"Out of the Blue" by Debbie Gibson

Top 10 Alert!

Song#:  3397

Date:  01/30/1988

Debut:  57

Peak:  3

Weeks:  17

Genre:  Pop

Pop Bits:  This teenager's debut album, Out of the Blue, quickly turned her into a pop star with its first two singles, including "Only in My Dreams," each getting to #4 and going gold. She then kept the ball rolling with this title-track third single. It would easily follow the previous two singles into the Pop Top 10 and even peak a notch higher. The tune also got to #16 at AC and #44 Dance. Just after the release of this single, the album would be certified platinum. By the end of February, it would reach its peak on the Album chart at #7.

ReduxReview:  I wasn't the biggest fan of "Shake Your Love," but Gibson got me back on board with this third single. The album-opening track was a sweet pop tune that was well-crafted by Gibson and co-producer Fred Zarr. It was a dreamy tune that was perfect for a teen audience and it had a chorus that was hooky enough to draw in sentimental adults as well. There was no doubt it was going to be a hit.

ReduxRating:  8/10

Trivia:  Just a few weeks after this song reached its #3 peak, Gibson's label, Atlantic Records, held a massive concert at New York's Madison Square Garden to celebrate the label's 40th anniversary. The all-day concert was arranged like the 1985 Live Aid event with various celebrities and musical acts making appearances. The idea was simple - celebrate the anniversary by having acts past and present who recorded for Atlantic perform anywhere from one to several of their hit songs. Performers included classic early acts like The Coasters, Ben E. King, and The Rascals, along with newer 70s/80s hitmakers such as Yes, Genesis, CSN, Bee Gees, Foreigner, and Roberta Flack. The most current act on the bill was Atlantic's newest teen star, Debbie Gibson. However, a good majority of fans who got tickets to the event were mainly there for one reason - to see a reunion of the three surviving members of Led Zeppelin. Of course, their performance would anchor the event so until then, Zep fans had to endure over 12 hours of music from other artists, which included some non-rock acts like the AC/jazz vocal quartet The Manhattan Transfer. As the day wore on, Zep fans were getting tired of waiting and were antsy. Debbie Gibson came on stage late in the day (around 8 pm) for her set and according to an article in the South Florida Sun Sentinel, "was greeted quite angrily by the Zeppelin-primed audience." However, the teen kept her composure and managed to win over the tough crowd during her set. The audience went from catcalls to generous, appreciative applause by the time she was done. The newly minted star certainly proved she had the right stuff to hang in with all the veteran acts and industry folks at the event.

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"Never Can Say Goodbye" by The Communards

Song#:  3396

Date:  01/30/1988

Debut:  68

Peak:  51

Weeks:  9

Genre:  Hi-NRG, Dance

Pop Bits:  This UK duo consisting of Jimmy Somerville and Richard Coles made a splash at home with their 1986 self-titled debut album. It would be a platinum seller there thanks mainly to their #1 cover of "Don't Leave Me This Way." While that track would hit #1 on the US Dance chart, it could only manage to reach #40 on the Pop chart. In the fall of '87, the duo returned with their second album, Red. Its first single, "Tomorrow," didn't do well in the UK only getting to #23. But then The Communards came zooming back with this remake, which got to #4. In the States, it would serve as the LP's first single and it did well on the Dance chart getting to #2. Yet once again, the duo couldn't break through in a more mainstream way with the song stopping near the halfway point on the Pop chart. The album would be another platinum seller for them in the UK, but in the US it only managed a #93 showing. Despite having great success at home, it seems the duo fell into the trappings of fame and it brought an end to their partnership in '88.

ReduxReview:  This Hi-NRG track loaded up the dance floors back in the day. The arrangement along with Stephen Hague's excellent production pushed the disco classic into the 80s, but it was Somerville's soaring falsetto that ultimately sold the track. He took the tune to thrilling heights and was able to solidly put his own stamp on the song. I absolutely loved this record and thought for sure it was going to be a hit. I was so disappointed when it stalled at the halfway mark. I guess some folks at pop radio along with listeners just couldn't get into the heavy dance track and Somerville's vocal, which was a shame. Luckily, the track has continued to be played over the years and I think in general it is actually more popular and recognizable now than it was back in the day.

ReduxRating:  9/10

Trivia:  Double Shot!  1) This is a remake of a song originally recorded by The Jackson 5. Their 1971 version reached #1 at R&B and #2 Pop. Written by Clifton Webb, it was intended for the Supremes, but those in charge at Motown thought it would be a better fit for the Jackson 5. Not long after the Jackson's released their single, soul singer Isaac Hayes recorded and released a version. His single got to #5 R&B and #22 Pop. Then just a few years later in '74, a disco-styled version of the song was recorded by Gloria Gaynor. It became her first Pop Top 10 hit getting to #9. It also got to #1 Dance, #11 AC, and #34 R&B. Gaynor's version got to #2 in the UK, surpassing the Jackson 5's original which only got to #33. The Communards patterned their remake from Gaynor's hit version.  2) After The Communards split, lead singer Jimmy Somerville headed out on a solo career. His first effort was 1990's Read My Lips. It featured another remake, this time of Sylvester's 1978 disco classic "You Make Me Feel (Mighty Real)" (#36 US Pop, #1 US Dance, #8 UK). Somerville's version would be another Top 10 for him at home getting to #5. However, it didn't do well in the US only getting to #34 Dance and #87 Pop. He would earn another UK Top 10 with a cover of the Bee Gees' "To Love Somebody" and would make it back to #1 on the US Dance chart with 1995's "Heartbeat."

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"You Don't Know" by Scarlett & Black

Song#:  3395

Date:  01/30/1988

Debut:  69

Peak:  20

Weeks:  18

Genre:  Pop, Synthpop

Pop Bits:  This UK duo consisted of Robin Hild and Sue West. Both had been working and performing with other bands before getting together and striking out on their own. The pair released a couple of singles for indie label MDM in '86 that didn't get anywhere, but the tunes along with more demos from Hild caught the attention of Virgin Records. Working with producer Paul Fox, the duo then recorded their self-titled debut. Hild and West co-wrote the majority of the tracks with Hild solely writing this first single, which was basically an updated version of one of their MDM singles. The song slowly caught on and ended up just barely cracking the Pop Top 20. It also did well at AC getting to #13 while reaching #32 at Dance. The album would sell a few copies and get to #107. Unfortunately, follow-up singles failed to chart. The Top 20 showing of this song should have been enough for the label to try a second album, but it never happened and it seems Hild and West went their own ways.

ReduxReview:  Scarlett & Black kind of came off as the UK version of the US duo Boy Meets Girl with their catchy, AC-friendly synthpop tracks. While Hild and West weren't able to parlay the success of this single into something bigger as George Merrill and Shannon Rubicam did, they at least made a pretty good mark with this song. It's one of those tunes that you don't think you know, but once you hear the chorus it immediately comes to mind. It's a good shuffle track that has an opening similar to the Tears for Fears hit "Everybody Wants to Rule the World." It wasn't outstanding, but it was a well-crafted, radio-friendly track that was prime for a Top 40 showing.

ReduxRating:  7/10

Trivia:  After the end of Scarlett & Black, it seems Robin Hild tried to stay around in the music business and made a permanent move to California. He co-wrote the song "Squeeze," which ended up being the title track to the 1992 album by singer Fiona ("Talk to Me," 1985, #64). At some point, Hild decided to leave behind the music biz and focus on another craft - woodworking. He honed his skills to the point where he could open up his own business and has since been creating custom woodwork and cabinetry for homes. He has gained a significant portfolio and his work has even been seen in Architectural Digest. Still, as with most musicians, Hild never fully gave up creating music and has recorded a few things over the years.

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"Girlfriend" by Pebbles

Top 10 Alert!

Song#:  3394

Date:  01/30/1988

Debut:  74

Peak:  5

Weeks:  20

Genre:  R&B, Dance-Pop, New Jack Swing

Pop Bits:  This California native, born as Perri McKissack, got an early start in the music biz when at age 16 she starting singing backup for the R&B outfit Con Funk Shun. She also began writing music and Con Funk Shun would record one of her songs, "Body Lovers" (co-written with band member Michael Cooper), for their 1981 album 7. After a period of floundering and failed deals, Pebbles decided to take a major stab at a solo career and with financial help from her then-husband, she wrote and recorded the song "Mercedes Boy" and shot an accompanying video. She shopped both around to labels and MCA Records took the bait. Her first venture for the label was recording the song "Love/Hate" for the Beverly Hills Cop II soundtrack. It was released as a single, but failed to chart. She then moved on to finish up a self-titled debut album. This first single was released and it clicked at R&B where the song topped out at #1. The attention there helped the song cross over to the Pop chart and eventually it would reach the Top 10. It also got to #24 at Dance. Pebbles would go on to earn a Grammy nod for Best R&B Vocal Performance, Female, for the song.

