Posts Tagged ‘Madonna’

  
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Friday, July 31st, 2009

CHART ATTACK!: 8/1/92

by Jason Hare

nullWelcome back, everyone, to another edition of CHART ATTACK! Before we get to this week’s Top 10, I’d like to remind you all that Jeff Giles, Michael Parr and I will all be at Mohegun Sun tonight for the Jack Wagner concert. In fact, I’m pretty sure Jeff might actually be there at this very moment, dreaming of Jack Wagner singing to him interviewing fans that will supposedly be waiting on line all day for tickets.

If you happen to be somewhere near Uncasville, CT tonight, and you have absolutely nothing better to do with your time, then you’re free to join us. Michael and I are bringing our wives, so if you spot two ladies in the casino weeping about the cruelty of marriage, you know we’re right around the corner. If you can’t make it (lucky you!), you can follow me on Twitter and read my up-to-the-minute recounts of what is sure to be the event of the century evening. I promise to tweet at the very second a tear falls down Jeff’s cheek.

Anyway, on to the chart! Two weeks ago, we covered a summer week in 1974, and I received some very nice comments from people reminiscing of their childhoods. So this is the week where I completely ruin all that nostalgia and hit a current year — well, current for this series, anyway. Here we go, attackin’ August 1, 1992!

10. Wishing On a Star — The Cover Girls Amazon iTunes
9. Giving Him Something He Can Feel — En Vogue Amazon iTunes
8. End of the Road — Boyz II Men Amazon iTunes
7. Life Is a Highway — Tom Cochrane Amazon iTunes
6. November Rain — Guns N’ Roses Amazon iTunes
5. Just Another Day — Jon Secada Amazon iTunes
4. Achy Breaky Heart — Billy Ray Cyrus Amazon iTunes
3. Baby-Baby-Baby — TLC Amazon iTunes
2. This Used To Be My Playground — Madonna Amazon iTunes
1. Baby Got Back — Sir Mix-A-Lot Amazon iTunes

10. Wishing On a Star — The Cover Girls

Here’s the first of three covers on this week’s chart. “Wishing On a Star” was originally recorded by Rose Royce in 1978, though it had very little success in the US — it was the Cover Girls version that has seen the most chart action, peaking at #9. Since then, it’s been covered by a number of artists, most notably Beyoncé. And I don’t understand it at all, because I really find this song terribly boring. If you don’t remember it, don’t worry about it; you’re not missing anything. Besides, everybody knows the Cover Girls’ best song was “Show Me,” followed closely by “Because of You.” These two songs are still played on NY radio all the time. (By the way, that clip of “Show Me” looks like it’s from a local public-access cable channel. Worth watching at least 30 seconds just to see if Robin Byrd is going to show up.)

9. Giving Him Something He Can Feel — En Vogue (download)

I don’t miss most of the artists on this Top 10. I’ll be just fine if I never hear from the Cover Girls again, as well as…hang on, let me count…at least five of the other artists on this chart (unless Sir Mix-A-Lot comes up with something brilliant). But I genuinely miss En Vogue — specfically, I miss En Vogue hanging around on the charts. They’re still together, although you need some kind of graduate degree to figure out the complicated soap opera of who left, who stayed, who re-joined and who didn’t. I can’t think of a popular En Vogue song that I don’t like (though I could do without the “Who’s Loving You” opening to “Hold On,” but that’s a story for another chart). Each of the women had phenomenal voices and impeccable harmonies, and I’m assuming from the live clips I’ve seen that they did most of it without a lot of fancy studio tricks.

“Giving Him Something He Can Feel” is a cover of a Curtis Mayfield song from 1976, composed for the movie Sparkle. Here’s the original from the film, sung by Sister & the Sisters, with Lonette McKee on lead vocal, and Irene Cara and Dwan Smith on backing vocals.

