Heaven Is a Rate on Earth. The Belinda Carlisle Discography Rate. | Page 21 | The Popjustice Forum

Heaven Is a Rate on Earth. The Belinda Carlisle Discography Rate.

Discussion in 'Charts, rates etc' started by VivaForever, Feb 18, 2019.

  1. Deep Deep Ocean and Whatever It Takes are brilliant tunes, though I know they are the next two on the chopping block from Runaway Horses (hopefully not soon).

    Unpopular opinion, I prefer the aforementioned songs to Valentine.
     
  2. 36. Loneliness Game - 7.47
    Live Your Life Be Free

    Highest score: 10 x 2 (me, @Cundy)
    Lowest score: 5.5 (@tylerc904)​

    [​IMG]

    Okay, in all honesty this hung around longer than I expected. But still, it easily deserved to be top 20. Sound-wise, it's pretty middle of the road as far as LYLBF album tracks, but it was an easy 10 for me on the basis of those lyrics...

    She could have anything - still she's down
    The happiness that means everything is not around

    On the outside, looks like a perfect world
    Inside, I know what you're thinking

    She's too pretty to be sad
    She's too rich to cry
    She's no different, she's just the same
    No one's left out of this loneliness game

    She can't find her way out of the loneliness game
    No, she can't find love in the loneliness game

    She lies awake at night, alone in silence
    She reaches for the light and waits for guidance

    It's easily one of Belinda's saddest songs as well as one of her deepest. It's always felt to me like a story that I somehow know intimately, even though I don't actually know anyone who would fit the lyrics. One of those #moments where a song speaks to something in your soul that you can't quite track down... being who I am, I attribute it to the collective subconscious.

    @tylerc904 (5) wisely chose not to submit commentary for me to drag, so I'm afraid I have to drag two others instead. @CasperFan (6) calls it "another okay song - not much to it and not very memorable, bit of an album filler." Firstable, shot. Secondable, I would totally argue against this not being memorable. Love Revolution, World of Love, You're Nothing Without Me, Emotional Highway - sure. I remember them perfectly well, but I can understand how someone who doesn't stan the album so much wouldn't. But Loneliness Game, partly because of the "she's too pretty to be sad" hook and partly because of Those Lyrics, is far from forgettable.

    Do another shot courtesy of @bonnieetclyde (7), who says, "This sounds a little fillerish, more like a B-Side. It's a shame as the rest of the album is pretty much great and this track, as a finale song, doesn't quite work." Hmm... wrong.

    @unnameable (7) deems it a "highly relatable bop," and while I don't know I'd call it a bop, I appreciate the praise. Finally, @Seventeen Days (7.25) is here to depend upon, saying, "I see that Belinda decided to switch things up and end with a more upbeat track. Though it feels just a bit too generic, it’s a bop-worthy song with a decent vibe (and has some of that 60s California feel that we heard back on “'Love Never Dies')."

     
  3. @ohnostalgia your impact.
     
  4. 35. Whatever It Takes - 7.51
    Runaway Horses

    Highest score: 10 (@unnameable)
    Lowest score: 5 (me)​

    As that 5 (a point lower than Shades!) indicates, this is the low point of the album for me. It's not bad, just uninspiring. Sorry, @tylerc904.

    Like half of the album, Whatever It Takes was a Nowels/Shipley song. It featured background vocals from Bryan "Did That Song with Mel C" Adams. And that's all I really have to say about it.

    Shot! "A basic sounding filler track that makes me picture the studio musicians playing along looking bored with the mid-tempo-ness of it all. And go away, Bryan Adams." - @Hudweiser (6)

    "This one also felt a bit middling to me, but it still had some good moments on it. I think what’s taking me out of it is that piano intro, as it reminds me of Billy Joel’s 'I Go to Extremes' (and I’m not a big fan of that song)." - @Seventeen Days (6.75)

    "Another corker of a track-this album just keeps on giving- love the break-down on the final choruses-you can really hear Bryan Adams on backing vocals. Could’ve easily been a single, but that applies to almost every track on this album." - @CasperFan (8.5)

    "Such great vocals here. Gorgeous melodies on the verses, which I prefer over the chorus', which isn't as strong." - @bonnieetclyde (8.5)

    "Controversially prefer this to the fan favorite/lost-single Valentine." - @tylerc904 (9.5)... You do realize there is a difference between "controversial" and "objectively wrong," right?

