart, but was another winner for them becoming their sixth R&B Top 10 (#9). The group would have one more R&B chart hit before they would issue out their third album in 1989. They would record the song "Go for Yours" for the soundtrack to the comedy sequel Caddyshack II. It would be released as a single and reach #19 at R&B. It did not make the Pop chart. Caddyshack II was a critical failure and was a bust at the box office. Despite that, the main song from the film, Kenny Loggins' "Nobody's Fool," was a #8 Pop hit.
_________________________________________________________________________________
Date: 11/14/1987
Debut: 92
Peak: 78
Weeks: 10
Genre: R&B
Pop Bits: The group's second album, Spanish Fly, would be their first to reach the Pop and R&B Top 10s (#7 on each chart) and their second to go platinum. This was mainly due to a pair of back-to-back #1's (also on both charts), "Head to Toe" and "Lost in Emotion." Hopes were high that the album would spawn a third major hit, but this single would only do well at R&B getting to #7. It didn't do well on the Pop chart topping out at a very low #78. Despite the results, the group certainly had made their mark and were at the peak of their career.
ReduxReview: It was a smart move to follow up the two upbeat #1's with a ballad, but this wasn't the right one for a mainstream audience. Done almost in trio form with Lisa Lisa and two members of Full Force and enhanced by gospel-like background vocals, the tune didn't have the same appeal as their other hit ballad, the #3 R&B/#8 Pop "All Cried Out." It made for a good album track, but I don't think it was the best candidate for a single.
ReduxRating: 5/10
Trivia: A third single from the album, "Everything Will B-Fine," failed to make the Pop chart, but was another winner for them becoming their sixth R&B Top 10 (#9). The group would have one more R&B chart hit before they would issue out their third album in 1989. They would record the song "Go for Yours" for the soundtrack to the comedy sequel Caddyshack II. It would be released as a single and reach #19 at R&B. It did not make the Pop chart. Caddyshack II was a critical failure and was a bust at the box office. Despite that, the main song from the film, Kenny Loggins' "Nobody's Fool," was a #8 Pop hit.
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Tuesday, November 24, 2020
"Strap Me In" by The Cars
Song#: 3328
Date: 11/14/1987
Debut: 94
Peak: 85
Weeks: 4
Genre: Pop, Rock
Pop Bits: The Cars' Door to Door album didn't get off to the best start. Its first single, "You Are the Girl," did fine at Rock (#2) and AC (#12), but it didn't meet expectations at Pop where it stalled at #17. It was a disappointment since their previous two studio albums and one compilation all began with Top 10 hits. To try and reignite interest in the band, this second single was pushed out. Again, it did well at rock reaching #4, but over at Pop it did far worse. It only spent a month on the chart and became the lowest peaking single of the band's career. The lack of a better follow-up played into album sales with Door to Door missing their first album to miss the Top 20 (#26) and their first to not go platinum (it would reach gold level sales).
ReduxReview: "You Are the Girl" was a bouncy synthpop ditty that made The Cars sound tired. It was an uninteresting been-there-done-that track from an album that was supposed to be more rock oriented. This follow-up track was more in-line with those expectations. The beefy guitars outweighed the synths and it did make The Cars sound more like a band than one that was doing a lot of synth programming, which was a good thing. However, the song itself wasn't all that great. It played well at Rock, but the darker sounding track wasn't a fit for Pop. It didn't have the alluring, candy-coated hooks found on the band's bigger hits that sounded great on the radio. Still, this was a better song than "You Are the Girl."
ReduxRating: 5/10
Trivia: While in the studio recording the Door to Door album, the band began messing around and jamming, perhaps in hopes of stumbling upon an idea for a song. As they were playing along, they found themselves playing a song from their early days. The tune was called "Ta Ta Wayo Wayo" and although it was one the band had performed in the late 70s before they released their 1978 debut LP, they never actually got around to recording it. They did do a demo of the song in 1977, but apparently it was set aside in favor of other songs for their debut LP. The song had basically become nearly forgotten until the band started to riff on it in the studio. Needing songs for the new album, they decided to let the song have its day. Also on the LP was another song from the same time period that never got recorded. "Leave or Stay" finally saw the light of day on Door to Door.
_________________________________________________________________________________
Date: 11/14/1987
Debut: 94
Peak: 85
Weeks: 4
Genre: Pop, Rock
Pop Bits: The Cars' Door to Door album didn't get off to the best start. Its first single, "You Are the Girl," did fine at Rock (#2) and AC (#12), but it didn't meet expectations at Pop where it stalled at #17. It was a disappointment since their previous two studio albums and one compilation all began with Top 10 hits. To try and reignite interest in the band, this second single was pushed out. Again, it did well at rock reaching #4, but over at Pop it did far worse. It only spent a month on the chart and became the lowest peaking single of the band's career. The lack of a better follow-up played into album sales with Door to Door missing their first album to miss the Top 20 (#26) and their first to not go platinum (it would reach gold level sales).
