Obsessive fans know the sheer agony of waiting years, even decades, for their favorite oldies (ahem, classic) artist to finally release a new album of substandard material on a record label no one has ever heard of. Amazingly, some of these ancient relics manage to claw their way back from the brink of blinding obscurity. Anything to escape the horrors and degradation of the hotel casino circuit. Here are a few examples from the recent millennium.

The B-52’s — Funplex

Rock Lobster! Yes, it’s been approximately 8,000 years since Miss Fred Schneider screeched those immortal words and summed up the state of an entire inebriated generation. The nation’s collective lobster was indeed rockin’! Fred, Kate Pierson, Cindy Wilson, Ricky Wilson & Keith Strickland came streaming out of Athens, GA with sky high hairdos, thrift store fashion sense and a jubilant, camp attitude that no other group could match. Despite being labeled (and often dismissed) as a mere gimmick or cult band, they continued to spin off numerous iconic albums and singles. The B’s eventually reached their glossy, funky zenith in 1989 with the hit album Cosmic Thing. The band thrilled devoted fans and earned legions of new ones when they got their global groove on with the shiny, happy single “Love Shack,” baby.

Despite a huge mainstream breakthrough, an endless 16 years went swishing by before the group finally unleashed their seventh party platter with 2008’s Funplex. Music director Keith Strickland recruited producer Steve Osborne (of New Order & Sophie Ellis-Bextor fame) to pull the band’s retro sound solidly into the current decade. Suddenly they were off the oldies circuit and back into the studio where they belonged — making candy-coated musical extravaganzas. Funplex retains the band’s trademark cool quirks and dizzily enjoyable style of neon dance pop. This time around the recipe stirs in equals parts throbbing synthesizers and drum machine beats and then seals it over with an Aquanet sheen. Sometimes you’ll wonder if you’re trapped in a thumping remix on an infinite loop – one that you may never want to end.

The giddy title track “Funplex” discovers delirious leading lady Fred in glorious kitsch mode, shouting tales about malls and diet pills — timeless themes, indeed. High-haired harlots Cindy and Kate are still spinning gorgeous, effortless harmonies as if thirty years had simply stood still. The single was served up in January 2008 and took its party out of bounds where it reached #14 on the Billboard Hot Dance Club Play chart. One track in and it’s already obvious that betting on Steve Osborne has resulted in an eclectic jackpot. Stroll further through the carnival and you’ll find even more sideshow attractions and electronic feats of strength. Classic B-52’s beats collide with what passes for modern dance on “Eyes Wide Open.” Robots of various genders invade Fred’s dreams in “Love in the Year 3000.” Second single “Juliet of the Spirits” flew to #8 on the Billboard Hot Dance Club Play chart. “Ultraviolet” finds Fred extolling the virtues of highway rest stops and g-spots. Yeah, that sounds about right. These highlights, paired with dancefloor shakers like “Hot Corner,” are a sweet, high reminder of the band’s long-ago glory days. We can only hope it won’t take until the year 3000 for those days to return.

Is all of this inspired by early-era rock, Beach Boys harmony or just plain musical schizophrenia? Yes, it is! Funplex topped off at #11 on the Billboard 200 Albums chart and sold approximately 30,000 hot platters in its first week of release. Overall a nice return to form for music’s premiere party band. The whole shack shimmies, kids!

Donna Summer — Crayons

For the record, disco is not dead — it just smells funny. Many of its most famous artists have unfortunately suffered a similar fate. However, the same cannot be said for its reigning, glittering goddess. LaDonna Gaines was a reluctant superstar, sex goddess and dancefloor queen. When her demo vocals were morphed into the 16-minute-and-50-second orgasmic throwdown “Love to Love You Baby,” a bleary-eyed world rolled over to have a collective cigarette. An endless playlist of classic dance tracks (”Bad Girls,” “Hot Stuff”) followed and cemented her as the beloved, unrivaled queen of the spinning disco oeuvre. Much of her massive success came from her stunning, powerhouse vocal pyrotechnics that few artists of any style or gender could touch. Donna brought gospel fire to an already blazing disco inferno. Working with groundbreaking producers Pete Bellotte and Giorgio Moroder guaranteed a stream of unique, high-concept tracks. Unlike her ’70’s contemporaries, Donna made a relatively smooth transition into the next decade. She continued to have additional hits (”Love is in Control,” “She Works Hard For The Money”) as part of the ’80s dance scene as well as broaden her own musical styles with rock, R&B and gospel. She is listed by Billboard magazine as the eighth most successful woman in music history and has sold 130 million records across the universe.

Fans waited a difficult 17 years between the 1991 album Mistaken Identity and the long-delayed 2008 comeback opus Crayons. Despite the long passage of time, Donna sounds almost as fresh as today’s generation of dance divas. Having followed in her perfumed wake they were likely greatly influenced by her lingering legend. Current R&B behemoth Beyonce seems to be a direct descendant of Lady Donna’s sultry style and vocal flamethrowing. The obvious difference between Donna and most of music’s current crop of gals is that Donna is the real deal. She has more talent than most of them crammed into a recording booth with Auto-Tune set on high. Crayons sets out to take back what rightfully belongs to Donna and what has been greatly tainted over the years by mass-marketing of soulless mannequins.

Recorded over a two year span, Donna seems to have thrown herself full-bodied and full-throated into this project. Her energy is free and contagious and her trademark voice does not seem to have changed at all. Time has truly been more than kind to this national treasure. Crayons embodies everything that would be expected of Donna and everything that originally made her an icon. A variety of styles and (unnecessary) vocal effects come spinning out at you thanks to modern collaborators such as J.R. Rotem, Danielle Brisebois, Lester Mendez, Greg Kurstin and Evan Bogart, son of Casablanca Records founder, Neil Bogart. Most of their contributions positively reek of a fresh, young edge that will likely please a generation who is just discovering the wonder and magic that is Donna Summer. Also sure to be happy, if a bit taken aback at times, are devotees and obsessives who know that Donna has kept her deep connection to the dancefloor.

The first colorful track to emerge from this box of Crayons was “I’m A Fire.” It burned its way to the top of the dance charts, giving her the longest timespan between her first and most recent #1. Considered the album’s first official single, “Stamp Your Feet” sports thumping percussion, near-perfect production and a direct challenge to listeners. Written with Brisebois and Kurstin, it quickly stomped its way to #1 on the Billboard Hot Dance Club Play chart. It was her 14th single to achieve this feat — and her second in a row. The album’s funky title track is an inspired “duet” featuring reggae superstar Ziggy Marley who provides a unique, refreshing balance to Donna’s bouncing lead. A standout track, particularly with regard to lyrical style, is the aptly titled “The Queen Is Back.” Donna slows down the tempo and sings longingly of her past and alludes to an invigorating future. Surrounded by younger and less capable vocal chops, this song would fall flat but Donna has the reputation to sell it. “Fame (The Game)” points a finger at the emptiness and obsession surrounding modern celebrity and its superficial trappings. “Be Myself Again” strips away the artifice and effects leaving behind some lingering percussion, a piano and that shimmering voice.

Crayons made a colorful debut on the Billboard 200 Albums chart (and hit its highest peak) at #17. Perhaps her lengthy time away from her kingdom made this success a surprise to some. But for all of us who have waited patiently at her feet, it’s a long-overdue validation that genuine talent rules out — and doesn’t change.

Welcome back, your majesty. Your throne awaits you.

Taylor Dayne — Satisfied

Long ago, in a decade far away, there was a time when popular female artists could actually sing. They could rock a mic sporting leg warmers, fishnet stockings and hair so crimped you could lose a limb. Those days, sadly, seem to be gone forever. Sniffle. They’ve been replaced with a new crop of lip-syncing, badunkadunk-shaking fembots who all look the same (vague) and sound the same (terrible). One of the most feared, towering vocal glamazons from that bygone era was Taylor Dayne. Taylor had everything it took to become a certified dance floor filler. She had the stunning looks, the atrocious outfits and enough hairspray to feed a small country. She also had THAT VOICE — a fantastic, bombastic instrument that could demolish buildings and music charts with a single quiver of her painted red lips.

After years of struggle, Taylor became an instant, overnight sensation with the massive hit “Tell It To My Heart.” A string of popular, percolating dance concoctions and passionate, oversung hyper-ballads followed. She quickly joined the ranks of other beloved, big-voiced broads like Laura Branigan and Pat Benatar — all of whom could deliver with gut-busting vocal firepower . Two successful albums kept Ms. Dayne’s voice booming out of the radio for several years. Then, like with so many talented belters before her, the hits (and the lips) stopped.

A decade of divas blew past before Taylor followed up her last album, Naked Without You, with her fifth official release, 2008’s Satisfied. Now more mature, she acts and sounds like the seasoned veteran that she is. Fans will be pleased that most of her new music is still very much like it was during her halcyon days of the late ’80s. It’s big, bold and brassy but not quite as bombastic as it used to be. That’s where Taylor’s newfound control of her striking voice becomes the album’s major, and most refreshing, asset. She no longer catches her songs in a steel-jawed trap and wrestles them into submission. However, they are still willing prey for our huntress/songstress — escape is futile. While she could clearly use a massive hit, Taylor is no longer running after trends quite as blatantly. Her voice has retained its trademark whiskey on the rocks roughness but has deepened with warm, honey-coated goodness.

The songs on Satisifed have been taken down a notch on the richter scale from the ones on her most famous albums. They’re smoother but still completely in the old-school, dance, pop and light r&b pocket that they always were. Lead single “Beautiful” was the first track to show its pretty face. Written by Taylor and Hitesh Ceon (of 3Elementz), it proves that her old style is still in fine form. It could easily stand along some of her most famous songs with its swirling tempo and a trademark hot, husky vocal at its center. Sung as a passionate tribute to a beloved lover, “Beautiful” went to #1 on the Billboard Hot Dance Charts.

Taylor tackles several inspired/bizarre cover versions including Red Hot Chili Peppers’ “Under the Bridge” which was long overdue to be performed by a woman and boasts a screaming horn section. The suddenly-famous-again Des’ree contributes “Kissing You,” which fits Taylor perfectly and provides a much needed quality ballad. Thankfully, things head back over the top with “Crash,” a booming power track with lots of guts and very little shame. Songwriters Rick Nowels (of Belinda Carlisle fame) and Gregg Alexander chime in with “My Heart Can’t Change” which is a close to pop as this album gets. The pseudo-reggae/calypso/tropical/kitchen sink “She Don’t Love You” goes down pretty easy and only stays around long enough to drop off some drum kit and percussion elements. It quickly gets voted off the island.

So, will fans truly be satisfied after the long wait ? Possibly. Ms. Dayne is certainly aiming that killer voice back in the right direction. Watch out for falling buildings!

Until next time — you’ve just been served!

Funplex,  Crayons and Satisfied are available at Amazon.

QUICK LINKS

Theb52s.com

Donnasummer.com

Taylordayne.com

A TOUCH OF SHALAMAR

Singer, songwriter, and producer Jody Watley first boogied her way to fame at the age of 14 as a dancer on the legendary music program Soul Train. In 1976 the group Shalamar was created by Soul Train’s booking agent, Dick Griffey, and R&B producer Simon Soussan. After a group of session musicians recorded the original hit “Uptown Festival” in 1977, Jody and her male counterparts took over as the official version of the group. For seven years Shalamar was a solid-gold hit machine, spinning off a string of disco, soul, and funk classics.

The group’s longest-lasting and most popular lineup consisted of Jody and singers Howard Hewett and Jeffrey Daniels: their success began when they signed with SOLAR Records and joined forces with producer Leon Sylvers III. Shalamar’s run of chart success kicked off with 1979’s “Take That to the Bank,” which reached #20 on the UK pop chart. Numerous pop and R&B hits followed, including “A Night to Remember” (#5 pop in the UK), “This Is for the Lover in You,” and “Friends,” and 1980’s million-selling smash hit “The Second Time Around” soared all the way to #1 on the U.S. disco and R&B charts and #8 on the pop chart. The album Friends achieved platinum status in 1982 by crossing over and reaching fans of pop, disco, and soul.

Shalamar kept the dance floor full through the early ’80s. However, problems behind the scenes with their record label led Jody and Jeffrey to dance their way out of the group by 1982; it was a new version of the group that recorded the hit dance groove “Dancing in the Sheets” for the Footloose soundtrack album in 1984. Meanwhile, Jody found her way to London and began recording demos with the Art of Noise before being asked by Bob Geldof to appear on Band Aid’s 1984 charity record “Do They Know It’s Christmas?” She was soon ready to walk the runway to her own solo career. Hasta la vista, Shalamar!