On the soundtrack, however, the song was performed by Aretha Franklin, who took it to #28. En Vogue brought their beautiful version to #6, produced by the group’s creators, Thomas McElroy and Denzil Foster, who had previously been members of Club Nouveau and had produced for Timex Social Club and Tony! Toni! Toné!, to name a few.

8. End of the Road — Boyz II Men

Boyz II Men: Great singers, extremely tight harmonies, great feel for R&B, can’t get arrested these days. I don’t know what happened, exactly, although it seems like Motown essentially buried them after conflicts between the label and the group. But back to better times: “End of the Road” was a massive, massive hit. It spent 13 weeks at #1, which broke a record held up until that point by Elvis Presley. Of course, Whitney Houston beat it by a week just two weeks later with “I Will Always Love You,” but Boyz II Men tied it with “I’ll Make Love to You” shortly after. So yeah. Massive hit. It was written by the powerhouse team of Babyface, L.A. Reid and Daryl Simmons, intended for a specific scene in Eddie Murphy’s Oscar-winning Boomerang. (Just wanted to see if you were paying attention.) Babyface considered keeping it for himself, but instead gave it to the guys, who recorded it in under four hours. Reid and Babyface also produced the song, but that doesn’t help me figure out who to blame for the two things that drive me nuts here: (more…)

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Thursday, June 25th, 2009

Obituaries: Michael Jackson and Farrah Fawcett

by Dw. Dunphy

So there it is, really. Two decades encapsulated in two indelible pieces of ephemera: the red-swimsuit Farrah Fawcett poster, a field of blast-white teeth framed by feathered blonde hair — a mainstay of the 1970s — and Michael Jackson’s Thriller album, a disc housing songs you know by heart.

With Farrah, we knew it was coming. She made her living less as an actress than a professional provocateur, first with her sole season on Charlie’s Angels, then with the poster, then with her bid for serious acting acclaim once she’d been relegated to pure cheesecake status. In the ’90s she posed nude in Playboy to show that sexiness was more than an accessory for girls under 25.

Then in recent years it was her struggle with cancer, a fact she didn’t try to hide, culminating with a candid special on NBC last month that documented her ups and downs. The public held out hope, said a prayer, kept their fingers crossed. But in the end we knew the grim reality that lay ahead. For an industry that prides itself on looking its best, Farrah Fawcett’s invitation to the world to walk that dark road with her will stand as perhaps her most provocative — and most courageous — act.

With Michael Jackson … well, nobody expected this.

(more…)

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Monday, June 15th, 2009

Jesus of Cool: We Wuz Robbed! Great #2 Hits of the ’80s

by Jon Cummings

It’s amazing, the things a guy can learn even at my advanced age. The real treat for me, in slapping together this (too)-long-running series – which already has examined hits from the ’50s, ’60s and ’70s that ran out of gas just one block short of the Texaco – has been the opportunity to put into context some of the music-geek trivia that’s been crowding out more important information in my head for the last 30 years.

I’m embarrassed to say I was able to sit down at my laptop and reel off the names of about three dozen #2 hits from the grand and glorious ’80s without even cracking open my ever-present Joel Whitburn or Fred Bronson singles bibles. (The fact that I could do that, but can’t tie a Windsor knot, may explain why my career on Wall Street never took off. It also made narrowing down to 10 songs for this list a painful experience.) But it’s one thing to keep song titles and chart placements in your memory; it’s another to marvel at the tricks of fate, poor taste, or record-biz manipulation that launch one single over another on the way to Top 40 glory. Take this first juxtaposition, for example:

11. “Hazy Shade of Winter,” the Bangles. Here’s the hit that slaps some sense into those who mistake the Bangles for a novelty act, or stubbornly cling to the notion that Susanna, Vicki, Debbi and Michael didn’t really rock. They took a 20-year-old, twee-as-all-get-out Simon & Garfunkel tune and turned it into a fuzz-guitar anthem of ’80s excess, the perfect theme for what should have been a much better movie based on Bret Easton Ellis’ Hollywood-druggies novel Less than Zero. (Funny how the movie biz managed to mangle both Ellis’ book and Jay McInerney’s New York equivalent, Bright Lights, Big City. Of course, casting pretty boys Andrew McCarthy and Michael J. Fox as jaded protagonists didn’t help.) Anyway, how were the Bangles rewarded for their maturity and brilliance in transforming “Hazy Shade of Winter”? They were left in the dust by the god-awful ballad “Could’ve Been,” which might have been less terrible had it not been butchered by that caterwauling, flavor-of-the-month, shopping-mall princess Tiffany. A slightly interesting fact about “Could’ve Been”: Its composer, Lois Blaisch, was “discovered” while singing for her supper at a recently-shuttered restaurant a few miles from my house, called the Hungry Hunter. I knew there had to be a reason why I never considered going into that place … besides, of course, the goofiness of its name, particularly considering that it sat in the middle of a SoCal strip mall… (more…)

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Monday, May 25th, 2009

Popdose Flashback: Madonna, “Like a Prayer”

by Jon Cummings

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Love her or hate her, Madonna defined popular music – screw that, she defined popular culture – like no one else during the 1980s. Her 16 straight Top-5 singles (from “Lucky Star” to “Cherish”) are unmatched by any act in history; her clothing choices defined tween fashion for much of the decade; and her penchant for simultaneously generating controversy and commerce has served as a template for spotlight-hogging celebs ever since. And let’s not get started on her film career …

Anyway, with her last album of the decade Madonna took it all to a new level, and cemented her status as the biggest star of the ’80s. After all, how many artists can piss off Pepsi and the pope in one fell swoop?

The Material Girl actually had gone sorta quiet in 1988, leaving the pop charts to George Michael and Michael Jackson while she tried her hand at theater in David Mamet’s Speed-the-Plow. Even as her not-too-badly received Broadway run continued from May through December, Madonna went into the studio in the fall with her usual compatriots, Patrick Leonard and Stephen Bray – along with a certain diminutive purple-clad figure with whom she would record one song publicly, and who would contribute to a couple others in secret.

The early buzz around the making of Like a Prayer was overshadowed during late 1988 and early ‘89 by a cultural controversy that had been brewing – make that bubbling – for a few years. The nation’s leading soft-drink companies had made pop stars an important part of their competition for market share, a development that (figuratively speaking) set many rock purists’ hair on fire. They accused artists like Michael, Whitney Houston and Jackson (whose hair had proved quite literally flammable) of selling out the music in pursuit of the almighty dollar; they howled once more when Madonna was given the then-enormous sum of $5 million to debut the “Like a Prayer” single in a commercial for Pepsi, which also bought sponsorship rights to her 1990 tour. (more…)

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Friday, May 8th, 2009

How Bad Can It Be?: “Hannah Montana Volume 5: Keepin’ It Real”

by Jack Feerick

As I grow older, time seems to go faster. That’s an illusion, I suppose, stemming mainly from an ever-keener awareness of my own mortality—but it’s due, too, to increased ubiquity of mass media and the attendant global interconnectedness. If everything seems to be happening all at once, well, maybe it always was; what has changed, perhaps, is our ability to observed and process it on the fly, instead of absorbing the mediated version after the fact. Perhaps.

Or perhaps not. Because pop culture is a highly mediated phenomenon, with corporate interests acting as stakeholders and gatekeepers—and yet the accelerated boom-and-bust cycle is apparent in pop culture, too. Not so long ago, the Beatles had to play a couple of years at five sets a night in the sailor haunts of Liverpool and Hamburg to attract the notice of management; and although they eventually came to be marketed primarily as personalities, it was their musical skills that were their initial product, before their personal charm and humor could be monetized effectively.

