Debbie Gibson | Page 22 | The Popjustice Forum
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Debbie Gibson

Discussion in 'Comeback corner' started by Booers, Jul 5, 2006.

  1. Debbie just needed better, outside songs maybe a Paula banger, a Tara Kemp-ish mid-tempo or a Wilson Philips-esque ballad, just not what she was cooking up herself.
     
    torontodj, Joanie and Eric Generic like this.
  2. And Unfinished Sympathy. But other than that...
    When I went back to discover the music of the early 90s there were several Now albums that just didn’t include a lot of the best songs from those times.
    Update, it turns out I do actually own Now 19 on vinyl, it was Now 17 I put back, even though it included Enjoy the Silence.
     
  3. Was this set remastered? I can't find verbage stating so, but I'm just about finished listening to the Out of the Blue disc and it sounds clearer than my original '80s CD copy of Out of the Blue. So much so that I'm really appreciating the production flourishes on it better than I had previously because the original '80s CD sounded a bit tinny and canned at points (ditto my copies of Electric Youth and, to a point, Anything Is Possible). As well, I went through the same thing recently with the reissue of Exposé's What You Don't Know in that I thought the original album sounded a bit canned and it really prevented me from appreciating it in the way that I appreciate it now.

    On a side note, the club mixes included on the Out of the Blue disc are absolutely cracking. I was unfamiliar with any of the mixes of Debbie's material outside of the US album mixes and I really look forward to hearing more of that as well. Hopefully a remix anthology comes out at a later point to capture the rest of what isn't included here.
     
    biffy77, Eric Generic and Joanie like this.
  4. That’s a good point, I wondered this also. I am assuming it has.
     
  5. Debbie basically started out with a 12" deal, so yeah they were taking care of all the mixes and formats.
     
    Eric Generic likes this.
  6. The careers for teen acts of the day were notoriously short back in the 1980s/early 1990s though, regardless of the quality of the material. New Kids on the Block were already on the slide commerically by the end of 1991, only two years after they'd first broken through. Tiffany was so washed up by 1990 that New Inside wasn't even released in the UK. And Paula Abdul herself never managed a big hit in the UK after 'Rush Rush', so she was hardly someone to emulate for hit songs.
     
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  7. We are talking about the US though. And Paula was still socking No 1s. We can't blame everything on the changing tastes. Debbie's second album was weak and the third even more so.
     
    Eric Generic likes this.
  8. Paula still started slipping commerically with the later Spellbound singles in the US - only the first two made number one and the last two didn't make the Top 10. I grant you that the Anything is Possible album isn't Debbie's greatest (although I think Electric Youth is much better than you give it credit for), but the cards were stacked against her getting hit singles at this point regardless of what she recorded.

    The main problem was that teen acts then weren't allowed to grow up as later teen acts like Britney and Christina were permitted to do. As soon as they lost their fresh-faced pop sheen (and once they started getting too old to fit into the 'teenager' category), they were generally on the scrapheap.
     
  9. True, but I think Vas is right in that the quality of Debbie's music deteriorated quickly. She became very uncool quickly, which is a shame because her first album was so good.

    Martika was still able to score a top ten hit in 1991 with Love... Thy Will Be Done. You could argue it was because of the Prince-connection but it was a great song regardless. I really don't think Debbie's music was strong enough at this point to score a hit. Even Rick Astley was still able to get decent radio play if the song was good enough ("Cry for Help").
     
    Eric Generic likes this.
  10. I'm not advocating Anything is Possible as a masterpiece - it clearly isn't. I don't think she was ever cool though, she just hit that stage by 1991 where she was out of the teen market bracket (and the whole genre had gone out of fashion by then anyway) and wasn't going to be either a) taken seriously as an 'artist' or b) indulged as a pop teen anymore. Remember, Tiffany was already out of favour by 1990 in the US (and 1989 in the UK).