A NEW LOVE

A solo star was born upon the release of Jody’s self-titled debut album on MCA Records in March 1987. Collaborating with red-hot producers Andre Cymone (her future ex-husband), Bernard Edwards, Patrick Leonard and David Z. infused  the album with a unique hybrid of driving dance, funky pop and smooth R&B. Kickstart single “Looking for a New Love” instantly caught fire and spent a month at #2 on the Billboard Hot 100 Singles chart, eventually racking up sales of 750,000 copes in the U.S..  A set of sassy, funky-chic videos helped propel a stream of hits including second single “Still a Thrill,” (#8 Hot Dance Music/Club Play), “Don’t You Want Me” (#6 Billboard Hot 100), and “Some Kind of Lover” (#10 Billboard Hot 100).

The Jody Watley album peaked at #10 on the Billboard Top 200 Albums charts, #1 on the Top R&B Albums chart and eventually sold nearly five million copies worldwide. By the time the album had run its course,  Jody was firmly established as a unique new presence on the music scene whose artistic style would continue to earn her millions of devoted fans. In 1988, Jody was nominated at the MTV Video Music Awards and the Soul Train Awards. The highlight was when the Grammys awarded her their Best New Artist award. She remains one of the few artists whose career did not go down in flames after winning the supposedly prestigious honor.

Jody became Larger Than Life in 1989 with the hotly-anticipated release of her follow-up album. Its title was more than fitting since the project was a huge hit and easily avoided the dreaded sophomore slump. It also helped ensure her ascension to pop/soul icon. Fans quickly fell in love with the album’s thumping first single and biggest hit, “Real Love.” It romanced its way to #1 on the Hot Dance Music/Club Play charts and sold over 500,000 copies. Other major jams included “Everything” (#4 Billboard Hot 100) and “Friends” (#7 Hot Dance Music/Club Play) which featured a notable collaboration with Eric B. & Rakim. Larger Than Life reached # 5 on the Top R&B Albums chart and eventually sold over four million copies.

Affairs of the Heart is exactly what devoted fans were still having with Jody’s music in December of 1991 when she dropped her third studio album. R&B fans definitely wanted the album’s first single “I Want You,” and sent it to #5 on the Hot R&B Singles chart. Next up was the David Morales-produced house groove “I’m the One You Need” which made it to #19 on the Billboard Hot 100. Affairs of the Heart climbed to #21 on the Top R&B Albums chart but still sold less than 400,000 copies in the U.S.. It’s often considered her best set by fans but it seemed that mainstream music buyers were starting to cool their affair with Ms. Watley.

INTIMACY

November 1993 saw Jody exploring Intimacy, her fourth album. Partners-in-rhyme this time around are long-time collaborator and husband Andre Cymone along with killer producers Art & Rhythm, Philip Kelsey and David Morales. The beats that flow through the album are only slightly turned down in comparison to her previous releases which were usually bumpin’ from beginning to end. Intimacy overflows with solid, laid back tracks that groove down the middle and sometimes reflect a jazz influence. Everything that the album has going for it comes shining through on the grooving first single, “Your Love Keeps Working On Me.” The track became yet another dancefloor hit for Jody, topping out at #2 on the Hot Dance Music/Club Play chart but did not make that much-needed pop crossover and peaked out at #100 on the Billboard Hot 100. Not a good sign for an ambitious album that was expected to further a once red-hot career.

“Workin’ on a Groove” starts the album spinning with its well-placed harmonica parts that make this the perfect jam for those long summer days (and nights). “When a Man Loves a Woman” (not the Percy Sledge tune) is a breathy, spoken word evdeavor about the AIDS epidemic that made a mild impression #11 on the R&B charts. However, a remix did manage to top the dance charts in the UK. “Are You the One?” is full of life and funk. “To Be With You” is a slow burner that’s perfect for a quiet storm-style radio station. “Too Shy to Say” is a heartfelt Stevie Wonder ballad that’s perfect “for the lover in you.”

Despite its best intentions, Intimacy never became truly intimate with music fans and maintained a relatively platonic relationship with the charts. It never went further than #38 among Billboard’s Top R&B Albums and sold only around 250,000 copies in the U.S.. Perhaps the grinding grunge and over the top hip-hop that was emerging at the time is what kept this album and many others like it from getting the promotion and airplay that they needed. Ultimately, Intimacy flirts with a lot of different musical styles and handles them very nicely. It is an album that still sounds hot, cool and surprisingly undated considering the time it was released in.

“Ecstasy” (download)

The real hidden treasure on the album, “Ecstasy” is an orgasmic house jam about finally finding the one person for you – and dancing about it. Co-written (with Jody and Terry Burrus) and produced by David Morales, it was released as a promo single to DJs and dance clubs. Despite the disappointing low profile of Intimacy, “Ecstasy” still managed to become one of the album’s most popular tracks.  A David Morales remix was included on the U.K. single of “When a Man Loves a Woman” and the same remix was later included on Jody’s 1996 Greatest Hits collection.

AFFECTION

In spite of a huge dip in record sales, Ms. Watley was still receiving plenty of Affection from devoted fans upon the July 1995 release of  her fifth album. By this time she had parted ways with MCA Records where she’d enjoyed her greatest success. The new project was released through her own independent label Avitone Records and distributed by Bellmark Records. Created with writer / producer Derrick Edmonson, Affection takes a bit of a turn from her previous work by featuring light pop and slower, groovier, jazzier R&B. This new tactic was necessary but it did not serve to help her record sales or her profile among an increasingly crowded field of R&B wimps and wannabes. Jody has always been her own creation and skillfully uses not only her music but also her videos, clothing and photo images to set herself apart from everyone else. There was no question, though, that she’d taken a tumble from the charts and the pop culture menu.

Despite having no huge hit singles, the title track did manage to struggle its way to #28 the Hot R&B Singles chart. That, unfortunately , is as good as it got for this overlooked project. A few standout tracks include the cool, breezy “All Night Love Affair,” “The Beat Don’t Stop” which Jody delivers in her underused lower register and “The Way (Pts. 1 & 2),” a long, steamy opus that attempts to equal some of her earlier material. The special surprise of the album, and the track that makes this a must-have for true fans, is a simmering, stripped-down version of her signature song “Looking for a New Love.” Taken from a live performance, it rightfully closes out the album. It is this set’s true highlight and would lay the foundation for Jody’s future “makeover” of other classic pop and R&B tracks. Affection got very little love from record buyers and the affair ended abruptly at #59 on the Top R&B Albums chart.

FLOWER

The disco garden that Jody’s career had become by 1998 produced one beautiful Flower in the form of her major label return on Big Beat/Atlantic Records. At this point it seemed as though Jody was having to approach each record as if  it were a comeback despite the fact that she had never really left. A number of old and new collaborators helped Jody tend to her latest project and make it fit into the then-contemporary R&B music scene while still retaining her unique style. Among the all-star lineup were the returning Derrick Edmondson as well as Phil Galdston, Masters at Work, Malik Pendleton, D’Wayne Wiggins and Bryce Wilson.

Flower is perhaps Jody’s most mature-sounding record, laced with thoughtful songwriting and smooth, slinky urban workouts that de-emphasize the typical dance/pop of her previous albums. Jody’s vocals are the most refined and confident that they’ve ever been. This is one diva who actually gets better the more she relaxes into her own sound. Proof of this is the single “If I’m Not in Love” which glides along on a percolating groove and Jody’s assured, seductive purring. This helped the song become a huge hit on the Hot Dance Music/Club Play chart. Unfortunately, this did not help the album’s fate. Big Beat Records was folded into Atlantic Records, which in turn pulled the album from a much-needed release in the U.S.. The good reviews it received in other countries did little to keep Flower from wilting before if ever got the see the light of day.

“Off The Hook” (download)

If any song ever had the right title, it’s this one. Honey sweet with a thumping beat, it was wisely picked as the first single. This Malik Pendleton-produced slow jam starts off slinky and doesn’t let you go. It’s a funky, laid back track with a lilting beat that gets better with every listen. Jody’s still looking for a new love and this time she’s found one whose off the chain and . . . well, off the hook. That’s ’90’s R&B group Changing Faces laying down the sultry backup. This track had the distinction of being Jody’s first #1 Hot Dance Music/Club Play hit in nine years. There is also a  D-Dot remix of this track that appears on the album.

SATURDAY NIGHT EXPERIENCE

Are you experienced ? November 1999 found Jody resurrecting her own label, Avitone and unveiling Saturday Night Experience. Rodney Lee, Derrick B. Edmundson and Lati Kronlund join forces with Jody to produce a gorgeous intermingling of experimental club styles. Released as a Japanese import, this set finds the dance diva immersing herself with sounds that are further removed than those that she’d been previously known for. Represented here are tracks in the underground, downtempo, deep house, trip hop and drum n bass styles. Despite the numerous producers and types of club workouts, it is all mixed together with taste, soul and an easy-flowing hand. All of this speaks to the direction that Jody’s future projects were heading towards. Jody is to be commended for always pushing her work forward and trying to introduce her listeners to new audio journeys that they may never have heard before. That’s the real “experience” of this album.

MIDNIGHT LOUNGE

Welcome to the Midnight Lounge, please wait to be seated. Album number eight finally arrived in 2001 in Europe and Japan via Avitone Records and Universal Music Group. A new lineup of craftsmen were brought in to assist including Kenny “Dope” Gonzalez, King Britt, Rodney Lee, Ron Trent, Little Louie Vega and Dave Warrin. Continuing to expand in new musical directions, this album shimmers with a dreamy, sophisticated blend of her trademark jazzy, soulful pop and club hooks. This is combined with the talents of her new collaborators, deeper and more complex lyrics and a brave, experimental attitude.

At this point, Jody’s popularity had unfairly declined so much that getting U.S. distribution for her projects did not happen automatically. Midnight Lounge was able to garner enough good reviews from both critics and fans in its original countries of release that it received some limited U.S. exposure via Avitone and Shanachie Records in 2003. In a way, having lost a certain amount of her mainstream success has helped to set Jody free. No longer expected to be a hit-making machine, she is left to her own devices and can do as she pleases as an artist. All of this makes for a richer, more multi-layered listening experience.

The swirling title track got a single release in the U.S. in 2003 and made its way to #19 on the Hot Dance Music/Club Play chart. Another single titled “Photographs” managed to become a decent hit in Japan and other countries. It eventually became an “underground” hit in the U.S.. That means you’ve probably never heard it. In the end, none of the acclaim or midly successful singles managed to launch the album any higher than #13 on the Top Electronic Albums chart. The Midnight Lounge closed earlier than expected.

THE MAKEOVER

Thankfully, Jody Watley has never heard the phrase “don’t make me over.” Tribute or “remake” collections are a dime a dozen (depending on your rate of exchange) but in this case fans will find that they have hit the old-school jackpot. In August 2006, Jody revealed the Avitone Records release The Makeover, where everything old is new again. The groundwork for this idea possibly started in 2005 when Jody memorably remade her own signature tune “Looking for a New Love.” Co-conspirators along for the timewarp are King Britt, Chris Brann, DJ Spinna, 4hero, Mark De Clive-Lowe and Rodney Lee. They pay lavish, loving tribute to some of their major musical influences. Trance, house and ambience remodels are applied to help give everything a modern sheen. The overall atmosphere of the album is that of an after hours lounge but filled with a modern, eclectic vibe. Smooth, sleek, sometimes jazzy, often revealing, always respectful of the glorious past.

The Bob Marley cover “Waiting in Vain,” is brought back by Ron Trent who provides the song with a hushed house groove, light piano and percussive instruments that perfectly envelop Jody’s vocals. “Bed of Roses” is a nice little drum n bass concoction. “A Beautiful Life” is reminiscent of The Brand New Heavies and is a song about survival. Mark de Clive-Lowe offers a remix of “Midnight Lounge,” the title track from her previous album. Jody also reveals a seemingly unlikely influence with her medley of Carpenters songs that have been given a basic R&B backdrop. A real highlight of the disc are remakes of the classics “Don’t You Want Me” (by King Britt) and “Friends” (re-titled “Friendz”). This album could easily have been called The Comeback since in 2007, Jody was ranked the #5 Billboard Dance Play Artist of the year.

“Borderline” (download)

Honey, don’t you fool around. The album’s surprise first single is a lush, shimmering take on Madonna’s early hit “Borderline.” Composed by Reggie Lucas and originally released in 1984, it became one of what’s-her-name’s most beloved songs.  Jody’s version is performed as a quiet, yearning ballad that reveals the hidden poignancy behind the lyrics. Fans of both Madonna and Jody were pushed over the borderline themselves and sent the track to #2 on the Hot Dance Music/Club Play chart in January 2007.

“I Want Your Love”

Tres Chic! Second single “I Want Your Love” is a faithful throwback to the 1978 Bernard Edwards and Nile Rodgers disco classic. DJ Spinna brings new life to the track by keeping much of the original arrangement but adding in a creamy dance beat that is perfectly catered to Jody’s gorgeous vocals. That’s none other than Nile Rodgers himself on guitar, giving this version his personal seal of approval. Aided by a fierce group of remixes, it went to #1 on the Hot Dance Music/Club Play chart in June 2007.

“Love Hangover”

She’s got the sweetest hangover – and so will you. Who better than Ms. Jody to do a sizzling remake of the Miss Ross disco-fied extravaganza throwdown opus ? Written by Pamela Sawyer and Marilyn McLeod, it was originally dropped like a glittering bombshell onto unsuspecting ’70’s dancefloors. The 1976 single went all the way to the top of the Billboard Hot 100, the Hot Soul Singles chart and the Hot Dance Music/Club Play charts.  It was an instant, sprawling classic with a delicious dark side waiting behind the dance beat – and that was just the two hour intro. Jody was the latest dance diva to wrap her well-manicured fingernails around this track. You can thank Mariah Carey (or not) for starting the trend. Jody brings a funky chill to her own version and scores. If there’s a cure for this, I don’t want it.

FUNNY HOW TIME FLIES . . .

As I watch days turn into years. Fashionista. Video Vixen. Groove Goddess. Fans began their love affair with Jody Watley over three dancefloor-shaking decades ago. She and her music continue to evolve and are thrilling fans to this very day.  This has earned her a fierce devtion that many artists will never achieve. Jody has sold over twenty million singles and albums all over the world. The planet is her own personal discoteque. She is one of the few Best New Artist Grammy award winners in recent memory whose career continued to thrive and proved that she had earned the early praise that she had been showered with. Billboard magazine ranks her as #144 on their list of the most successful R&B artists of all time. Her groundbreaking videos have made her one of the most nominated artists at the MTV Video Music Awards alongside the esteemed company of Janet Jackson and Madonna. She is a still-reigning icon of dance pop, R&B and electronic soul. In 2008, Billboard magazine honored her with a Lifetime Achievement award.

To fans, Jody stands out among the crowds of bland, generic female artists, all struggling to be the latest dance diva and to have their 15 seconds of fame. When she came of age with her own solo career, she proved her talent, uniqueness, class and style. She also displayed her respect for those who came before her and who helped to make her own success possible. She used her music, videos, fashion and unwavering (and unsung) social activism to carve out her own unique place in music history and in the hearts of those who continue to love her.

Jody Watley, you’re still a thrill!

Intmacy, Affection, Flower, Saturday Night Experience, Midnight Lounge and The Makeover are available at Amazon.

HOT LINKS

Jodywatley.net

Myspace.com/jodywatley

A SIMPLE GIRL WITH A DREAM

I have one thing to say – RuPaul Andre Charles was an unlikely success story to say the very least. As a young drag queen in San Diego, his parents’ marriage ended in a bitter divorce when he was seven years old. Raised in a household of females, Ru became obsessed with fashion, style and music. Those interests, and a desire to be famous, drove him into a career in show business. His career, however, would take years of personal and professional turmoil to finally come to its star-spangled, glittering zenith.

In the early 1980’s, to set himself apart, Ru began to adopt the underground drag style known as “genderfuck.” In January of 1982, he appeared with his group RuPaul and the U-hauls on “The American Music Show”, an Atlanta public access show. This small notoriety landed the fledgling group an opening act slot with popular local group Now Explosion. Inspired by appearances in New York City, Ru began to plaster midtown Atlanta with posters promoting himself as a performer and all-around personality. The Xerox technique worked and in January of 1983 Ru was asked to join a new group with the classy moniker Wee Wee Pole. Despite his growing popularity and playing at the local new wave and punk clubs, Ru spent 1983 homeless.

After Wee Wee Pole broke up in 1984, the always ingenious Ru became an underground filmmaker and movie star. “Trilogy of Terror” (and its two sequels) was filmed with zero budget on a home video camera and featured Ru’s first on-screen appearance in drag. In July of 1984, the “RuPaul is Red Hot Revue” played New York City’s famous “Pyramid Club” and “Danceteria.” Ru remained in New York until the end of 1984 after spending months at other people’s apartments and even sleeping in Central Park. After returning to Atlanta in 1985, Ru recorded tracks for the Funtone Records U.S.A. EP titled “Sex Freak.” The release did little to further Ru’s grab for success. Also in 1985, Ru joined a production of “The Rocky Horror Show” and became a go-go dancer at a local discotheque.

STARRBOOTYLICIOUS

In 1986, one of Ru’s most infamous early projects came together with the cult movie “Starrbooty.” Ru played a former model / government agent who kicked every ass and took every name. A soundtrack album followed and was produced by a group called The Pop Tarts. The buzz from “Starrbooty” led underground writer/director Wayne Hollowell to cast Ru in a number of tongue-in-cheek exploitation movies including “Mahogany 2″ and “American Porn Star.” 1987 saw the release of the single “The Playboy / Ping Ting Ting” on Funtone U.S.A.. It was yet another failed musical project.

By 1989, Ru had moved back to New York City and changed his style from punk-inspired to “black hooker drag.” This tasteful move landed Ru regular gigs as a dancer, lip-sync artist and emcee at clubs such as “Love Machine” and “Copacabana.” The highlight of this period was a cameo in the B-52’s video “Love Shack.” Ru was even voted “Queen of Manhattan” at an annual awards show. It seemed as though Ru was finally getting some of the attention he deserved.  Although seeing groups like Deee-lite having huge worldwide hits made him rethink and refocus his musical career. After getting The Pop Tarts to manage him, Ru and co-writer Jimmy Harry began writing material for a demo in 1991. The single “I’ve Got That Feelin’” was released on Cardiac Records but the feelin’ didn’t last long.

YOU BETTER WORK, BITCH!

Ru’s most successful style change came in the early ’90’s when he morphed into full, glorious “Glamazon” mode. Tommy Boy records offered Ru a record contract which he knew could be the huge break he’d been looking for. On his birthday in 1992, the single “Supermodel (You Better Work)” was unleashed upon an unsuspecting world. Fashion runways, tacky wedding receptions and karaoke bars would never be the same. The huge, surprising success of the single was due in part to its colorful, free-spirited video. It was put into rotation at MTV during a time when the network was airing mainly badly-lit grunge videos and loud, grinding rock videos. The song and video were originally dismissed as little more than a gimmick but listeners quickly caught on to the song’s obvious charms and Ru’s outsize, outgoing personality. Comedic actress LaWanda Page contributes a sassy cameo where she helps Ru name-check the most popular supermodels of the ’90’s. “Supermodel” sashayed it’s way to #45 on the U.S. Hot 100 and to #2 on the Hot Dance Music/Club Play charts before achieving gold status. Work, Mama!

The massive success of the first single helped propel the album Supermodel of the World into a hit as well. Followup singles “A Shade Shady (Now Prance)” and “House Of Love” also found major popularity with both landing at #1 on the Hot Dance Music/Club Play charts. “A Shade Shady” is built around the then-common slang “shady” which refers to someone who is mysterious, not trustworthy or hiding secrets. By this time, everyone knew that Ru was also sitting on a secret. “House of Love” opened its doors and became hugely popular among fans even without one of Ru’s splashy, day-glo videos. It didn’t make a showing on the US charts but got to #68 in the UK. A vibrating beat and wailing backup vocals help bring out the song’s message of love and acceptance for everyone regardless of color, gender, orientation or wig size. At Ru’s funky little place everyone is welcome. The door’s open, baby – come on in !

“Back to My Roots” weaves an all-out celebration of black heritage through decades of evolving hairstyles. Ru and his backing chorus pay tribute to a dizzying array of hairdos (and don’ts) including cornrows, afro puffs and flat top fades. Despite a classic extravaganza video, “Back to My Roots” was fried, dyed and laid to the side of the mainstream charts. However, it received huge play in dance clubs and remains one of Ru’s fiercest and best-loved tracks. Multiple collaborations followed including a breezy remake of “Don’t Go Breaking My Heart” with Elton John which went to #7 in the UK. In 1997, Ru and fellow club queen Martha Wash delivered a stomping, camped-up remake of The Weather Girls classic “It’s Raining Men.” Hallelujah!

The pop culture impact of Ru’s breakthrough album and its signature singles helped to further his outrageous yet down-to-earth image and make him a towering presence to pop/dance music fans. After years of hard work, professional struggle and numerous identity changes, Ru had finally been launched into the celebrity stratosphere. Look at the bitch, now!

FOXY LADY
1996 brought the much-anticipated second album Foxy Lady on Rhino Records. Delivering another set of hit dance tracks seemed inevitable for the newly-christened queen of clubs. However, staying current in the fickle, fast-moving world of mainstream pop music can be a daunting task even if you are a strutting, glammed-up 6′7″ force of nature. Foxy Lady was the chance to take a unique artist and turn him from a rainbow-colored dancefloor curiosity into a an ongoing pop/dance mainstay with a hopefully lengthy career.

Ru’s joyous personality starts this party quickly and keeps it going with high heels pointed in a forward direction. His tenor voice cuts a groove through an array of shiny synth-pop tracks that vamp it up much like his previous effort. Ru invites a club full of writers, producers and partners in rhyme to help provide the album with an energetic, driving sound. Nearly every song on the album was co-written by Ru and is supported by a variety of collaborators including Eric Kupper, Pete Lorimer and Richard “Humpty” Vission. You can also hear late disco diva Vicki Sue Robinson on the backup. She was still turning the beat around.

“A Little Bit Of Love”, written by Ru and Joe Carrano, was released as the album’s second single but only managed to get to #28 on the Hot Dance Music/Club Play chart. “If You Were a Woman (And I Was a Man)” was written by Desmond Child and previously recorded by vocal heavyweight Bonnie Tyler. Ru does a clever gender-switch with the track and takes it from bombastic to bouncy in order to make it his own. Known for his love of all things Diana Ross, Ru works up a sweat and delivers his own slightly risque version of 1981’s Paul Jabara-penned “Work That Body.” It’s all enough to make you want to grab your barbell.

Even though Ru had continued to keep himself and his music engaging and fun, the album did not make it onto the Billboard album charts. Nonetheless, this is still an upbeat, dancefloor-shaking set of tunes. Some of them, in fact, rank among his best so far. Foxy Lady is out of sight!

HOT TRACKS

“Snapshot” (download)

Click! Click! The album’s kickoff single sounds at first like a sassy satire about Ru’s perceived public image. Behind the bright lights, however, it’s more about the raging obsession over celebrities and their need to be in the spotlight and have their airbrushed images splashed across the pages of glossy magazines. Knowingly or not, Ru is making his own statement about the superficial nature of fame and the people who whore themselves for it. Oh, and he’s having a damn good time doing it. All of this is set to an intense, pulsating beat that’s driven by Ru’s hot, commanding vocals. Everybody look at me!

“Snapshot” is easily one of Ru’s fiercest tracks and should have been a huge, worldwide smash. It did manage to reach #4 on the Hot Dance Music/Club Play chart and #95 on the Billboard Hot 100. Unfortunately, this wasn’t enough to help the album develop it’s way out of the dark room and onto the charts. Still, “Snapshot” finds Ru being who he wants to be and commanding everyone else to do the same. Take my picture!

“Party Train” (download)

Come on ride the train! So who was asleep at the switch and didn’t think of releasing this one as a single ? It could easily have built up a head of steam and put the entire project back on track. The premise of the song is pretty simple – they’re havin’ a party on a train, ya’ll! Choo! Choo! The driving beat and Ru’s seductive vocals pull everyone down the groove line and work them up into a dancing frenzy. Written by Ru and Joe Caranno, this track was a real missed opportunity as it could have been huge if it had been properly released and given some promotion with radio airplay and a flashy video. Ultimately, the chance to take advantage of this potential hit went off the rails.

RED HOT
In 2004, the album Red Hot descended like a heat wave, began burning up the dancefloor and refused to be extinguished. Released on Ru’s own Ruco Inc. label, this album proves that you can’t keep a good drag queen down for long. Temperatures rise with a swirling mix of banging house tracks, empowering pop tunes, classic dance jams and light r&b ballads. Red Hot includes multiple songs that burned up the Hot Dance Music/Club Play charts. The album itself topped out at #9 on the Top Electronic Albums chart.

First single “Looking Good, Feeling Gorgeous” rose to #2 on the dance charts and is a self-esteem anthem encouraging people to be happy with who they are instead of who they will never be. Second single “Workout” pumped its way to #5 and is an ode to “working it out” in every area of your life. The heartfelt ballad “Love Is Love” is about how people’s differences are exactly what make them all the same. “Are You Man Enough” is about the quest for mate who has more confidence than swagger.

“Ladies and gentlemen, good evenin’ and how you durrin’?” Taking a cue from Janet Jackson, Ru includes some cool segues between the steamy tracks. These are provided by the characters Shirley Q. Liquor and Watusi Jenkins who are performed by controversial comedian Chuck Knipp. Watusi kicks the whole thing off by asking the question that everyone wants to know:

WATUSI: “Is we allowed to smoke liquor up in heah?”
SHIRLEY: “No, honey, we in a recording studio. I’m fixin’ to introduce the lady.”
WATUSI: “What ladies?”
SHIRLEY: “The lady I was tellin’ you about.”
WATUSI: “What her name was?”
SHIRLEY: “RuPaul”
WATUSI: “Whopaul ?”

Offensive or not, they’re a high-pitched scream. Red Hot got its share of play in the clubs and on dance radio but received almost no press coverage in magazines or music review columns. Perhaps this was due to the lingering stigma that Ru was no more than a one-hit wonder with a he/she gimmick. It was easy for some to dismiss him as little more than a prettier version of infamous drag queen Divine or a less edgy, less sexual version of Sylvester. The image that artists need to set them apart can also be what gets them labeled and pushed aside.

HOT TRACK

“People Are People” (download)

The album’s third and final single is an unexpected but welcome cover of Depeche Mode’s “People Are People” Written by Martin Gore, it was the group’s first hit single in the U.S.. Ru performs it as a duet with Tom Trujillo and delivers a percolating techno delight. Perhaps the album’s most high profile track, it made it into the top 10 on the Hot Dance Music/Club Play charts. You’ll be punching, kicking and shouting over this one.

ALL HAIL THE QUEEN!

After a couple of years away from the glare of the spotlight, Ru returned in 2006 with ReWorked on the Ruco Inc. label. The album featured house, trance and dance “RuMixes” of tracks from his previous projects. A re-recorded version of “Supermodel (You Better Work)” again worked the runway to #21 on the U.S. dance chart. In 2007, Ru starred in a remake of the underground cult movie “Starrbooty”and released a soundtrack to the film as well.

Dance Diva. Radio and Television Hostess. Fashion Icon. Soul Sister Survivor. Jan Brady’s Guidance Counselor. RuPaul is all of these things and more. After more than a decade of struggling in and out of various identities, Ru finally managed to break through in a big way. Perhaps even he was surprised. He found an audience that was ready to embrace something seemingly new that stood out amongst the self-serious artists of the time. There were no plaid shirts, melancholy songs of heartache or pity ditties in this gal’s closet – just hair, heels and major attitude. He was just the breath of fresh air that entertainment needed. It was all wrapped up in a tall, leggy, black, blond drag queen with sky high wigs, a 1,000 kilowatt smile, a personality as wide as the grand canyon and a message of love, peace and hair grease.

Supermodel of the World, Foxy Lady, Red Hot and ReWorked are all available at Amazon.

HOT LINKS

rupaul.com

CALLING GLORIA

Laura Branigan is a classic example of a great and underrated talent whose life and career were cut short far too soon. Laura possessed an elastic alto voice with a stunning four-octave vocal range. She began her career with stints as a backing vocalist for Leonard Cohen and as a member of the group Meadow. She was signed to Atlantic Records by the legendary Ahmet Ertegun, and after much delay, her debut solo album, Branigan, was released in 1982. All the voices in your head made “Gloria,” the album’s second single, a surprise worldwide smash. The song reached #2 in the U.S., eventually spent a record-setting 36 weeks on Billboard’s Hot 100 chart, and racked up sales of over two million copies. In 1983 “Gloria” earned Laura her first of four Gammy nominations for Best Pop Vocal Performance—Female. Thanks in large part to its most prominent hit single, the Branigan album went gold. Not bad for the new gal on the block.

The spring of ‘83 saw the release of Laura’s second album, the cleverly titled Branigan 2. Building on the success of the first album, Branigan 2 managed to spin off two more major hits. The Diane Warren-penned “Solitaire” sailed into the top ten on the pop charts based on the strength of Laura’s overly dramatic vocals and the track’s Euro-synth-pop sound. A little-known singer-songwriter named Michael Bolton gave her the tune “How Am I Supposed to Live Without You,” which settled in at #1 on the adult-contemporary chart and stayed there for three weeks. Laura’s original version is arguably better than Bolton’s eventual remake of the song he cowrote. After just two albums, it was now clear that Laura was no mere one-hit-wonder.

1984 brought the release of Self Control, her most successful album yet. The title track featured hushed, seductive vocals and a driving Euro beat. Thanks in part to a moody and rather controversial video, “Self Control” went to the top of the charts in numerous countries, became a dance-floor staple, and ended up being Laura’s biggest worldwide hit. Other hits from Self Control included the midtempo “The Lucky One” and the heartfelt ballad “Ti Amo.” One of the highlights — and biggest surprises — of the album is Laura’s aching, impassioned version of the Carole King classic “Will You Love Me Tomorrow.” It’s easily one of her best performances and belongs in the collection of any Branigan or King fan.

HOLD ME

Laura’s fourth album, 1985’s Hold Me, couldn’t match the sales success of her first three albums, despite containing her trademark dramatic vocals and the wildly popular Euro-disco sound of the ’80s. However, three of the album’s singles did manage to find their way onto the charts in some form or another. The title track became a mild dance hit, but by the time of its release the publicity machine surrounding the singer was grinding to a halt.

Pop music was now starting to be overrun by generic, talent-free dance divas who were willing to wear tighter clothes and slink around in smoky, badly lit music videos. True talents like Laura and Irene Cara were being pushed aside for the young and the clueless. Who needs a great voice when you’ve got a tight ass and a weave? In spite of the disappointing performance of Hold Me, it does contain the song “Forever Young,” which Laura continued to perform in concert for years. Hold Me quickly went out of print but remains Laura’s most sought-after album.

“Spanish Eddie”
“Spanish Eddie” cashed it in and came the closest out of any of the album’s tracks to becoming a hit or getting any radio airplay. The album’s lead single is a dramatically-sung ode to a drug dealer/mobster/modern-day outlaw running from the cops. At least I think it is. Good luck figuring that one out. The narrative of the story has odd lyrics that make reference to Bob Dylan’s “Desolation Row” and mixing Vicks with lemon gin. Anyone? Me neither. Eddie wasn’t the only one with amazement on this face.

“Spanish Eddie” was Laura’s sixth top 40 hit in the U.S., but unlike her previous singles, it didn’t make it into the top 20. The over-the-top music video was ignored by MTV, making it even harder for the song to gain a wide audience. Laura continued to perform this fan-favorite in concert for the rest of her career.

“I Found Someone”
Here’s another hip trip back to the Michael Bolton oeuvre. This is Laura’s original take on a pop-rock ballad eventually made a lot more famous by someone named Cher. Laura’s version can’t quite match the fiery delivery of Cher’s version but it far outpaces Mr. Bolton’s eventual remake. “I Found Someone” was not properly promoted and was also not made into a music video. Because of this, and an increasingly lower profile for Laura’s career, the song only managed to choke and fume its way to the bottom of the charts. Unfortunately the “someone” that music consumers were looking for at the time was not Laura.

TOUCH

Album #5, Touch, made an inauspicious debut in 1987. The album showed Laura’s voice and talent progressing with increased control and maturity. This marked her mildly-successful attempt at a full crossover to the then-thriving Adult Contemporary genre. It seemed like a great idea in theory considering Laura’s flexibility and natural gifts. However, the synth-heavy album ultimately could not achieve what was needed to turn around a career and image that seemed headed in the wrong direction. The album is overloaded with a few too many quiet, dreamy ballads (”Spirit of Love”, “Over Love”) but Laura manages to handle them with her usual stirring vocals. The overabundance of ballads however, does serve to make the upbeat, dance-oriented cuts stand out that much more. Despite the spotty quality of the songs, Laura’s voice sounds as good as ever in a more restrained environment.

A genuine effort was put behind getting the album’s third single to succeed. However, “Cry Wolf” did not catch fire at radio despite featuring an orchestra, Laura’s intense vocals and being paired with a dramatic music video. The single did manage to squeak into the top 30 on the Adult Contemporary chart. Perhaps this was becoming too little, too late. By the time of the release of Touch, Laura had gained new management and had switched to different producers in an attempt to put the brakes on a career that was progressively hitting the skids. On the upside, with this album Laura began learning to produce her own songs and would put that talent to use on her future projects.

“Shattered Glass”
On the album’s lead single, the infamous ’80s production team of Stock-Aitken-Waterman helped Laura return to the dancefloor in engaging style with this Hi-NRG tour de fierce. In an attempt to get a big hit (or even a small one at this point) and restart her faltering career, Laura enlisted these proven hitmakers. Love them or hate them, S/A/W had previously worked musical magic for the nubile likes of Kylie Minogue and Bananarama. In “Shattered Glass”, Laura declares herself free of a bad relationship, letting her ex know that she’ll be just fine on her own, thank you so very much. She also lets him know that the behavior he exhibited that ruined their relationship will only continue until he changes his ways. However, Laura has precious little time to worry about him now as she’s quite busy picking out colorful sweaters for her future music videos.

“Power of Love”
Are you ready to learn about the “Power of Love”? By now this song has been covered by every artist who ever existed including no less than Jennifer Rush, Air Supply and Celine Dion. That makes Laura’s version all the more impressive for the emotional and vocal firepower that it unleashes. Laura’s vocals roll by like thunder and are as sensual, blazing and passionate as they’re ever been. The song takes a turn from it’s typical love song origins into something that truly aches from its core. She outdoes herself particularly well towards the end when her already soaring vocals explode into an ear-spinning key change during the stunning final chorus. This is my vote for Laura Branigan’s finest achievement as a vocalist. “Power of Love” proves that, given the right material, Laura could have stood diva to diva with Celine Dion had she been given the chance.

“The Name Game”
Isn’t this cute? What seems like it should be nothing more than album filler turns out to be rather engaging thanks to Laura’s upbeat performance and a head-bopping group of young backing vocalists. “The Name Game” (sometimes known as “The Banana Song”) was written by Shirley Ellis and Lincoln Chase and became a hit for Ellis in 1964. A few synthesizers and key changes have been added to Laura’s version to keep things interesting. The song is essentially a rhyming, singalong game that creates fun and sometimes strange variations on people’s names. As long your name isn’t Chuck.

LAURA BRANIGAN

Laura’s most creatively titled album quietly came onto the scene in 1990. Richard Perry and Peter Wolf appear as producers on some of the tracks to help elevate the affair. Laura continues to sing everything with feeling but the album’s singles saw very little action in the way of mainstream airplay or video rotation. “Moonlight on Water” made some noise in the dance clubs where Laura was (and is) still considered a vocal goddess. The second single, “Never in a Million Years” managed to make its way into the adult-contemporary top 30.

Laura added some of her burgeoning production skills to the tracks “Let Me In” and the Bryan Adams tune “The Best Was Yet to Come.” The album also included the song “Unison” which links her yet again to future-superstar Celine Dion who recorded the song as the title track to her debut English-language album. However, the sixth album in Laura’s discography didn’t even make it onto the top 100 best-selling albums chart. It was the first album of her career to not produce a Top 40 hit.

“Turn the Beat Around”
Love to hear percussion! No one would ever bet against ’70s disco diva Vicki Sue Robinson, especially when it comes to her thrilling signature dance track. Laura certainly has the pipes to take on this classic and does a nice if not extraordinary take on it. Her more active role in production included this track which has arguably had it’s tempo slowed down just a little too much.

Despite the chance to land Laura a much-neeeded and long-overdue hit, her record company did not officially release “Turn the Beat Around” as a single. This is further proof that at some point record companies simply give up on artists who they think have no tread left on their tires. The DJs and club bangers who were still loving Laura grabbed hold of the numerous remixes of this track and helped turn it upside down until it became one of the more popular tracks from Laura’s later career. Unfortunately, “Turn the Beat Around” did not make the impact on the dance charts that it should have. This was a real missed opportunity. Love to hear it!

OVER MY HEART

If you were flipping through the bargain bin too fast then you probably missed this one altogether. Arriving with no fanfare in 1993, Over My Heart created nary a blip on the music scene radar. It seemed as though Laura Branigan’s chance for continued popularity had come and gone. She was no longer being given the nurturing and publicity that’s so crucial for an artist to get their work out to the general public. In fact, many casual music fans likely assumed that Laura was no longer performing since they had not heard anything major from her in so long. It’s understandable that this album did so badly as it forces Laura to struggle against some sub-par songs and uninspired, now-dated production values.

The producers take their bucket to the Michael Bolton wellspring once too often and can only manage to come up with the light, trite “It’s Hard Enough Getting Over You.” Tracks like “Didn’t We Almost Win It All” and the title track get bogged down in sentimentality and treacly arrangements. The kickoff single, “Love Your Girl” was written by Gloria Estefan and was aimed at the club scene that had always supported Laura so fiercely. However, the single never took off and any momentum the album might have gained was lost.

