Casual observers of this series have probably wondered, more than once, why I’m bothering to track those rock-era singles that, like a dolphin rejected from Sea World, couldn’t quite jump through the brass ring. After all, who really cares about chart placements? And isn’t Number Two practically as good as Number One, particularly when everybody’s making so much money? But if there’s one decade that proves why this stuff is vitally important … to somebody, at least … it’s the ’90s.
To put it simply, the Billboard Hot 100 charts of that decade were messed up. (I put it somewhat less than simply in a long-winded column last year.) The pop radio format split in two, resulting in charts that rarely reflected anybody’s actual listening experience. Major labels stopped manufacturing singles for many artists (mostly white ones) in an effort to sell more albums, which resulted in huge radio hits that never qualified for the Hot 100. The advent of precise technology for measuring retail sales and radio airplay resulted in singles topping the charts and staying … and staying … and staying. And as I discussed last week, superstars like Michael Jackson, Mariah Carey, Whitney Houston and Boyz II Men were so desperate to top the charts, and keep up with the competition, that they conspired with their labels to withhold the retail releases of their new singles until the songs peaked at radio, then flooded the marketplace with discounted product to ensure #1 chart debuts.
As a result of these and other, more random developments, the #2 singles of the ’90s were a fascinating bunch. There were huge hits that were simply blocked by huger ones, and great songs that stalled behind ones whose popularity now leaves us scratching our heads. There were oldies that re-emerged after decades, and the two longest-running chart hits of all time (for the moment). So away we go – and, as always, at the end of the column I’ll list some additional singles that were stranded at third base so we can argue which ones most deserved to score.
11. (tie) “Right Here, Right Now,”Jesus Jones; “P.A.S.S.I.O.N.,” Rhythm Syndicate; “Every Heartbeat,” Amy Grant; “It Ain’t Over Til It’s Over,” Lenny Kravitz; and “Fading Like a Flower (Every Time You Leave),”Roxette. What do these wildly disparate singles have in common? They all were blocked from the top spot during the summer of ’91 by the same song, Bryan Adams’ treacly Robin Hood anthem “(Everything I Do) I Do It for You.” (It was the first of three Adams soundtrack singles – all of them god-awful, in my opinion – to top the charts during the ’90s.) Adams spent seven weeks at #1 while holding off five different competitors – the highest number of second-place finishers thwarted by the same single since Percy Faith’s “Theme from A Summer Place” was #1 in 1960. The only one of the five to earn a second week at #2 was – surprise – “P.A.S.S.I.O.N.” In honor of that fact – and because its video is the only one of the five to feature fire (fire! fire!), scantily clad dancers and an atrocious white-boy rap — I’m happy to showcase it here. (more…)
If you’ve ever ventured into that thicket of sweetness and stress known as Planning A Wedding, you’ve probably at least considered buying one (or five) of those awful compilations of “wedding music.” They come in all sorts of flavors – classical, country, Contemporary Christian, pop standards, classic R&B – and they’ve got icky titles like A Day to Remember, or Songs That Say “I Love You.” They tend to feature a lot of the same songs, like “Always and Forever,” and “Three Times a Lady,” and “Wonderful Tonight,” and Pachelbel’s Canon, and “The Way You Look Tonight,” and that horrible Boyz II Men song “On Bended Knee.” And, just like the Book of Common Prayer, they’re all diabolically designed to make your nuptials sound just like everybody else’s.
My wife Gwen and I wed 15 years ago today, and to celebrate that occasion – along with the onset of the June wedding season – I thought I’d give Popdose’s loyal readers an anniversary present: a mixtape of wedding songs and stories from some of our columnists, and an opportunity to share your own remembrances and ideas in the comments. These songs aren’t your garden-variety bridal standards; in fact, a few of them are downright bizarre. But even if you don’t find them suitable for your own purposes the next time you get hitched, hopefully they’ll inspire you and your betrothed to follow your own muse, and not some music conglomerate’s. Click here for a compressed file of all the tracks featured here, and read on! (more…)
Usually, anytime a musical artist performs on a talk show, that marks the end of the program:Letterman, Leno or Conan stroll out to shake hands with the band, and the credits roll.Gone are the days of Johnny inviting band members over to the couch for some chit-chat about their new record.This was just one reason Chris Isaak agreed to star in his new talk show, The Chris Isaak Hour — it gives musicians an opportunity to play two or three songs and then the chance to talk about the work they do.
Each week a guest artist sits down with Isaak on a retro set that looks like something out of a ’50s sitcom.Isaak then interviews them, delving into questions about influences, their careers, and even what gets cooked in the kitchen.The conversations are broken up with performance footage shot on a soundstage.Isaak and his crack band, Silvertone, are on hand to act as the house band, with Isaak generally joining the guests for one or two numbers.On top of hearing musicians comfortably opening up about their lives, you also get to see unique, one-of-a-kind performances, such as Glen Campbell and Isaak singing “Rhinestone Cowboy” or Isaak and Trisha Yearwood performing their new song, “Breaking Apart.”
Just as he does on stage, where he allows his singing companion the room to perform and breathe, Isaak is never quick to interrupt his guests with his own thoughts.Instead, he adheres to the motto that the show is about them and what they have to say.While each episode opens with a short skit that usually includes Isaak’s funnyman drummer, Kenny Dale Johnson, the rest of the show is pretty straightforward.Although filmed entirely on a soundstage with no studio audience, the show has the deliberate feel of a live music variety program, with old black and white footage of people applauding between songs.It’s that tongue-in-cheek, wink-wink type of charm that makes Isaak so appealing. (more…)
Casual observers of this series have probably wondered, more than once, why I’m bothering to track those rock-era singles that, like a dolphin rejected from Sea World, couldn’t quite jump through the brass ring. After all, who really cares about chart placements? And isn’t Number Two practically as good as Number One, particularly when everybody’s making so much money? But if there’s one decade that proves why this stuff is vitally important … to somebody, at least … it’s the ’90s.
Usually, anytime a musical artist performs on a talk show, that marks the end of the program:
