Posts Tagged ‘Jimmy Jam & Terry Lewis’

CHART ATTACK!: 10/19/91

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Welcome back, everyone, to yet another latest edition of CHART ATTACK! As you know, we take the good charts with the bad charts ’round here. Two weeks ago, we covered a pretty stellar week from 1980. This week? Well, while we have some strong tunes this week, there are also some clunkers, too. Check ‘em out as we attack October 19, 1991!

10. Love…Thy Will Be Done — Martika null
9. Can’t Stop This Thing We Started — Bryan Adams null
8. Everybody Plays the Fool — Aaron Neville null
7. I Adore Mi Amor — Color Me Badd null
6. Good Vibrations — Marky Mark and the Funky Bunch Featuring Loleatta Holloway null
5. Something to Talk About — Bonnie Raitt null
4. Hole Hearted — Extreme null
3. Romantic — Karyn White null
2. Do Anything — Natural Selection Featuring Niki Haris null
1. Emotions — Mariah Carey null

10. Love…Thy Will Be Done — Martika (download)

You’ll be forgiven if you don’t remember this song — I know I don’t have no recollection of ever hearing it on the radio. “Toy Soldiers” might be the only song you remember of Martika’s (perhaps helped by Eminem’s sample of it in his 2005 song “Like Toy Soliders”), but she also reached #18 with “More Than You Know” and #25 with her cover of “I Feel the Earth Move,” in addition to peaking here at #10 with this song. You’ll also be forgiven if you knew this song but had no clue it was actually sung by Martika, since she sounds nothing like she did on “Toy Soldiers.” No, she sounds like she’s been taken hostage and forced to sing this song exactly the way someone else wants her to sing it…wait a minute, this song was written by Prince! Story checks out!

So yes, it’s true — for a brief, shining moment, Martika was a Prince Girl, which I think is something like being a Bond Girl but with a lot more patchouli. And she does a fine job with this song, although anybody really could’ve sung it; in fact,parts of her vocal are reminiscent of the Prince/Madonna “Love Song” duet from Like a Prayer. Musically, the song itself is a bore — the bass and drums are static throughout — but somehow ends up being oddly compelling. Prince created his own mix of the song (available on Martika’s greatest hits collection, which I double-dog dare you to buy), and he’s performed it live himself, too — our buddy (and diehard Prince fan) Pete from Ickmusic has gifted us with this version from 3/8/95, live from The Astoria in London. It’s just drums and bass until the three-and-a-half minute mark, but after that, we get a pretty good vocal from Prince. I’d say I prefer Martika’s original, but still, it’s pretty cool to have. Thanks, Pete!

Prince — Love…Thy Will Be Done (live) (download)

Curious what Tika’s up to these days? Well, she hasn’t released an album as “Martika” since this one, 1991’s Martika’s Kitchen, but she’s released two albums with her husband, Michael Mozart (I don’t know if that’s his real name, and I don’t care) as part if the group Oppera. And more recently, she’s going by the stage name Vita Edit and starring as “Lolly Pop” in a web series entitled j8ded. Mozart is in it too, billed as Michael Daemon. Martika, how the hell did you wind up being stranger than Prince?

By the way, don’t be surprised if this song is in your head all day. I keep singing it to myself, but I replace the word “love” with random one-syllable words, like “scones” and “balls.” (more…)

White Label Wednesday: Chico DeBarge, “Talk to Me”

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Everyone has that song that they like beyond all logical explanation. This is mine.

The rational part of my brain knows that this a ‘pieces parts’ kind of song. The rhythm track and bass line are a near note-for-note ripoff of Janet Jackson’s “What Have You Done for Me Lately,” which stormed the charts nine months earlier. Chico’s vocals are wafer-thin, and while it’s tempting say that this would explain why he was never allowed to be in the band that bears his name, that would be giving his older siblings far too much credit. Lastly, sweet Jesus, look at that cover. Hideous ’80s hair, and an equally hideous, midriff-baring outfit to go with it. What they didn’t steal to make this song, they took from a dumpster and assembled with duct tape and discarded wallpaper.

And I like it anyway.

Listen to the thump of that drum track. Big, exploding snare drum, then POW! The biggest handclap ever put to tape, not to mention lots and lots of cowbell, which recent studies have shown cures cancer, re-grows hair and will help you get back together with your ex-girlfriend. They even engage in a little studio wizardry with some backwards bits to lure in remix geeks like me, while that brand-new sampler begs for its life. “T-t-t-t-talk to me, baby.” All right, now drop an octave. “Taaaaaaalk tooo meeee baaaaaaaaaaby.” Very much of the moment, but pretty damn funky for a mid-’80s Motown record. Still, the song is such a ripoff of Jimmy Jam and Terry Lewis’ production on Janet’s Control (1986) that it’s equal parts ‘answer’ record and hate-fueled skull-fucking. “I’m Berry Gordy, bitch!” (more…)

Popdose Flashback: “Janet Jackson’s Rhythm Nation 1814″

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rhythmnation18141Janet Jackson may have declared her independence from her famous family with 1986’s Control, but the youngest of the nine Jackson children made it known that she would be more than a one-album wonder three years later with Janet Jackson’s Rhythm Nation 1814. Guided by the production team of Jimmy Jam & Terry Lewis for the second time, Jackson made one of the decade’s most forward-thinking R&B albums, fusing pop and soul melodies with a hard-edged, hip-hop derived sound. As audacious as Control was (and I can’t think of that kind of album made by a female R&B singer before it), Rhythm Nation is (and probably will always remain) her career’s crowning achievement.

With Rhythm Nation, Janet decided to look at the world around her and make an album that was themed around having a social conscience. Of course, political music was nothing new in R&B music. Back in the Seventies, Marvin Gaye, The Isley Brothers and Stevie Wonder, among others, spent as much time singing about political and social issues as they did singing about love and relationships. However, by the late Eighties, R&B had almost completely moved to the bedroom, while hip-hop had taken over as the genre to check out if you wanted to know what was going on in the world (to say nothing of rock acts like U2, Midnight Oil and Tracy Chapman).

Jackson got the idea for the album after learning about “nations,” groups of young people of various backgrounds who banded together to form sort of an intelligent alternative to street gangs. She decided to create a “nation” of her own, one that would center around music and dance as a means to discuss modern ills like racism, illiteracy and homelessness. Heady topics, to be sure, and granted, you’re not going to get much in the way of profundity here; after all, this is a Jackson we’re talking about . However, Jackson’s utopian, colorblind worldview resonated with her young, multi-ethnic group of fans, and with grooves as slammin’ as the ones Jam & Lewis cooked up, who cares about the words anyway? (more…)