ReduxReview:  Yes, so many times have me and my friends recited the spoken word part of this track emphasizing "I'm out the door, babe! There's other fish in the sea!" It was such a great, defiant phrase and luckily the whole song was just as juicy and good. Still, when someone ends a comment with "girlfriend" I just automatically mimic the little do-dit, do-dit keyboard part from the song. It's like a Pavlovian response. This was just an awesome tune expertly crafted and produced by L.A. Reid and Babyface. It was also very timely with its New Jack Swing feel. It all added up to a can't-miss hit. It really should have topped the Pop chart, but at least it got most of the way there.

ReduxRating:  9/10

Trivia:  Double Shot!  1) McKissack got the name Pebbles from her grandfather. Apparently, he nicknamed her that when she was about 10 years old. The name stems from the daughter character on the animated TV show The Flintstones. Once her grandfather started to use the nickname, it caught on and stuck. When she kicked off her solo career, she decided to use the singular moniker.  2) Pebbles was not supposed to record this song. It was originally promised to another singer, former Miss America Vanessa Williams for her debut album. Written by L.A. Reid and Babyface, the pair talked about the song with Pebbles when visiting her in the studio. After playing the demo track for her, she wanted the song. Reid and Babyface said they had a preliminary deal with Williams, but Pebbles knew money talked and feeling that it was a hit, she offered the pair a better deal, which apparently included two new cars. Needless to say, Reid and Babyface jumped on the offer and also agreed to produce the track. According to L.A. Reid's 2016 tell-all book Sing to Me, Williams never spoke to him again after handing the song over to Pebbles. Pebbles not only got the song, but ended up with Reid as well. The two began an affair and got married in 1989 after she divorced her husband. Pebbles and Reid would split in '96.

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"Some Kind of Lover" by Jody Watley

Top 10 Alert!

Song#:  3393

Date:  01/30/1988

Debut:  76

Peak:  10

Weeks: 17

Genre:  R&B, Dance-Pop

Pop Bits:  By this point in time, Watley's self-titled debut album had spawned two Pop Top 10 hits along with three R&B Top 10s. The hits helped earn her a pair of Grammy nods including Best New Artist, which she would win just about a month after this fourth single was released. That win brought more attention to Watley and most likely helped this song climb the charts. It would be her third #3 in a row at R&B and her third #1 at Dance. The tune did well enough to then become her third Pop Top 10. The album had already turned platinum in December, but it still continued to sell well into '88.

ReduxReview:  This was another winner from Watley's debut album. It had a bit of the ol' Minneapolis feel, which came courtesy of former Prince-camp producers André Cymone and David Z. While the tune wasn't as immediately hooky as "Looking for a New Love," it was one that slowly wormed its way into your ears. It was a solid jam that deserved its Top 10 showing.

ReduxRating:  7/10

Trivia:  Jody Watley's younger sister, Michele, also became quite successful, but her fame came via a completely different form of entertainment. In her late teens, Michele found work as a backup singer, dancer, and model. Then in 1989, she appeared nude in a scene from the Eddie Murphy hit comedy Coming to America. That seemed to tip her towards a more risque career and she began working as an exotic dancer with the new name Midori. A few years later, Midori saw that women of color were not well-represented in adult films and decided to make the leap. Eventually she became a major star and would even write/direct adult films. In 2001, she would become the first African-American female to win an AVN Award, the Oscars of the adult film industry (she won Best Supporting Actress). During her heyday, Midori branched out to music and recorded a couple of tunes with Oran "Juice" Jones. She also would record a couple of solo albums. In the late 90s, Midori briefly dated Kid Rock. During that time, Kid Rock produced a song featuring Midori that was recorded for a compilation titled Deep Porn. In 2005, Blender magazine ran a little side feature that listed nine of rock's most embarrassing siblings. Midori made the list.

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"Angel" by Aerosmith

Top 10 Alert!

Song#:  3392

Date:  01/30/1988

Debut:  81

Peak:  3

Weeks:  25

Genre:  Rock

Pop Bits:  This band seemed nearly kaput and ready for the rock 'n' roll junkyard in the mid-80s. Then Aerosmith got a boost via the trio Run-D.M.C., who took their classic track "Walk This Way" and turned it into a rap hit (#4 Pop). Aerosmith's Steven Tyler and Joe Perry guested on the recording and it helped bring a light back to the waning band. Not wanting to miss an opportunity, the band cleaned up their act and concentrated on making their comeback album, Permanent Vacation. The LP's first single, "Dude (Looks Like a Lady)," would become their biggest hit since the mid-70s reaching #14. This second single would do even better. The power ballad would hit #3 on the Pop chart, which was a career-best for them at the time. It would also get to #2 at Rock. The hit would help sell more albums and by May of '88, Permanent Vacation, would reach the double-platinum mark.