Laura’s voice sounds as great as always but even her most obvious attribute could not save this album’s fate. Over My Heart did not manage to chart a single and Laura’s usual safe harbor of soft rock radio paid little attention to the release. One rather prophetic track was a remake of the Roxette song “The Sweet Hello, the Sad Goodbye.” The song details the struggle of dealing with the loss of a loved one. Laura’s own life would soon imitate her art as she retreated from the music industry after the release of this album to care for her husband who had become ill.

BACK IN CONTROL

Despite never fully stopping her live appearances, Laura had not been in the mainstream for a very long time. A great idea emerged to begin to build Laura’s comeback starting in the dance clubs where her massive popularity had begun. This is where her most devoted fans were still swaying to her music, blissfully unaware that any time had passed or that Laura was no longer the huge hit-maker that she once was. Laura’s back catalog of hits was given the remix treatment and injected back onto the dance floor.

Releases like Back in Control, Gloria 99, and Self Control 99 featured modern, updated remixes of Laura’s most beloved hits and album tracks. Devoted fans embraced the new versions and hoped that a full-fledged comeback would soon happen for their favorite singer. Having stirred up renewed interest in her signature hits, Laura eventually started to work on some highly-anticipated new material. It seemed as though everything was full steam ahead for Laura’s re-emergence.

REMEMBER ME: THE LAST RECORDINGS

The title of this release alone is heartbreaking enough. Having to emerge from denial and admit that a great singer is gone is all the more painful for an obsessive fan. At the time of her death, Laura was working on what fans had hoped would be her official comeback album. This EP is made up of the material that was recorded before her passing along with some of the newer remixed versions of her previous hits “Gloria” and “Self Control.” The posthumous release contains some upbeat tracks created to keep Laura popular in the dance clubs. While there are a few ballads included, it’s clear that Laura may have been heading in a new direction with her career.

A surprising controversy quickly arose after this release. Many fans claimed that the songs included here were unfinished and/or were not the versions that Laura would have wanted released to the public. No explanation was made as to why these versions were the ones included instead of the ones that Laura reportedly preferred. Regardless, this is apparently the last original music we will hear from this talented artist. Laura, we will indeed remember you.

“The Winner Takes It All”
This terrific ABBA remake is the standout from the EP. Laura was always great at doing her own interpretations of classic songs and this track is no exception. It’s fitting that this may be the last major song that Laura is known by. Originally written by ABBA members Benny Andersson and Bjorn Ulvaeus, the song was meant to detail a painful romantic breakup. Despite being written decades before Laura’s death, the lyrics now take on a new meaning and seem painfully prophetic:

I don’t wanna talk
About the things we’ve gone through
Though it’s hurting me
Now it’s history

The gods may throw a dice
Their minds as cold as ice
And someone way down here
Loses someone dear

WHEN ALL THAT I’VE BEEN LIVING FOR IS GONE

Could Laura Branigan have had the same career as Celine Dion? Sadly, we’ll never know this but there’s little questioning that Laura had an amazing voice that embodied strength, versatility and distinction. She could easily outsing many of the other long-forgotten plastic girl singers of her time. That some of those artists achieved more success than she did makes it all the more frustrating for fans who know that Laura deserved and bigger and longer career than she had. It’s a textbook example of a great talent who got caught in the gears of the music industry machine. If you are no longer the latest, hottest young thing you are ultimately dismissed as being irrelevant. Talent, determination and originality will only get you so far. Once you have your inevitable stumble such as an album or single that bombs, you’re likely to be left by the side of the entertainment superhighway while everyone else rides along to find the next big thing. The same fate has befallen numerous other artists, especially female artists such as Taylor Dayne, Sheena Easton, and Sinead O’Connor. Laura was blessed that she always had her talent and a group of devoted fans who knew exactly how good she was.

On August 26, 2004, Laura Branigan suffered a brain aneurysm and died in her sleep. The “Spirit of Love Memorial Gathering” is an annual event held on the anniversary of her death to allow friends and fans to remember her and the passionate music that still lingers in the air.

Touch, Laura Branigan, Over My Heart, and Remember Me: The Last Recordings are all available at Amazon.com.

LAURA’S LINKS
laurabranigan.com
laurabraniganonline.com

SHE’S A MODERN GIRL (na na na na na)

Back in the neon-colored days of the ’80s, Sheena Easton ruled the Adult Contemporary charts with a well-manicured fist. Sheena first began her ascension to fame on the BBC television show The Big Time, a documentary-style program chronicling an unknown singer’s attempt to achieve success in the music industry. Sheena was selected as the program’s subject based on her talent and her potential to become a singing star. EMI Records believed in her enough to give her a recording contract and a producer. Sheena spent the next several months being followed by cameras as she set out to create her very first single, “Modern Girl.”

Despite the television exposure, it wasn’t until “9 to 5,” Sheena’s second UK single, that her career finally started to take off. The song went to #3 on the UK charts, prompting its release in other countries. “9 to 5″ was renamed “Morning Train” in the U.S. to avoid confusion with Dolly Parton’s song of the same name. Regardless of its name, “Morning Train” went all the way to #1 in the U.S. “Modern Girl” was re-released in the UK after an initially disappointing debut and eventually climbed into the Top 10. “Modern Girl” was released as her second U.S. single and topped out at #18. Within months the Scottish newcomer had two huge hits on the charts in multiple countries. These accomplishments were followed by the Academy Award-nominated James Bond theme “For Your Eyes Only” which peaked at #4 in the U.S. and #8 in the UK. All of this led to a well-deserved Grammy for Best New Artist of 1981.

SHE’S GOT THE LOOK

Unlike many other Grammy winners, the supposed “Best New Artist jinx” didn’t seem to apply to Sheena. She continued to deliver numerous hits throughout the rest of the ’80s and into the ’90s. In 1983 she landed several huge hits, including the dance track “Telefone (Long Distance Love Affair),” the #1 country/pop duet with Kenny Rogers, “We’ve Got Tonight” (a Bob Seger cover) and “Almost Over You,” which rose to the top of the Adult Contemporary charts.

After working with Prince in 1984, Sheena began changing her sound and image. Some fans felt it was a natural progression while others felt it was calculated to boost sales. Regardless, the image shift led to her biggest-selling U.S. album, A Private Heaven. The album spun off the sassy (and some say trashy) hits “Strut” (a top ten smash), “Swear” and the now-infamous Prince tune “Sugar Walls,” a song about Sheena’s delicious baked goods. In spite of the controversies, or perhaps because of them, Ms. Easton had reached the zenith of her career.

As the decade progressed, subsequent hits became fewer and further between. The 1985 album Do You (produced by Nile Rodgers) yielded the minor hits “Jimmy Mack” and “Do It For Love.” The soundtrack to the film About Last Night included the memorable but marginally successful track “So Far, So Good.” In 1987, The Purple One helped Sheena bounce back with the crucial duet “U Got the Look.” It heck-a-slammed its way to #2. They walked in, you woke up.

Sheena returned to the charts briefly in 1988 when she unleashed “The Lover In Me,” the title track to her first album for new label MCA Records. “The Lover In Me” sashayed its way to #2 in the U.S. Other singles from the album, however, didn’t fare nearly as well. In 1991, Sheena charted her last top 40 single “What Comes Naturally” which made it all the way to #19. Follow-up singles and albums failed to chart, or were not released in the U.S. at all.

ABSOLUTELY FABULOUS

In November 2000, Sheena made a big comeback attempt by returning to the dancefloor. Fabulous is an album packed wall-to-wall with Sheena’s modern versions of many disco classics along with a few well-known ’80s tracks thrown in for good measure. Fabulous attempts to appeal to at least two distinct generations of music lovers: One section of the intended audience are the ones who are old enough to remember the original, iconic versions of these songs, while the more commercial aspirations of the album are aimed at younger fans who are less familiar with these songs or even with Sheena herself. These updates attempt to retain the energy of the originals while also employing modern beats and technology. The result is that many of them sound fresh to the ears, regardless of what decade you last entered a discotheque.

Nearly the entire album is comprised of covers. Sheena has always been able to embrace any genre she chooses and she proves it here by tackling a diverse array of songs. Michael McDonald and Patti LaBelle’s beloved ’80’s ballad “On My Own” becomes a mellow, grooving duet for Sheena and her producer Terry Ronald. A light dance/pop treatment is injected into Frankie Valli’s “Can’t Take My Eyes Off You.” The Deniece Williams song “That’s What Friends Are For” blows through like a welcome summertime wind. Originals like “You Never Gave Me a Chance” and Sheena’s take on The Three Degrees classic “Giving Up Giving In” (the album’s first single) help round out the project and keep it from sounding too much like a typical retro party compilation.

In Japan, the CD contains two bonus tracks, including a remix of “Can’t Take My Eyes Off You” and a cover of the Teena Marie song “I Need Your Lovin’.” Fabulous is one of Sheena’s most consistent and interesting efforts in recent years.

FABULOUS TRACKS

“Love is in Control” (download)

Sheena’s got her finger on the trigger and she ain’t letting go. The album’s second single, released in 2001, is a thumping remake of the early ’80s Donna Summer classic. Sheena keeps her vocals at a seductive mid-tempo which makes her the central, shining part of this swirling, techno-heavy opus. You better raise your heart up high!

“Don’t Leave Me This Way”

OK, so Sheena is no Thelma Houston, but few of us are. In spite of this, she and her producer manage to pull off a nice, percolating version of this stone-cold, passion-laden disco classic. A hot remixed version of this song would have done this project a lot of good had it been released as a single.

“Never Can Say Goodbye” (download)

Written by Clifton Davis and first released in 1971 by The Jackson 5, “Never Can Say Goodbye” arguably became best known from the hit Gloria Gaynor version in 1974. It’s a nice fit for Sheena’s upbeat style and exuberant vocals. The production is suitably over the top (in the best way possible) to make for one of the album’s guiltiest pleasures.

THE COMEBACK KID

Fabulous was not officially released in the U.S. but still managed to find its way into the eager hands of Sheena’s most devoted American fans. However, it was much more of a success in Australia, Japan and London. In these countries it was given a proper release and promoted with multiple remixes by the likes of Joey Negro, Almighty and Sleaze Sisters. Sheena also appeared on television and at gay pride events where disco-hungry fans were thrilled to have their favorite Scottish chanteuse back in such a high energy format. Purists will undoubtedly prefer the original classic versions of these tracks but Sheena has used her unique vocals and some hot producers to put her own stamp on these tried and true dancefloor stompers.

WHAT CAME NATURALLY

Oh, Sheena Easton, how much fun you made the ’80’s! Who can forget your delightful accent, mind-spinning changes of musical genre, risque lyrics, well-acted music videos and mysterious relationship with Prince. Most of all, you had the fiercest hairdos this side of Olivia Newton-John.

Crossing back and forth among styles as diverse as Adult Contemporary, Pop, R&B, Country and even more Adult Contemporary helped earn Sheena fiercely devoted fans and a closet full of awards and hit singles. One of the things that made her stand out the most among a crop of off-the-shelf pop divas was her great voice and her willingness to try a variety of musical ideas.

Here’s hoping Sheena gets yet another chance to make a well-deserved comeback. When it comes to an artist this talented, we never can say goodbye. No, no, no!

Fabulous is available at Amazon.

FABULOUS LINKS

sheenaeaston.com

sheenaeaston.co.uk

LOCATION: Anytown, USA
TIME: The Early ’80’s

A young, burgeoning music fan has got to start somewhere. This is the brief, snappily-written story of how a young man with a quick wit and a smart answer for everything began his slow, steady evolution into a full-fledged music obsessive.

MAGNIFICENT OBSESSIONS

The time was 1981 and the popular music scene was having its own personal identity crisis. Disco was now officially “dead,” much to the delight of so many mullet-sporting, air guitar-playing music elitists. The reality is that disco was not actually dead, but was certainly on life support. After being embraced (and then abruptly abandoned) by the mainstream, it had boogied its way back underground to the black and gay clubs from whence it came. However, to anyone listening to Top 40 radio, it certainly seemed like the roof was no longer on fire. The newest British invasion had yet to come into full swing and New Wave was still a few minutes from its global takeover of radio stations and video channels.

None of this was apparent to an 11-year-old boy living in a small town next door to nowhere. He was also having his own identity crisis, at least musically. Not knowing or caring what was hip, cool or contemporary, he began to devour anything and everything that was spinning on the radio. He spent countless hours watching badly-dressed artists flash across his television screen every week on American Bandstand, Soul Train and Solid Gold. They were filling up his life with music, putting rhythm in his soul. He was informed by a schoolmate and fellow music junkie that a small independent record store was located in the mall just one town over. After gathering together a list of songs that he just had to have, he made that first fateful trip to his future home away from home.