These days, though, young stars arrive as pre-packaged omnimedia engines. It’s not enough to be one thing anymore; backed by deep-pocketed conglomerates like Disney and Viacom, these kids début in a flurry of hyphens—singer-actress-comedienne-dancer-fashion designer, with a CD, a tour, a basic-cable sitcom, and a Vanity Fair spread all bursting on the scene at once. All the revenue streams are cross-branded and cross-marketed, regardless of the stars’ skills or shortcomings in any of those market sectors. There are ways to compensate, after all. Not such a great comic actress? That’s what laugh tracks are for. Autotune can sweeten the vocals, and a sufficient cadre of backing dancers makes even pedestrian choreography look impressive. Thus can sufficient budgeting make a megastar of a mediocrity—for a certain audience, anyway. A very young audience, in the main, with indiscriminate tastes, plenty of discretionary income, and indulgent parents.

The cost of this career fast-tracking is an accelerated burn rate. While there are occasional youth stars who survive off the reservation—recent examples include former Disney kid Shia LaBeouf, by this point a genuine movie star, and Nickelodeon stalwart Josh Peck, who’s been cobbling together an impressive indie-film résumé on the side—most fall away somewhere along the line. Sometimes their fall is public and tragic (e.g., Lindsay Lohan), sometimes it’s a slow fade to obscurity: What do you hear from Hilary Duff lately? How about the kid from Cory in the House? Shia’s old co-star, Christy Carlson Romano, has had a quiet couple of years. So has Amanda Bynes. Frankie Muniz was making 5 mil a picture, not long ago. These days? The occasional direct-to-DVD project, which leaves him plenty of time to drive race cars.

Here’s the thing: Not everybody has the savvy or the luck to go out on a high point. For most of these people, in most of these careers, there had to be a moment when it became apparent that the good times could not last. Maybe the certainty doesn’t come all at once, but it comes nonetheless. And what do you do then? What do you do when you know that it’s all but over? When your numbers are down but you’re still under contract for another ten episodes, another album, another tour—how do you keep on? Do you suck it up and hack it out? Do you rage against the dying of the light? Or is it business as usual? I find myself asking this because I’ve just watched the DVD Hannah Montana Volume 5: Keepin’ It Real—collecting episodes of the Disney Channel sitcom—and it seems like a product of that fading twilight, that hour of the wolf. (more…)

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Monday, April 13th, 2009

The Popdose Interview: Dave Wakeling

by Will Harris

This is how the history of Dave Wakeling goes: The English Beat, General Public, solo career, then back to General Public, and then to bring it nicely full circle, back to the English Beat once more, which is where he currently resides.

Granted, the current incarnation of the band that’s touring North America at the moment isn’t quite the same as you remember it from the 1980s…Wakeling fronts the English Beat here, while Ranking Roger and Everett Morton are at the helm of the Beat in the UK, while Andy Cox and David Steele sit at home on piles of Fine Young Cannibals cash…but the moment the instant familiarity of Dave’s voice washes over you, you’ll most likely make the snap decision to just shut up and dance.

Popdose had the opportunity to chat with Mr. Wakeling not only about the past history and present state of the English Beat but about his entire career, making stops to check on the status of Saxa, to get a little bit of the lowdown on all three General Public albums, to find out why it took so long between the release of Wakeling’s first solo single (”She’s Having A Baby”) and the subsequent album (No Warning), and to see what he thinks about his former boss at IRS Records, Miles Copeland.

Popdose: Well, I know you’re on tour, but where are you at the moment?

Dave Wakeling: I’m in Calgary, in a carpark at a Best Western Hotel. It’s beautiful, and we’re just heading out in about an hour to the university, where we’ll play a show tonight. And then we’ve got a beautiful drive to Minneapolis.

Ah, very nice.

Yeah, 1,400 miles of very nice. (Laughs)

(Laughs) I hope you guys get along.

Yes!

So how’s the tour been going thus far?

The tour has been going absolutely fantastic. You know, you never want to tempt fate, but it feels like we’re on a bit of a roll, to be honest. The capacities are all bigger than last time, the reviews are better than last time, and just everything seems to be heading in a very positive direction. The new songs in the set are going down great, and people are lining up at the t-shirt stand, asking where they can buy a new CD, so I should say that everything’s heading in the direction of my dreams at the moment.