ReduxReview: "You Are the Girl" was a bouncy synthpop ditty that made The Cars sound tired. It was an uninteresting been-there-done-that track from an album that was supposed to be more rock oriented. This follow-up track was more in-line with those expectations. The beefy guitars outweighed the synths and it did make The Cars sound more like a band than one that was doing a lot of synth programming, which was a good thing. However, the song itself wasn't all that great. It played well at Rock, but the darker sounding track wasn't a fit for Pop. It didn't have the alluring, candy-coated hooks found on the band's bigger hits that sounded great on the radio. Still, this was a better song than "You Are the Girl."
ReduxRating: 5/10
Trivia: While in the studio recording the Door to Door album, the band began messing around and jamming, perhaps in hopes of stumbling upon an idea for a song. As they were playing along, they found themselves playing a song from their early days. The tune was called "Ta Ta Wayo Wayo" and although it was one the band had performed in the late 70s before they released their 1978 debut LP, they never actually got around to recording it. They did do a demo of the song in 1977, but apparently it was set aside in favor of other songs for their debut LP. The song had basically become nearly forgotten until the band started to riff on it in the studio. Needing songs for the new album, they decided to let the song have its day. Also on the LP was another song from the same time period that never got recorded. "Leave or Stay" finally saw the light of day on Door to Door.
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Monday, November 23, 2020
"Criticize" by Alexander O'Neal
Song#: 3327
Date: 11/14/1987
Debut: 97
Peak: 70
Weeks: 11
Genre: R&B, Electro-Funk
Pop Bits: O'Neal's second album, Hearsay, got off to a great start when its first single, "Fake," made it to #1 on the R&B chart. It then crossed over to Pop and was able to crack the Top 30 (#25) while getting to #7 Dance. For a follow-up, this next track was selected. It would easily make the R&B Top 10 at #4, but this time around it wasn't able to catch on at Pop and it stalled low on the chart. It was also less popular at Dance peaking at #17. It was a slight dip in the road as his next single would put him back in the upper reaches of the Pop chart.
ReduxReview: O'Neal wrote this track with Garry Johnson, but it was producers Jam & Lewis that made the song work. It was a signature production by the pair that was amped up with a bit of rock. It was a beefy track that may not have been as immediately accessible or hooky as "Fake," but it was a worthy follow up that should have done better on the Pop chart.
ReduxRating: 7/10
Trivia: While the Hearsay album and its singles would do okay on the Pop chart in the US, it was far more successful in the UK. This single would be O'Neal's biggest hit there getting to #4. In turn, the album would reach #4 as well. Four other singles from the LP would reach the UK Top 40. With O'Neal's popularity soaring, the album would end up going triple-platinum in the UK. His next regular studio album, 1991's All True Man, would also do well getting to #2 and going gold thanks to four charting singles. In 1998, this song would return to the UK chart in a remix form. "Criticize ('98 Mix)" would make it to #51.
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Date: 11/14/1987
Debut: 97
Peak: 70
Weeks: 11
Genre: R&B, Electro-Funk
Pop Bits: O'Neal's second album, Hearsay, got off to a great start when its first single, "Fake," made it to #1 on the R&B chart. It then crossed over to Pop and was able to crack the Top 30 (#25) while getting to #7 Dance. For a follow-up, this next track was selected. It would easily make the R&B Top 10 at #4, but this time around it wasn't able to catch on at Pop and it stalled low on the chart. It was also less popular at Dance peaking at #17. It was a slight dip in the road as his next single would put him back in the upper reaches of the Pop chart.
ReduxReview: O'Neal wrote this track with Garry Johnson, but it was producers Jam & Lewis that made the song work. It was a signature production by the pair that was amped up with a bit of rock. It was a beefy track that may not have been as immediately accessible or hooky as "Fake," but it was a worthy follow up that should have done better on the Pop chart.
ReduxRating: 7/10
Trivia: While the Hearsay album and its singles would do okay on the Pop chart in the US, it was far more successful in the UK. This single would be O'Neal's biggest hit there getting to #4. In turn, the album would reach #4 as well. Four other singles from the LP would reach the UK Top 40. With O'Neal's popularity soaring, the album would end up going triple-platinum in the UK. His next regular studio album, 1991's All True Man, would also do well getting to #2 and going gold thanks to four charting singles. In 1998, this song would return to the UK chart in a remix form. "Criticize ('98 Mix)" would make it to #51.
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Sunday, November 22, 2020
"Candle in the Wind" by Elton John
Top 10 Alert!