ReduxReview:  This was a different kind of tune for Aerosmith. Written by Steven Tyler and Desmond Child, the radio-friendly track was a definite change from the band's usual ballsy blue-rock/hard rock sound. However, the track was perfect for a time when hard rock/glam rock bands were earning hits with power ballads and it secured Aerosmith's comeback. It was their first Pop Top 10 since 1976. I thought it was a terrific track. If the band wanted to sell records, this was the way they had to go whether they liked it or not (apparently the band was not happy when the label hooked them up with popular songwriters). Desmond Child I'm sure did a lot to shape this song into something hooky and commercial while Bruce Fairbairn's meaty production framed the rock tune well.

ReduxRating:  7/10

Trivia:  The Permanent Vacation album included a Beatles cover. Aerosmith did their version of "I'm Down," a 1965 track written by Paul McCartney and John Lennon that the Beatles used for the b-side to their #1 hit "Help!" While the song was never included on one of the band's regular studio albums, they would often use it to close their shows during the last few years of touring. The rockin' song and McCartney's lead vocal were inspired by Little Richard. Around the same time Aerosmith was covering "I'm Down," another group was also doing a remake of the tune. The Beastie Boys recorded a raucous version of the track for their debut album License to Ill. At the time, the Beatles catalog was owned by Michael Jackson, so any use of the material had to be cleared by the King of Pop. It seems that when it came to Aerosmith's cover, MJ gave them a pass. However, he reportedly hated the Beastie Boys' version and didn't like the trio either, so he nixed their request. The Boys were then unable to use it on License to Ill or officially release it at all, something that group member Mike D was not happy about and publicly voiced his anger at MJ over the issue several times.

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"It's the End of the World As We Know It (And I Feel Fine)"

Song#:  3391

Date:  01/30/1988

Debut:  83

Peak:  69

Weeks:  9

Genre:  Alternative Rock

Pop Bits:  The alt-rcck band's fifth album, Document, proved to be their breakthrough becoming their first Top 10 (#10). It featured the track "The One I Love," which became their first Pop Top 10 single (#9).  For a follow-up, this wordy track was released. It did fairly well over at Rock reaching #16, but it may have been just a bit too much for pop radio and the song fizzled in the bottom half of the chart. Still, with the one hit and their growing fan base, the album would become their first to reach platinum status.

ReduxReview:  I always thought it was funny that this doomsday-themed song turned into a party track. But then again, it's the end of the world so why not crack a few brews and party? Especially when the sentiment at the end of the chorus is "I feel fine!" It comes off like a whatever or, more coarsely, a fuck-that-shit attitude, which is not a bad way to be if the world is ending. Although the single didn't do well when released, the song has had a long life span. A huge chunk of people know the track and at certain points in time (see below) it becomes inescapable. I liked the track when it first came out. Michael Stipe spewing out a slew of words along with the hooky chorus and jangly, quick arrangement was hard to ignore. It demanded attention and it got mine.

ReduxRating:  8/10

Trivia:  Whenever a potential apocalyptic-type event is imminent, it seems this song sees a surge in airplay and sales. An example is near the beginning of the COVID pandemic. The "end of the world" hook of the song seems to go along with events like that and it doesn't take long for it to get spins on radio, streaming, YouTube, etc. Perhaps the time that the song got the most attention was in 2012. Some folks posited that the Mayan long calendar would end its 5,000+ solar-year cycle right around December 21, 2012, and that the end of the cycle, or calendar, signaled the end of the world. The "prophesy" became a news item in 2011 and of course picked up speed as 2012 progressed. It seems the closer the doom date got, the more this R.E.M. song got attention. Apparently, a radio station in Canada ended up playing the song over 150 times just prior to the date. Of course, the world did not end and experts debunked the doomsday prophesy saying that the date was not the end of the Mayan calendar or end of the world, but it was the beginning of a new calendar cycle. Still, whenever some zealot comes along and gets news coverage for predicting the end of the world or some scary worldwide event happens, this song sees spikes in airplay and streaming.

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