It certainly sounds as though it bodes well.

Yes!

Well, the idea of the English Beat doing a 30th anniversary tour makes me feel old, so I can only imagine how it makes you feel. Or does playing music keep you feeling young?

Well, there is that as well. Thank heavens that there’s something timeless about music, and so that helps you get through the thinking about all the years. Luckily, I was drunk for half the time, so I don’t remember much of it. (Laughs)

Well, that does help.

It did at the time. Now, I’m happily and gratefully sober, so I can sort of appreciate a bit more of it whilst I’m actually doing it.

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Sunday, April 5th, 2009

Future Retro: Jody Watley

by DJ D

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!

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Monday, March 9th, 2009

Hooks ‘N’ You: Kelly Osbourne, “Shut Up” / “Sleeping in the Nothing”

by Will Harris

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Given that the Osbourne family became the toast of MTV in 2002, thanks to their then-groundbreaking reality series, “The Osbournes,” it came as no real surprise when it was announced that Ozzy’s youngest daughter, Kelly, would be releasing an album of her own. It was entitled Shut Up, and it was dismissed by…well, just about everyone, really.

It’s really not as bad an album as you want it to be, though, particularly given that you know full well that she only scored her recording contract because of her dad and her family’s TV show. But, man, having her cover Madonna’s “Papa Don’t Preach” defines the concept of “a little too on-the-nose,” you know what I mean? Once Sony made her do that, there was never any chance in Hell that she was going to be taken seriously by critics as a recording artist.

Indeed, Sony quickly proved that it had little interest in promoting the record beyond its novelty value. After “Papa Don’t Preach,” the label lazily released the title track as the next single, which was only a so-so song; as a result, any attempt to push “Come Dig Me Out,” the third and arguably best of the album’s three singles, was rebuffed by radio, which is a shame.

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If you dare to go back and check it out, you’ll find that there are a couple of punk-pop songs which sparkle with a little Joan Jett flair, and if we’re making comparisons to other female artists of Miss Osbourne’s era, it would not be untoward to suggest that they hold up as well as anything by, say, Avril Lavigne. Two of my favorite examples from the album: “Right Here” and “On the Run.” No, her voice as strong as Miz Lavigne’s, but, frankly, the songs rock enough that I don’t really care.

If you’re not buying into my praise of Shut Up, I won’t hold it against you. After all, even the woman who recorded the album is dismissive of it. I managed to talk to Kelly Osbourne for a few fleeting moments when I was at the Fox party during the January TCA tour, and when I asked her if there were any songs on her debut that she remembered fondly, her response was immediate.

“No,” she said. “The lesson learned there was that you shouldn’t just take the money and run. I have no regrets, but I just don’t like that record.”

When it comes to the album that followed Shut Up, however, her opinions are decidedly more favorable.

(more…)

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Thursday, February 12th, 2009

Dw. Dunphy On… Jessica Simpson

by Dw. Dunphy

I did a double take when I read my own headline, and for good reason. I have no interest in Jessica Simpson, whether as sexpot, celebrity, singer, or actress. As I’ve said many times before on Popdose, I have a low regard for the thinly veiled peepshow that modern pop music has become. I do ask myself dumb questions like, “Why is Britney Spears’s Circus album doing so much better than her Blackout album? Is there a musical quality involved with the newer that is not on the older?”

I can only speculate on the answer. Both are annoying slabs of electropop that find Spears throttling an almost barbaric sexuality around like the #C chord. Both will probably be relegated to the pop culture scrap heap in a couple years, but the latter disc finds Spears more skinny and less crazy, purportedly. It is, apparently, okay to like Britney again now that she’s physically hot. That’s a broad brush I’m painting with, but as year passes into year, I am shocked again and again by the complete lack of nuance out there. I paint with the broad brush because the pop-music buyer of late only appreciates the broad canvas, pun intended.