Song#: 3326
Date: 11/07/1987
Debut: 68
Peak: 6
Weeks: 21
Genre: Pop, Adult Contemporary
Pop Bits: John's 1986 album Leather Jackets was the worst performing album of his career in the US. It featured to Top 40 singles and topped out at a very minor #91. It was a big disappointment after a solid run of four gold and platinum albums. It did better in other territories including Australia where it got to #4. That made Australia the perfect place to wind up his associated tour. For this last leg, which got titled the Tour de Force, John arranged a special show that would play for 28 dates in 5 Australian cities. The first half of the show featured John and his backing band while the second half had John performing with the Melbourne Symphony Orchestra. The final show on the tour was recorded and the second half of the show was assembled and released as an album titled Live in Australia with the Melbourne Symphony Orchestra. To promote the album, this single was issued out. It ended up becoming a surprise hit reaching #2 at AC and becoming his twenty-first US Pop Top 10. The song helped the album get to #24 and go gold. Eventually it would be certified platinum. The hit put John back on the map and helped people forget about his Leather Jackets misstep
ReduxReview: I loved this song as a kid. Even though I was only nine years old at the time it was originally released (see below), I already knew who Marilyn Monroe was and I thought the lyrics and melody were so beautiful. A few years later I was able to buy the album and I played the track a lot. In fact, the whole first side of the double-LP Goodbye Yellow Brick Road, which included this song, was sheer perfection. I didn't realize until much later that the song was never a hit. Still, everyone knew it. Then this live version came out. While it wasn't nearly as good as the original, it was well done and it helped bring the song to a younger generation who may not have known the song. I think the only thing I miss here is that John didn't involve the orchestra. It was just him on piano and a keyboard player filling out the arrangement. The addition of the orchestra might have made the song soar. I ended up buying the album and it ended up being the rare live set that I enjoyed.
ReduxRating: 7/10
Trivia: Double Shot! 1) If John's vocals seemed a little rough on the album it was because he had polyps on his vocal chords. His condition had worsened over the tour and the show that was recorded was his last before he would undergo surgery to remove the polyps. The surgery was successful and after a lengthy period of rest, John was able to sing again. However, the surgery (along with getting older) altered his voice. He began to sing in a deeper register and also lost his ability to do falsetto. Considering that the risky surgery could have resulted in him losing his voice or singing voice (a la Julie Andrews), the outcome was good and it allowed John to continue his career. 2) This is a remake of a song that John himself originally co-wrote and recorded for his classic 1973 album Goodbye Yellow Brick Road. The tune, a tribute to the legendary Marilyn Monroe, was never released as a single in the US despite its popularity. It was released elsewhere like in the UK where it got to #11. The enduring classic finally got its chance to chart in the US with the live version. Eleven years later, the song would reach legendary status when John re-recorded it with new lyrics as a tribute to Princess Diana. Candle in the Wind '97 would become the biggest selling single in the history of the rock era and the second biggest of all-time (after Bing Crosby's "White Christmas").
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Date: 11/07/1987
Debut: 68
Peak: 6
Weeks: 21
Genre: Pop, Adult Contemporary
Pop Bits: John's 1986 album Leather Jackets was the worst performing album of his career in the US. It featured to Top 40 singles and topped out at a very minor #91. It was a big disappointment after a solid run of four gold and platinum albums. It did better in other territories including Australia where it got to #4. That made Australia the perfect place to wind up his associated tour. For this last leg, which got titled the Tour de Force, John arranged a special show that would play for 28 dates in 5 Australian cities. The first half of the show featured John and his backing band while the second half had John performing with the Melbourne Symphony Orchestra. The final show on the tour was recorded and the second half of the show was assembled and released as an album titled Live in Australia with the Melbourne Symphony Orchestra. To promote the album, this single was issued out. It ended up becoming a surprise hit reaching #2 at AC and becoming his twenty-first US Pop Top 10. The song helped the album get to #24 and go gold. Eventually it would be certified platinum. The hit put John back on the map and helped people forget about his Leather Jackets misstep
ReduxReview: I loved this song as a kid. Even though I was only nine years old at the time it was originally released (see below), I already knew who Marilyn Monroe was and I thought the lyrics and melody were so beautiful. A few years later I was able to buy the album and I played the track a lot. In fact, the whole first side of the double-LP Goodbye Yellow Brick Road, which included this song, was sheer perfection. I didn't realize until much later that the song was never a hit. Still, everyone knew it. Then this live version came out. While it wasn't nearly as good as the original, it was well done and it helped bring the song to a younger generation who may not have known the song. I think the only thing I miss here is that John didn't involve the orchestra. It was just him on piano and a keyboard player filling out the arrangement. The addition of the orchestra might have made the song soar. I ended up buying the album and it ended up being the rare live set that I enjoyed.
ReduxRating: 7/10
Trivia: Double Shot! 1) If John's vocals seemed a little rough on the album it was because he had polyps on his vocal chords. His condition had worsened over the tour and the show that was recorded was his last before he would undergo surgery to remove the polyps. The surgery was successful and after a lengthy period of rest, John was able to sing again. However, the surgery (along with getting older) altered his voice. He began to sing in a deeper register and also lost his ability to do falsetto. Considering that the risky surgery could have resulted in him losing his voice or singing voice (a la Julie Andrews), the outcome was good and it allowed John to continue his career. 2) This is a remake of a song that John himself originally co-wrote and recorded for his classic 1973 album Goodbye Yellow Brick Road. The tune, a tribute to the legendary Marilyn Monroe, was never released as a single in the US despite its popularity. It was released elsewhere like in the UK where it got to #11. The enduring classic finally got its chance to chart in the US with the live version. Eleven years later, the song would reach legendary status when John re-recorded it with new lyrics as a tribute to Princess Diana. Candle in the Wind '97 would become the biggest selling single in the history of the rock era and the second biggest of all-time (after Bing Crosby's "White Christmas").
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