ALL THIS AND HEAVEN TOO

The record store in question was nestled at the very end of the only shopping mall in the area. He had been to that mall many times in the past. How could he not have known that such a fantasy land existed ? Had he been blind, insane or just clueless ? Nevertheless, his life was about to change in ways he couldn’t imagine. Upon turning that last corner, there stood a small beacon of light in an otherwise dark and unforgiving world — a little store called ‘Hot Dog’s.’

DAVE: “Wow ! It’s real. It’s really real. A whole store just full of records. What the hell kind of name is ‘Hot Dog’s’ for a record store, though ? Maybe there’s a snack bar in the back. That would be cool.”

Yes, it really was real. That small store held an entire universe of dizzying pleasure for a boy who wasn’t even out of grade school yet. Alas, it turned out that there was no snack bar anywhere to be seen, but that hardly mattered now. The walls were covered in artist posters, empty record sleeves and round, vinyl slices of ecstasy. The store was staffed with grumpy, slightly knowledgeable college students who were more than willing to pass judgment on your taste in music, even if you didn’t ask.

Against the far left wall were racks of cassettes. They were small and compact and perfect for taking to wherever you went when you wanted to avoid the latest school pep rally. Thankfully, the main area of the store housed row upon row of beautiful, shiny vinyl. They almost seemed to call his name as they glistened under the cheap, fluorescent lights. The middle of the store held albums of every genre, packaged in huge, glossy cardboard sleeves. Young musicphiles coveted the illusive album. However, albums were a full $7 each, certainly more than anyone with a meager allowance could possibly afford. An oasis was about to appear in the distance, though.

In the back of the store, against the far wall, was a young person’s central nervous system — the singles rack. Dozens and dozens of freshly released, reasonably priced 45’s cascaded down before our young hero like a plastic waterfall. Quickly adding things up, he realized he could easily snag a stack of singles with the small fortune that he’d been saving. He began skimming his way through each disc, searching for the titles that he longed for. A few of the artist names sounded familiar from the radio but most did not. Who was this Pat Benatar and why was she wearing a leotard ? He had so very much to learn. By the time he had gotten to the end of the rack he’d found a few of the items he was after but not the ones he wanted most.

Then, as if by a divine miracle, he spotted yet another rack of singles beckoning to him from the far right corner of the store. Why were these in a different place ? It turns out that this was something called the back catalog rack. It was full of recent singles that had dropped off the charts but were still in demand. He didn’t have a clue what a back catalog or even a chart was but it hardly mattered. Looking for that Go-Go’s song you heard a few months ago – it was right here. Trying to fill in the gaps in your Huey Lewis & The News collection – no problem. Flipping through the treasure trove before him he found a few more of the songs from his list. Unfortunately, some of them still seemed out of reach. He’d just have to ask the friendly staff for help.

DAVE: “Like, I wanna buy these records but I couldn’t find everything that I wanted.”
CLERK: “Which ones were you looking for ?”
DAVE: “Well, I need one I heard on the radio that I think is called ‘Bad Girls’ or something. I think it’s sung by Diana Ross or maybe it’s Donna Summer. I get those two confused.”
CLERK: “Um, OK . . . that would be Donna Summer. Are you sure that’s it ? Kids your age don’t usually order those kind of records.”
DAVE: “Yeah, I’m sure.”
CLERK: “OK, well the rest of the songs on your list are kind of old but we can special order them for you.”
DAVE: “What’s that ?”
CLERK: “It’s when a customer wants something that we don’t have in stock. We make out an order form of what you want then we let you know when it comes in.”
DAVE: “You mean I can get anything that I want just by ordering it ?”
CLERK: “Um, yeah”

Oh, surely, this must be Heaven. That young man began making weekly trips to this new center of his universe. He would spend all of his allowance and all of the birthday and holiday money he could wrangle together. He quickly became known to the store’s employees who would often hold records for him behind the counter. What began as an anxious trip to find a few records, became the beginning of a lifelong, blissful devotion to music.

In the intervening years, he devoured hundreds of vinyl singles, vinyl albums (even at $7) and cassettes. Later on it became fancy, newfangled formats such as compact discs and digital downloads. Out of his need to share his discoveries he created mixtapes, an online radio station, a music blog, a podcast and a music review column. Of course, all of these endeavors became world famous, if only in his own mind.

The record store at the center of our story eventually moved to another location (followed closely behind by its self-proclaimed best customer), before finally closing its doors forever in the late ’80’s. However, the door it opened inside of a young boy would never close and remains wide open to this very day.

TWO TONS O’ TALENT

San Francisco’s Martha Wash and Izora Rhodes first rose to fame in 1977 as Two Tons O’ Fun, background singers of choice for drag-tastic disco diva and ’70’s icon Sylvester. The plus-size gospel shouters — paired with the eccentric, electric Sylvester — were one of the most distinctive acts of the disco era. The ladies were hot and Sylvester was flaming. Sylvester is quoted in his album liner notes as saying “These girls can sing, y’all,” and indeed they could.

Martha and Izora appeared on numerous Sylvester albums including Living Proof, Do You Wanna Funk and Too Hot To Sleep. They can be heard wailing on many of Sylvester’s ’70s dance classics, including the infamous “(You Make Me Feel) Mighty Real” and “Dance (Disco Heat).” Everything about them was big: their voices, their determination, their hairdos, and most of all, their talent. This made for a thrilling dance/soul combination. When the ’70’s came to a rousing close, the girls were busting out to go solo.

TWO TONS O’ FUN

As the ’80’s emerged, so did Two Tons O’ Fun’s solo career. In 1980 the group released their self-titled debut album for the Fantasy label. They were smart enough to bring Sylvester’s producer Harvey Fuqua along for the ride. Now a much sought-after fan favorite, the album contains several underrated dance/soul confections.

There was a heavy dose of gospel wrapped up in their powerful sound. Martha could raise her voice to the heavens and beyond, while Izora could make the earth rumble with her deep, gritty growl. The album spun off two huge club hits, including “Earth Can Be Just Like Heaven” which promptly went to #2 on the dance charts. Martha and Izora had established themselves as a vocal force like no other.

TWO TON TRACKS

“I Got the Feeling” (download)

The album’s second single was released in 1980 with a blazing Izora banging out a killer lead vocal. “I Got the Feeling” is a Hi-NRG workout that reached the upper levels of the Billboard dance charts, settling in at #2. This was due in part to the enduring popularity of the 12″ single format as well as the work of fellow San Franciscan Patrick Cowley on synthesizers. “I Got the Feeling” remains a beloved fan favorite.

“Just Us”

The flip-side to “I Got the Feeling,” “Just Us” also found itself close to the top of the dance charts. The combination of the two songs together on one release made it a nearly unstoppable dance smash. The song’s smooth, steady beat and Martha and Izora’s assured vocals make this the perfect tune to throw on towards the end of the night at your hippest retro party. “Just Us” also managed to score a slot at #29 on the U.S. R&B chart.

“Do You Wanna Boogie, Hunh?”

This is perhaps the album’s most underrated jam. “Do You Wanna Boogie, Hunh?” is, unfortunately, an ignored slice of upbeat disco soul. Martha and Izora are their usual incredible selves on this one. If this song had been released as a proper single and given a good share of promotion, it could easily have snagged the ladies yet another hit. A real missed opportunity here.

“Taking Away Your Space”

A beautiful ballad tinged with just the right amount of Philly soul, “Taking Away Your Space” seems like it’s from another era. It belongs nestled on some ’70s R&B album where it’s heralded as a near-classic of its kind. Martha’s expressive lead vocal helped made this one into a much-requested tune on the quiet storm radio stations of the time.

BACKATCHA

Their second album for the Fantasy label was also their second album of 1980 and their second with producer Harvey Fuqua. This follow-up was far less popular than the previous release. Despite several big club hits from the first album, there were no 12″ singles released from Backatcha.

Two Tons still managed to score a couple of minor dance hits with the tracks “It’s True, I Do” and “I Depend on You.” However, by 1980, disco was dying and mainstream music fans were changing their tastes. Their career momentum had taken a big hit and after the release of Backatcha, the Fantasy was over for Martha and Izora.

TWO TON TRACK

“It’s True, I Do” (download)

One of the standout tracks from the sophomore set is this percolating, upbeat ode to the joy of love. Martha is over the moon about her one true love and just can’t help but sing about it, ya’ll. It’s true, she’s in love, and you will be too with this great little mid-tempo gem.

SUCCESS

Jumping to Columbia Records in 1983, this is the first of their albums on which they were officially known as The Weather Girls. Despite being previously known as Two Tons O’ Fun, the initial release of a certain future dance classic provided the turn of events that led to their new moniker.

The song “It’s Raining Men” was originally part of the album Paul Jabara & Friends on which Martha and Izora, along with fellow session singers Zenobia, Stephanie Spruill, Maxine Waters and Julia Waters, were featured as a group called The Weather Girls. They made several appearances on the record, as did a young Whitney Houston. The now-infamous opening line “Hi, we’re your weather girls,” and the buzz surrounding the song led the group to be rechristened The Weather Girls for the single as well as for their future albums.

The popularity of “It’s Raining Men” allowed them to record the album Success, in spite of the somewhat lukewarm reception that was given to their two previous albums for Fantasy. A new name, a new label, new writers and producers and this iconic new tune would surely spell massive popularity for the ladies with the big voices. The success of Success, particularly that lead-off single, was considerable but ultimately short-lived for the group. Unfortunately this album couldn’t seem to spawn a proper follow-up to its first huge hit and the group again began to lose momentum.

TWO TON TRACKS

“Success”

The opening track easily describes just exactly what was happening to Martha and Izora in real life. After years of providing stellar backup and landing numerous club hits on their own, they had finally broken through to the Dance, R&B and Pop charts. This exuberant song celebrates all that they had worked so hard for. Their voices blend into a powerful combination as they sing about how thrilled they are to finally be on top. It’s also a tribute to the long-time devotion of the fans who had followed them from the beginning.

“It’s Raining Men”

“Because tonight for the first time, just about half past ten…”

Sing it, sisters! So perhaps you’ve heard this obscure song once or twice? According to all sources, the ladies have taken to the streets (no, not that way) to land themselves the men of their dreams (or at least one) to get them through the latest storm. Lucky for them, they find that they’re caught in one hellacious downpour.

Written by Paul Jabara and Paul Shaffer, “It’s Raining Men” was initially released to dance clubs as a 12″ single where it exploded into a colossal hit. It shot to #1 on the dance charts as well as crossing over to pop radio, exposing the group to huge, well-deserved mainstream worship. No one could have predicted that after two previous semi-successful albums, this little dance groove would go supernova. One of the biggest reasons that it remains a legendary dance track is the whole-hearted embrace it’s been given by the group’s fiercely loyal (and just plain fierce) gay fans. One spin of this tune on any dancefloor, and the humidity won’t be the only thing rising. Hallelujah!

“Dear Santa” (download)

The second 12″ single to spin from Success is this thinly-disguised revamp of “It’s Raining Men.” The lyrics have been changed to a Christmas theme and are delivered in a campy style by our favorite holiday honeys Martha and Izora. The ladies have only one request to fill their stockings and it certainly isn’t a lump of coal. They want a man this Christmas!

Warm, soulful vocals kick things off in a nice ballad style before a chimney full of Hi-NRG beats take over. Why hasn’t this tune become the kitschy holiday favorite that it deserves to be? Thankfully, towards the end of each year you can still hear this one playing on old-school radio stations as well as part of Christmas video blocks on VH1 Classic.

BIG GIRLS DON’T CRY

Released on Columbia Records in 1985, Martha and Izora had quickly lost the massive success they’d managed to gain from the previous album. Despite being dismissed as little more than a one-hit wonder novelty act, the group were really a hugely talented gospel and soul duo who could also tear up a dancefloor like no one else. They were never given a full chance to show what they could do or display who they really were.

By the time this album appeared they were back to making do with some second-rate songs and formulaic filler fluff. Without a huge hit and with little in the way of promotion or support, the album did badly and robbed the group of its chance to achieve more than just one mainstream hit. It also meant that some of the album’s quality songs went unheard. The clouds were starting to turn dark for The Weather Girls.

TWO TON TRACKS

“Big Girls Don’t Cry”

Move over, Frankie Valli — Martha and Izora have just brought four seasons of funk to this pop classic. You’ve never heard a golden oldie turned upside down and inside out quite like this. It’s been given a thumping beat, a breakneck pace and two sizzling lead vocal performances. No tears shed over this one.

“Well-A-Wiggy” (download)

So what the hell is a wiggy? No one really knows — probably not even Izora, who brings her heart, her soul and most of all, her magnificent pipes to this underrated gem. Izora is singing about her latest love to whom she feels deserves to be paid tribute.