Jessica Simpson may have been the broadest of all. Was she bright, feigning dumb because that was endearingly comical? Was she simple, handled by an ace staff of “people” starting with her father Joe, who has garnered a reputation for being a cold-blooded manipulator, machinist and in the eyes of some no more than a pimp turning his daughters out to the streets? Could she sing or not? Could she act or not? The answer, at least up until a few weeks ago, was that it did not matter. So long as she popped open her top and took the twins on tour, what she did came in a distant third.

There was outrage from some country music fans when she tried to wedge into the market. Who could blame her? First, of all the genres, country is notorious for the fierce loyalty of its fans. Unlike fickle pop and downright cutthroat hip-hop where you can be cast aside in the span of hours, not days, country fans will continue through the good and the bad times with equal fervor. Second, it’s a common refuge for artists on the waning edge of music careers in other styles. The only ploy more commonly utilized is the headlong rush to the Great American Songbook. The country gatekeepers saw Simpson as a carpetbagger, as someone who failed to hit the mark in her originally chosen arena, and decided to scratch off someone else’s lottery ticket. (more…)

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Friday, October 31st, 2008

CHART ATTACK!: 11/1/86

by Jason Hare

Howdy, everybody!  Happy Halloween!  Between Tina Turner’s hair and Eddie Money’s face, it’s quite a scary week here at CHART ATTACK!  Take a look back at what singles were topping the Billboard Hot 100 on November 1, 1986!

10.  All Cried Out — Lisa Lisa and Cult Jam with Full Force Amazon iTunes
9.  Take Me Home Tonight — Eddie Money Amazon iTunes
8.  Sweet Love — Anita Baker Amazon iTunes
7.  When I Think of You — Janet Jackson Amazon iTunes
6.  True Blue — Madonna Amazon iTunes
5.  Human — Human League Amazon iTunes
4.  Amanda — Boston Amazon iTunes
3.  I Didn’t Mean to Turn You On — Robert Palmer Amazon iTunes
2.  Typical Male — Tina Turner Amazon iTunes
1.  True Colors — Cyndi Lauper Amazon iTunes

10. All Cried Out — Lisa Lisa and Cult Jam with Full Force

I have the weirdest memory of this song. I remember watching America’s Funniest Home Videos very early on in its run (I was 12, okay?), and they had a video of a guy who had done his makeup half as a bride, half as a groom.  And his shtick was that he sang “All Cried Out” in profile to the camera, half as the woman and half as the man.  That’s all I remember about this song; it wasn’t until I listened to it just now that I realized it was even a duet. Who’s the guy, anyway?  I’m guessing he was in Full Force.  According to Wikipedia, Full Force had two vocalists — Paul Anthony or Bowlegged Lou — so I guess it was one of those two.  Please let it be Bowlegged Lou.  I like the idea of someone named Lisa Lisa having a passionate lover’s quarrel with Bowlegged Lou.  “You listen here, Lisa Lisa!”  “Don’t talk to me like that, Bowlegged Lou!”  And then, of course, later, they reconcile, and before you know it, the priest is going, “Do you, Lisa Lisa, take Bowlegged Lou…”

Why did Lisa Lisa need Full Force, anyway?  Wasn’t having Cult Jam enough?  Both sound like formidable teams, but a Full Force Cult Jam sounds like overkill.

Holy cow, here’s a “live” performance from 1986, and guess what? Paul Anthony and Bowlegged Lou sing to Lisa Lisa! It’s a Full Force threesome!  Fast forward to 1:40 for the good stuff, and by “good stuff,” I mean “some seriously awful fashion decisions.”

I personally find this song to be just another lame ballad, but apparently, I’m in the minority: listen to this crowd do all the singing at this performance from earlier this year. They’re loving this one, even without good ol’ Bowlegged Lou. By the way, I’m not saying that people can’t get older and maybe put on a few pounds, now she’s more like Lisa Lisa Lisa.

9. Take Me Home Tonight — Eddie Money

Is it just me, or does Eddie Money kind of look like Benny Mardones?

(more…)

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