    I'm not sure if we're talking about the US or UK performance here (possibly both?). In the US, the 'Anything is Possible' single did moderately well and the album peaked just outside the Top 40. Pretty poor in comparison to her first two albums, but overall better than, say, Martika (whose second album bombed in the States). In the UK, it didn't do well, but I don't think she did any promotion for it either, so that wasn't going to help matters.

    To sum up, it wasn't a great campaign to launch in 1991, but given the market conditions then, I don't believe that *any* campaign would have worked for her at that time.
     
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  11. No a campaign with better songs would have done better, there was a lot of good will towards Debbie in the US, she was the talented one, the one who writes and produces etc. Much better position than Tiffany. But guess she didn't want to take outside songs / share profit. Also her being managed by her mom, who let's face it was no music genius also made her career suffer.

    We're talking about the US, since names like Tara Kemp are mentioned, obviously.
     
    Eric Generic likes this.
  12. Fair enough - I don't buy your argument but I'll agree to (strongly) disagree with you.
     
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  13. LIES!!!
     
    biffy77 and Joanie like this.
  14. albeit the album version of Unfinished "Symphony" and Praise's Only You. The Best Of Dance '91 has the single version of the latter.

    But I like Now 19. There's a few weak moments on disc 2 namely Mercy Mercy Me, The Stonk, Disappear, Love Walked In.
    BUT it's got classics like the aforementioned Summer Rain, In Yer Face, This Is Your Life, Innuendo and Every Beat Of My Heart.

    Suggested disc 2 enhancements
    Iron Maiden – Bring Your Daughter To The Slaughter. Hit the top after Christmas and not really compiled anywhere.
    Patrick Macnee and Honor Blackman – Kinky Boots. Quality lounge action.
    The Simpsons – Do The Bartman. A Gulf War #1. The programme hitting its stride.
    My Bloody Valentine – To Here Knows When. Check your needle for fluff.
    Ride – Unfamiliar. The fourth EP gets ’em on Top Of The Pops.
    Ned’s Atomic Dustbin – Happy. A glorious grebo moment.
    Happy Mondays – Loose Fit. Don’t mention the war.

    Awesome and Awesome 2 pick up some of the slack while there was only one Now Dance in 1991.
     
    Eric Generic likes this.
  15. For the curious and the forgetful, MTV's "Year In Rock" is the most accurate representation of U.S. pop music in 1990 that one is likely to find.

    It's also insanely fun to watch.



    Back on topic, I agree that the Masters At Work remix of "One Step Ahead" would have been a superior choice to launch Debbie's third album, followed by the PWL version of the title track.

    Not much else on the record screamed 'single release' though I suppose "Sure" could have fulfilled the balladry needs of listeners.
     
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  16. Thanks @Pop Life , will watch that at weekend. Great find.
     
    Pop Life likes this.
  17. Checking it again, it also suffers from a lot of reissues of old songs and cover versions of old songs. But I prefer it over NOWs 17, 18, 20 and 21.
     
  18. Her look for the Anything Is Possible album and single cover (with the hat) and the song's "inspirational" message was a bit dorky when everything was becoming edgier then (though I absolutely love her hair in the video). The photo of her on the motorbike was much better - I remember being surprised when I saw it for the first time. Shame they didn't use it as the cover.
     
  19. Yes it wasn't released on CD - only 7", 12" and cassette which was a shame and probably didn't help sales. The 12" didn't even have a picture sleeve.
     
  20. I could maybe support Vassy's recurring argument of "Good songs would sell better!" for Anything is Possible, but not Electric Youth. The four singles are top notch and in a time where Paula's cheesy songs like Opposites Attract were smashing, I don't think they were too immature. I think Debbie and Tiff were always going to be short-lived in terms of hits. Paula, Cyndi, Taylor, Jodi, none of them survived beyond the second album with big hits.

    Anything is Possible being seemingly mediocre was just the nail in the coffin. Same with Soul Dancing, in Taylor's case. Cyndi and Paula on the other hand did not deserve to have 10/10 songs like My Love is For Real and I Drove All Night be midsized hits.
     
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