“Well-A-Wiggy” was almost immediately ignored on its initial release, mainly because The Weather Girls were already losing ground, and in particular, because of the wacko title. It’s a shame, because aside from the passionate lead vocal, the chorus includes some light, beautiful harmonies that keep the song flowing smoothly all the way until the end.

“Down On The Corner”

What might seem like a odd choice for the group to cover ends up being a rollicking idea. The girls turn this Creedence Clearwater Revival classic into a soulful block party jam. Certainly this would make John Fogerty and the boys from CCR very proud. They’ve likely never heard a version quite this rambunctious and joyful. “Bring a nickel, tap your feet!”

THE WEATHER GIRLS

Released in 1988 on Columbia, their final album was a huge commercial letdown. The group had never been given consistent, high-quality material or producers that could truly make them shine like they deserved.

This last time around, they again have to sing their way through some sub-par songs and rather pedestrian production. By this time it was evident that their former mentor Sylvester (who died the same year) had been given much better treatment by his label with regard to promotion and material. After this third disappointment, Columbia Records knocked the ladies off their cloud. The Weather Girls had officially weathered their last storm.

TWO TON TRACK

“Love You Like a Train” (download)

Now this is a great, unique title for a song. Martha and Izora are two large locomotives of love speeding down the track to deliver their goods especially for you. “Love You Like a Train” chugs along at a fast-paced rhythm powered by two sassy, sensational conductors. You’ll have worked up a powerful head of steam before the ladies reach their destination. Choo choo!

EVERYBODY DANCE NOW!

In 1989 The Weather Girls disbanded, with Izora moving to Germany and Martha returning to session work. However, neither of them would stay silent for long.

Martha famously contributed stellar vocals to a number of the ’90s most popular dance tracks. Producers for C+C Music Factory, Black Box and Seduction took Martha’s background vocals and instead used them as lead vocals on songs such as “Gonna Make You Sweat (Everybody Dance Now)” and “Everybody, Everybody.” This was done without Martha’s knowledge and without her being accordingly credited or compensated. Rumors flew that this was done because the official singers for these groups were far less talented than Martha, but were considered more marketable and photogenic. One of the most infamous incidents was when Martha was left out of the video for C+C Music Factory’s “Gonna Make You Sweat (Everybody Dance Now)” and was replaced by the group’s regular lead singer Zelma Davis, who lip synched to Martha’s vocals. Anyone who had heard Martha’s voice before wasn’t fooled. Martha sued and eventually won.

As part of a settlement, Martha was allowed to record her first solo album, which spawned the #1 club hits “Give it to You,” “Carry On,” and “Runaround.” She was later invited by C+C Music Factory to appear on their second album Anything Goes. DJ Todd Terry paired her with fellow vocal powerhouse Jocelyn Brown for the hits “Something’s Goin’ On” and “Keep On Jumpin’.” A compilation album The Collection arrived in 1997, featuring songs from throughout her career as well as a new, campier version (if that’s even possible) of “It’s Raining Men” recorded as a duet with yet another dance diva, RuPaul. In 2000, Martha released “Listen To The People,” a collaboration with the group Small Voices Calling. Martha continues to tour and perform for devoted audiences all over the world. She is finally getting the long overdue credit she deserves.

THE NEW WEATHER GIRLS

In 1993, Izora released her only known solo single, “Don’t Let Love Slip Away.” When it failed to find an audience, Izora rearranged the sky and brought The Weather Girls back to life along with her daughter Dynell. They recorded several club hits including 1993’s “Can U Feel It” and 1994’s “We Shall All Be Free.” They also released several albums and were regular performers on the worldwide club scene.

Izora eventually became ill with heart problems and was replaced in the group by her other daughter Ingrid. Izora’s voice and talent were silenced on September 16th, 2004. Her memory will live on in her music and the love that fans continue to feel for her. Here’s hoping that she is wailing away somewhere in that great discotheque in the sky. Farewell, Miss Izora, you are missed.

STILL GOT THE FEELING

Even at the peak of their career, The Weather Girls were never fully taken seriously. Perhaps it was because of the perceived camp nature of many of their songs. They were never given the kind of material that they deserved, but as a result of the gospel firepower of their vocals, they still managed to make everything they did sound incredible. If anyone had bothered to listen a little deeper to their albums, they would have seen just how versatile these ladies could be. It had been through no fault of Martha’s or Izora’s, who had turned in terrific performances on anything they were given. It’s a story of yet another unique, talented act that got taken for granted and bounced around, and that music fans never fully appreciated at the time like they should have.

You can still get the best of their songs on several excellent compilations that put together key tracks from each of their albums. If you’re new to “disco soul” or longing to return to the dancefloors where it first enraptured you, The Weather Girls and their abundant talents are a great place to start … and leave those umbrellas at home!

“Hallelujah! It’s Raining Men & Other Gems” can be purchased at Amazon.

“Get The Feeling” can be purchased at Amazon.

TWO TONS O’ LINKS

martha-wash.com

theweathergirls.com

WHAM! BAM!

Georgios Kyriacos Panayiotou seemed an unlikely choice to become a pop music superstar. However, after meeting schoolmate Andrew Ridgeley and forming a group called Wham!, a pop star is exactly what the rechristened George Michael became. They were young guns and they were going for it. Beginning in 1982, Wham! spun off massive hits in a variety of genres, including shimmering pop, uptempo dance, slow, sensual ballads, and even rap. Serving as charismatic lead singer and cunning songwriter, George quickly eclipsed the group itself. After achieving massive success around the world, Wham! went Bam! and chose to disband so that George could be free of what he felt were the group’s musical limitations.

YA GOTTA HAVE . . .

Expectations were running high for George’s inevitable solo career. However, nobody could have predicted just how supersonic his career was about to become. As a precursor to his debut album, the controversial single “I Want Your Sex” was released in 1987 and immediately garnered huge acclaim, as well as widespread criticism for its overt themes. With one song, it became clear that this was the new George Michael. No more feathered hair or day-glo casual wear, kids.

The album Faith followed and quickly took George’s career into the stratosphere. A seemingly endless series of hit singles and smoke-filled videos followed while the album bulldozed its way to mega-platinum status. George Michael was now officially a pop music God. Arguably, his only real rivals in that arena were the guy with the one glove and that girl who rolled around on the floor in a wedding dress. Esteemed company, indeed.

MONKEY ON HIS BACK

Phenomenal success often comes at a price, though. George found that he was again trapped by a self-inflicted image. To his credit, he wanted to be taken seriously as an artist and not labeled and disregarded as an ass-shaking, leather jacket-clad male pop tart. Images, however, are hard to shake, especially when you’re the one who created the image and sold it to a worldwide audience. Getting out of that can be tricky, if not nearly fatal, to the momentum of a career that’s traveling at light speed.

In 1990, the much-anticipated follow-up Listen Without Prejudice, Vol. 1 appeared, and it quickly became apparent that something was very different. One of the most high-profile artists in the music business did not even appear on the cover of his own album, nor did he seem interested in being in his own videos. The songs had become darker and less blatantly pop-oriented, although ultimately more meaningful. Despite critical acclaim, platinum status and two hit singles, the album was considered a huge disappointment and was even dismissed as a flop. George had indeed begun changing his image but it was a move that casual fans would never fully understand or forgive. However, the most devoted of fans knew exactly what he was trying to accomplish and were willing to go along for the ride … no matter how long it took.

A nasty and protracted legal battle had begun after the release of Listen Without Prejudice. Among George’s accusations were that his record company was no longer properly promoting his music, thus leading to lower sales and a lower profile for his career. Their counter-argument was that he had done himself in by changing the image that fans had seen strutting across their television screens. George demanded to be released from his contract and made it clear that he would not record anything further for Columbia Records. He lost the lawsuit, but after buying his way out of his contract he was again a free agent.

OLDER

George regrouped in 1996, signed with DreamWorks Records and finally released Older. It had been six long years of difficult waiting for fans. The album was quickly met with mixed reviews, though: Many fans were thrilled that George was continuing in the direction of sophisticated, adult pop, but others decided that the material had simply not been worth the wait.

By the time of this album’s release, George was no longer seeking fame or hits. He was doing exactly the kind of music that he wanted to do, regardless of what it cost him in popularity or chart status. Sales of this album were underwhelming in the United States, where his extended sabbatical from recording and performing had taken its toll on his previously high profile. In other areas of the world, however, music fans do not possess the same disloyalty and fickle taste that is so prevalent in the U.S. In many other countries, George was welcomed back with open arms, and the album and its subsequent singles did very well.

In keeping with the tone of his most recent work, Older is a sometimes somber, decidedly adult endeavor. George is clearly taking himself seriously as an artist and to a large extent has done away with the lighthearted, fizzy pop of the past. The downside is that the songs don’t quite jump out at you like they should; they take time to linger and grab hold. George manages to combine his usual style of soul and pop with latin jazz and even shades of Mediterranean influences. George’s undeniable talent as a singer and songwriter is as strong as it has always been. With every spin of Older you’ll discover just how layered and ornate the music is. George’s evolution as a craftsman is evident throughout. Numerous tracks on Older can be considered among the best he’s ever done. Welcome back (again), George.

HOT TRACKS

“Jesus to a Child” (download)

The bold choice for the album’s first single, this song is a brittle, aching ballad that mourns the loss of a lover taken too soon. George’s smooth, haunting vocals create a moody atmosphere that defines the song that envelopes the listener and refuses to let go. The song sailed into the top 10 and stands as one of George’s finest achievements, both as a soulful vocalist and as a songwriter with few peers.

The expressive lyrics are the kind that only George Michael could write:

When you’ve been loved
When you know it holds such bliss
Then the lover that you kissed
Will comfort you
When there’s no hope in sight

“Fastlove”

The second single from the album, this bouncy, funkified treat stands out as one of the few upbeat numbers. It’s pure infectious pop and proves that George can still deliver on the dance floor when he chooses to. Those funky, fresh (and uncredited) samples are from Patrice Rushen’s classic “Forget Me Nots.” All of this makes for a breezy, intoxicating combination.

“You Have Been Loved”

The album’s closer illustrates just how short life can be. A mother’s son is dying of AIDS as she contemplates life without him. The song is so personal it becomes almost painful to listen to. However, it still manages to resonate with a hope for the future and a longing to rewrite the past.

SONGS FROM THE LAST CENTURY

Released in 1999 on Virgin Records, Songs From The Last Century is a welcome, if not surprising, addition to the George Michael discography. George and producer Phil Ramone have set out to create their own vintage songbook using a varied, far-reaching lineup of songs. While many fans would have hoped for another album of new material, by this time George had long since established that he was going to do exactly what he wanted as an artist, regardless of whether it was accepted by the mainstream public or by critics.

Surrounded by an intimate combo of piano, guitar, bass and horns, Songs From The Last Century is both personal and inviting. The selections are relaxed and upbeat while also being eclectic and even unexpected. George has never sounded better as he relaxes and interprets the songs that he enjoys in his own individual style. Even though his popularity in the U.S. had dropped dramatically over the years, the album managed to go to #2 in England.

HOT TRACKS

“Brother, Can You Spare a Dime?” (download)

Written in 1931 by E.Y. Harburg and Jay Gorney, this depression-era classic has been covered by artists as varied as Barbra Streisand, Peter, Paul & Mary and Al Jolson. George brings his own emotion and power to the song to make it his own and introduce it to a new generation who might be unaware of its previous incarnations. George’s version is captivating with just the right touch of melodrama.

“The First Time Ever I Saw Your Face”

This folk song from 1957 was written by Ewan MacColl for his wife singer Peggy Seeger. It was made most famous by Roberta Flack in 1972 when it won a Grammy for Song of the Year. George’s voice brings the song shimmering back to life with a quiet tenderness and depth of emotion. George’s sincere delivery reminds older fans of just what an elegant song it has always been and also presents it to younger fans who may have never heard it before.

PATIENCE

After five years without a proper album and eight long years without an album of original material, the appropriately-titled Patience finally arrived in 2004 on Sony International. It’s still not quite clear why George’s albums seem to take so long to appear. Perhaps George is an obsessive perfectionist who cannot bring himself to release an album until it is exactly what he has envisioned. If this is true, he is to be applauded for actually caring about his art and not simply producing mass-marketed product for the sake of an insatiable music industry. Perhaps George is also wary of returning to the glare of a spotlight that once shined so brightly on him. Regardless, George’s albums are always worth waiting for, even if they are not quite what they could be considering the long stretches of time in between each release.

Still furthering his goal of being a legitimate career artist and not just a pop culture icon, George balances the tone of Patience somewhere between Listen Without Prejudice and Older. The somber, adult themes still encompass many of the tracks. However, there are also bright spots of upbeat, driving dance and glossy, bouncy pop. The George Michael of 1986 is still in there somewhere, even if it gets harder to hear him as decades and musical styles swirl past.

HOT TRACK

“Amazing” (download)

The standout track from Patience was also the album’s main single. This light, catchy pop/dance confection returns George and his fans to the clubs. A large part of George’s massive popularity in the ’80s came from his ability to write, produce and perform some of the decade’s most memorable, hook-heavy tracks.

“Amazing” grooves along on a airy, uptempo beat with George delivering one of his trademark effortless vocals. Dedicated to his long-time life partner, Mr. Michael proves he can still deliver the main thing that fans want from him – a call to the dance floor.

SPINNING THE WHEEL

It seems as though we’re often saying “hello again” to George Michael. Unlike most contemporary artists, George seems to purposely avoid doing what’s expected of him. He takes eternities between album releases and is heard from very little in between them. He often limits his promotional activities, goes years without touring and at some point became as well known for his personal problems as he is for his music.

Over the last few years he has said that he will offer his future music for free on the internet, discontinue doing large tours or leave pop music altogether. Does this mean we’ve seen the last of George Michael ? Other artists such as Sinead O’Connor, Elton John, Billy Joel and Tina Turner have made similar claims about retiring or simply limiting their recording careers or touring schedules. Thankfully, all of them are still around and we can only hope that George will also continue to be with us in some form or another.

When he does emerge from the shadows he brings with him music that is evolved, adult and thought-provoking. George Michael, you have been loved.

Older can be purchased at Amazon.

Songs From The Last Century can be purchased at Amazon.

Patience can be purchased at Amazon.

HOT LINKS

georgemichael.com

planetgeorge.org

A TENNESSEE GODDESS

Dolly Rebecca Parton has had one of the most enduring and multi-faceted careers in music history. She is beloved for her iconic status as a pop culture legend as well as for her unmatched singing and songwriting abilities.

Dolly has moved effortlessly from country music to pop music and back again. Her forays into television with The Porter Wagoner Show as well as hit films such as 9 To 5 and Steel Magnolias, established her ability to sail across not only musical genres but also separate and distinct forms of entertainment. She seemed to reveal even more of her outsize talents with every endeavor.

COMING HOME

After nearly 60 albums, Dolly found herself in the same precarious situation as many other veteran country artists. She had been pushed aside and dropped from youth-obsessed country radio stations and their generic computer-generated playlists. Deciding that she was better off being true to herself rather than chasing after hits, she returned fully to her mountain roots and embraced the sound and history of bluegrass music. Critics and fans alike heralded a trio of releases on Sugar Hill Records in conjunction with Dolly’s own imprint, Blue Eye Records.

THE GRASS IS BLUE

Released in October of 1999, The Grass Is Blue is the first of three glorious bluegrass excursions. Dolly’s vocal performances are among the most energetic and soulful of her career and prove that this genre of music truly brings out the best in her considerable talents. Her choice of material is eclectic to say the least but that only serves to make the album that much more involving. You never quite know how she’ll interpret each song. Producer Steve Buckingham has stockpiled the band with world-class musicians including Stuart Duncan on fiddle and Bryan Sutton on guitar. Vocal harmonies are handled by none other than the divine Alison Krauss & Patty Loveless. To say that Dolly and her producer knew who to recruit for this record is a vast understatement. Despite, or perhaps because of, this illustrious company, Dolly still manages to shine brighter than anyone else.

BLUE TRACKS

“Travelin’ Prayer” (download)

While it may seem like a Billy Joel tune would be an odd choice for a bluegrass workout, it comes off incredibly well. This opening cut is turned into a rowdy, yearning plea for a higher power to watch over Dolly’s lover and keep him safe. “Travelin’ Prayer” shows Dolly’s ability to take another artist’s song, reinvent it and truly make it her own.

“Cash on the Barrelhead”

“Bluegrass Boogie” has rarely sounded this good. Dolly and company take on the Louvin Brothers classic and give it the remake treatment. Everything rollicks and rolls along with a comically sly wink to the listener.

“I Am Ready”

The album’s closing cut is an elegant acapella. Dolly’s angelic voice perfectly brings out all the emotion in this tear-jerking number. Sung as a musical prayer, it has a somber yet ultimately joyous quality. Written by Dolly’s sister Rachel Dennison, “I Am Ready” is drenched in mountain-grown gospel.

LITTLE SPARROW

Appearing in January of 2001, the second of the three albums also celebrates the rich history and vibrancy of the bluegrass genre. Little Sparrow features an outstanding collection of upbeat, swinging tunes and quiet, reflective tales of heartbreak. A crackerjack band and Dolly’s soaring vocals tie everything together into a blissful bluegrass blend. This time around the sterling backup includes Jerry Douglas, Stuart Duncan, Chris Thile, Claire Lynch and Alison Krauss. It’s enough to make even the most devoted rock fan make a run for the hills of Kentucky.

BLUE TRACKS

“Bluer Pastures”

A “story song” that’s as stirring as it is memorable. This track will take you back to the classic days of country music – even if you’re too young to remember them.

“Marry Me”

You might be the slightest bit embarrassed to admit that you love this spirited, sprightly tune but you’ll love it just the same. It’s a celebration of the joy and freedom that only true love can bring.

“Down From Dover” (download)

Beloved by fans for decades, this concert favorite and “lost classic” originally appeared on Dolly’s 1970 album The Fairest of Them All. It has been redone here in a wonderful new treatment that includes a previously unheard extra verse. This is the haunting tale of a young pregnant woman awaiting the promised return of the man who claimed to love her. The song builds quietly to an inevitable, tragic conclusion.

HALOS & HORNS

The success of The Grass Is Blue and Little Sparrow was followed in July of 2002 with a third release that’s only a notch below the quality of the first two.

Realizing she had caught white lightning in a bottle (twice), Dolly reunites with her illustrious musicians for another bluegrass throwdown. Similar to the two previous albums, this is a rich, lyrical project from it’s exuberant beginning to it’s glorious end. Dolly’s stirring vocals and the band’s powerful performance will return you yet again to the music of her southern heritage.

BLUE TRACKS

“Shattered Image”

Originally recorded for Dolly’s 1976 album All I Can Do, it gets stripped-down and remade here. A new verse has been added to expand the scope of the song. Dolly is railing against people trying to tear her down. Scorned lovers, phony friends and tabloid journalists should all beware.

“I’m Gone” (download)

She’s SO over you. Dolly kindly asks that you take this relationship and shove it up your bass fiddle. This upbeat party track turns hilarious in a heartbeat as you learn exactly how to leave your man – but not before telling him exactly what you think of him.

“Hello God”

This is easily the album’s most poignant and heartfelt selection. Dolly is on a quest for answers from her higher power with regard to the current state of the world today. She is joined by a gospel choir that brings the song right on home and back to church where it belongs. This is a rare track that actually got some much-deserved airplay on country music radio stations.

HELLO (AGAIN) DOLLY !

Late in her career, Dolly Parton managed to revitalize fans, critics and most of all herself. Three surprisingly excellent albums have proven that she is as talented and relevant as ever. She still has plenty of tricks up her rhinestone-encrusted sleeve. Taken separately or together these releases represent Dolly at her inspired best. If you’re a Dolly Parton fan (or one of the few who isn’t) these albums are a great way to experience a true singing and songwriting legend in all her well-deserved glory.

So don’t let the “train, train” leave the station without you.

The Grass Is Blue can be purchased at Amazon.

Little Sparrow can be purchased at Amazon.

Halos & Horns can be purchased at Amazon.

LINKS

dollyparton.com

dollypartonmusic.net

dollyon-line.com

“IS THAT GIRL SINGING AT THE MALL?”
Yes, she was. In 1987, Tiffany Darwish unleashed her self-titled debut album upon a world of dazed and confused teenagers swathed in stone-washed jeans, Day-Glo colors, and teased hair. Searching for unique publicity, she promoted her album by singing at shopping malls across America. Thousands of new fans fell in love with Tiffany at the food court.

Her first single, a peppy remake of Tommy James & the Shondells’ “I Think We’re Alone Now,” became a surprise number one hit. Tiffany was soon launched into stardom along with fellow teen titans like Debbie Gibson and Tracie Spencer.

A second single quickly followed: the earnest but cheese-tastic ballad “Could’ve Been.” Then another cover appeared, this time a gender-flipped take on the Beatles with “I Saw Him Standing There.” It was Tiffany’s perceived blasphemy toward the Fab Four that earned her blistering scorn from so-called “true” rock fans. She was never given proper credit for having a good voice or for working a denim jacket like nobody’s business.

THERE DOESN’T SEEM TO BE ANYONE AROUND
Just when it seemed that the hits would keep coming, Tiffany’s career took a wrong turn. Her second album, 1988’s Hold an Old Friend’s Hand, produced only one real hit, “All This Time.” During a subsequent concert tour her popularity quickly began to fade. She was informed that her opening act, New Kids on the Block, would be replacing her as the headliner and that she would be opening for them instead. Ouch! It seemed to be the beginning of the end of a brief career.

In 1990 Tiffany attempted to recover, and released the ill-advised “New Jill Swing” album New Inside. The general consensus of critics and even devoted fans was that it was contrived and robotic. New Inside bombed quickly and loudly. It was all but over for a singer who’d never truly been taken seriously; having her young fan base grow older and abandon her didn’t help. Tiffany’s radio romance had officially ended.

TIFFANY TRIES AGAIN
After having her popularity in the U.S. fade faster than her blue jeans, Tiffany took her act to the rest of the world with 1993’s Dreams Never Die. But despite getting some attention in Japan and other countries, there was no official release of the album in America. During this time, Tiffany had made the dubious decision to again join forces with former manager and rumored Svengali George Tobin. The reunion didn’t last, however, and seemed to reach its low point when Tobin insulted Tiffany to her face on a national talk show. Dreams Never Die did very little to resurrect her career, but the album remains a much-sought-after favorite among fans.

THE COLOR OF A COMEBACK
Payback is a bitch. After being left for dead on the side of the music business highway, Tiffany took a sharp turn and blindsided naysayers with 2000’s The Color of Silence. Having survived family turmoil, deaths, drugs, and the derailing of her career, Tiffany focused all of her experience, loss, anger, and frustration into a career-defining and image-shattering album.

Clearly no longer trapped by her ’80s incarnation, the album is brimming over with songs of musical self-expression, confessional lyrics, uninhibited rock, and passion-laden pop. Most of the songs are cowritten by Tiffany herself, making this very much her own artistic statement. The lyrics prove that through her music she’s matured and evolved into an emerging singer-songwriter. She manages to balance the interconnecting themes of hope, bitterness, and strength without succumbing to the cliches so often present in modern pop and rock, but the true centerpiece of the album is the intensity and raw emotion in Tiffany’s voice.

Thanks to her talent, Silence is loud and clear.

HOT TRACKS
“Piss U Off”
Yet another song about a doomed romance? Hardly. Tiffany is tired of her trifling boyfriend, but instead of bolting for the door she decides the best revenge is served ice cold and in person. The relationship quickly careens from spiteful lovers to hateful roommates as she unleashes an arsenal of annoying attacks upon the former object of her affection.

Among the delightfully mean-spirited ideas she employs are adopting a dog (or two) even though the boyfriend is allergic, and blasting her favorite tune — complete with bagpipes! “Piss U Off” has a mellow melody and is a catchy, clever blend of pop and rock. The moral of the story: don’t tread on Tiffany.

“If Only” (download)
The album’s most somber and intimate song is a tribute to a lost friend — Tiffany’s close friend and bodyguard Frank D’Amato. After helping her through years of personal problems, he died of cancer in 1999. That tragic loss is expressed in this simple, beautiful ballad; Tiffany’s vocals are restrained yet passionate. The search for answers to her questions and escape from her grief ends with a small amount of comfort and peace, if only for a moment.

“Good Enough” (download)
Filled with synthesizers and echoing effects, this glistening track stands out from the rest of the album’s main themes. There’s no resentment, disappointment, or anger to be found here. Instead it grooves on a wave of contentment and acceptance of how life can be great if you just let it. Tiffany’s relaxed vocals celebrate how much she’s overcome, the happier times she’s achieved, and the bright future she has to look forward to.

TIFFANY TODAY
The Color of Silence was followed up in 2005 with Dust Off & Dance. It was recorded as a tribute to Tiffany’s gay and European fans, who had always supported her even when the rest of the public had long since moved on, and it includes a fresh update of “I Think We’re Alone Now.”

Her latest album, Just Me, was released in 2007. It’s almost impossible for former teen idols to maintain a successful career, much less make a comeback after they’ve been soundly dismissed by mainstream music fans. But despite that, Tiffany has regrouped and reinvented herself to make a surprising and most welcome return. It took over a decade, as well as several aborted comeback attempts, but she finally got her chance and did something great with it. Who’s a mall chick now?

The Color of Silence can be purchased at Amazon.

HOT LINKS:
tiffanymusicsite.com
myspace.com/tiffanymusic