    "a lovely song, and I personally think Bryan Adams adds to this song." - @unnameable (10)

     
    Last edited: May 10, 2019
  5. 34. You Came Out of Nowhere - 7.64
    Live Your Life Be Free

    Highest score: 9 (me)
    Lowest score: 6 (@unnameable)​

    I think that is the smallest range of scores we've had yet? And the smallest standard deviation yet, at 0.86, though I suppose one produces the other. This is also the final song in the rate that did not receive at least one 10.

    This one was written and produced by Rick Nowels and David Munday. As I said, it is kind of forgettable, but still does its job as a nice breezy, happy album track, in keeping with the rest of the album. I've always liked it, obviously.

    "OK little bop" - @unnameable (6)

    "Can't knock the strong vocals on this, particularly in the chorus but aside from that it's totally forgettable." - @bonnieetclyde (7)

    "Another brilliant album track-could be single worthy." - @CasperFan (8)

    "Very Paula Abdul on the production here. That’s not a bad thing, to me… just an observation. I do like this song quite a bit." - @pop3blow2 (8.8)... Good save. I'd have had to ban you from the rate if being like Paula Abdulegend were a bad thing for you.

    "The first time I heard this, I honestly thought it reminded me of the Amy Grant song “Every Heartbeat”. It has that same kind of bouncy bass and 60s girl-group kind of vibe that really makes it stand out." - @Seventeen Days (8.5)... Okay, that makes two 90s ICONS in the space of two comments. I fucking LOVE Amy Grant, and Every Heartbeat is my favorite song of hers, so maybe that's why I like this one as much as I do. (Obligatory link to the ridicumazing Moto Blanco remix.)


    Monday: Three songs. Three albums. Six 10's. Be there!
     
  6. Wow, @Remorque and I had the exact same commentary! ugh, our MINDS.


    just kidding @VivaForever don't threadban me please
     
    VivaForever likes this.
  7. Whatever It Takes lasted way longer than I expected it to so I ain't mad!
     
  8. Okay IN FAIRNESS TO ME, I was banging those two eliminations out in my last ten minutes at work. Yet I somehow not only pasted your commentary twice but tagged @Remorque instead of @unnameable.

    If I didn't know better, I'd seriously think I was drunk during some of these eliminations.
    So you're saying your reaction was:
    [​IMG]
     
  9. This is how I feel about it. It's melody is utterly beautiful and as you say, those lyrics...

    I can't understand anyone thinking this is generic, or anywhere near the worst thing on the album (hello Emotional Highway). It's the Valentine of LYLBF. As in, the amazing song on the album not released as a single. It should have been released over Half The World if you ask me. It's certainly in my personal Belinda top 20.
     
  10. The last tracks on Belinda's albums are all pretty drab apart from Lonliness Game, it's a beautiful song. Time for Whatever it takes to go too so not bothered with that.
     
  11. I have had the most draining day at work - this may or may not mean anything to you, but our IT department decided to change the entire campus' IP addresses over the weekend, so three of us spent the day fighting with various vendors and consortium people to try to get the library actually working again, to mild success.

    So I do not have it in me to do any eliminations today. So sorry - hopefully tomorrow.

    Also, since I basically do all my eliminations at work so don't have the updated spreadsheet at home, I will likely not be doing eliminations most Fridays from here on out, as we get Friday off most weeks in the summer.
     
    Cundy and əʊæ like this.
  12. [​IMG]
     
    əʊæ and VivaForever like this.
  13. It gets better: THEY DIDN'T MEAN TO.

    How the fuck do you change an entire college campus' IP address range by accident?!
     
  14. I'm still feeling stabby, so let's get this out before I totally lose my mind.

    Oh shit it's a tie I never noticed until right this second.

    32. Too Much Water - 7.65
    Real

    Highest score: 10 x 3 (@Hatbar, @tylerc904, @pop3blow2)
    Lowest score: 5 x 2 (me, @Cundy)​

    I regret nothing except allowing this to come this far. Written by Belinda, Charlotte, Tom, and Charlotte and Tom's other brother, Richard.

    "I enjoy the instrumentation, it almost has an early Sheryl Crow vibe. I find the song itself somewhat under-baked and takes a while to get into its stride but when it does it's a very nice track indeed." - @bonnieetclyde (8)

    "My favorite singer-songwriter Belinda moment." - @tylerc904 (10)

    "I prefer the demo version of this as the drums in the album version jar with the song for me-a great ballad though, lovely melody." - @CasperFan (7) ... Great gowns, beautiful gowns.

    "Her vocal is really good here. Very ’Stevie Nicks’. Get’s me a bit choked up." - @pop3blow2 (10)

    "I like the dance-y drums paired with the guitar in the intro, but this track goes on a bit longer than it really should. If they trimmed it up a bit, it would be a definite standout." - @Seventeen Days (6)

    "gorgeous balladry from our queen" - @unnameable (8)

     
  15. I love 'Too Much Water', so glad I wasn't alone on 'Ten Island' with this one. I'd liked it to sick around a bit longer, but 30-ish is probably the best to hope for here.
     
  16. 32. A Woman and a Man - 7.65
    A Woman and a Man

    Highest score: 10 x 2 (@Hatbar, @CasperFan)
    Lowest score: 5 (@Seventeen Days)​

    Deffo the best album track on the album that took its name, yes? Not that there's much competition.

    Written by Robbie Seidman (Summer Rain, Fool for Love, Bonnie Tyler's Streets of Little Italy) and Maria Vidal (Summer Rain, Vision of You, California, Ace of Base's Everytime It Rains). With that pedigree, no wonder it rises above the pack of mediocrity.

    "Blimey this starts a bit slow and then blasts off out of control. Love the ending when she fizzles out and sounds like she’s collapsed on t’carpet. (Probably had)" - @Hatbar (10)

    "I enjoy the urgency in the chorus. The verses lack any real 'wow' moments and the song overall is just good, not great." - @bonnieetclyde (7)... Yes, the chorus is brilliantly driving.

    "Love this song so much-the ‘Summer Rain’ of the album, should have been a single instead of Love in The Key, love the story of the song and the middle 8 leading to the violins is fantastic!" - @CasperFan (10)... Agreed on it replacing Key of C as a single. Better choice than California too.

    "Not particularly interesting, but not totally horrible. I do like the little synth squiggles throughout." - @Seventeen Days (5)

    "Who doesn’t like a good jealousy bop?" - @unnameable (7)... And it feeeeeeeeeeeels like...
     
  17. Can California go now please? A Woman and a Man should have lasted longer than that and Too Much Water is my fave song off Real so sad to see it trickle off but it did ok I suppose.
     
    əʊæ likes this.
  18. I mean...

    31. Deep Deep Ocean - 7.70
    Runaway Horses

    Highest score: 10 (@unnameable)
    Lowest score: 6 x 2 (@Untitled, @Hatbar)​

    There are a few songs I'd have liked to see exit before this one (GOODBYE DAY), but we're nearing the point where every elimination will hurt, or at least briefly ache. I gave it an 8, so I can't complain about a 7.7 average, and in all honesty I wasn't expecting to see it come this far. It is that rare song in the middle of the Venn diagram of "could have been a viable single" and "kind of elevator music to be honest." "If you keep holding back emotion, one of us might drown..." is one of my favorite moments on the album.

    Deep Deep Ocean was another Steinberg/Kelly moment, this time with Amy Sky, "a Canadian singer-songwriter, record producer, theatre actress, and television host." We love a quadruple threat. Although she's even more of a threat than that if the Wikipedia sidebar is to be believed, as it says she also plays the guitar, piano, recorder (ddddd), and cello. She's married to Marc Jordan, whose album Cow I distinctly remember from my dad's CD collection (because of the title and cover, not its contents), and has also written for Reba McEntire, Diana Ross, Gary "Amy Grant's ex-husband turned alleged relationship expert which is funny considering he divorced Amy Grant" Chapman, Olivia Newton-John, Darlene Love, Don Johnson (again, ddddd), Heart, Lara Fabian, Crypt Richard, Jennifer Rush, and Jim Brickman (once more, with feeling: dddddd).

    "Well, at this point the album just trails off into nondescript power ballads," mutters @Untitled (6). Deep Deep Ocean and Valentine, nondescript? Nah(!). Now, get out your shot glasses, as @bonnieetclyde (7.5) says, "This is a little fillerish, it doesn't do much for me, sadly."

    @pop3blow2 (7.8) calls it "a bit Belinda by numbers, but still good." Similarly, @CasperFan (8) finds it "a great song but pales a little compared to what has come before on the album."

    "This one has some similar melodies and vocals to “Leave a Light On”, but obviously stands on its own as a decent track," notes @Seventeen Days (7.25). Finally, @unnameable (10) asks the important question: "Who doesn’t want to sing 'If you keep holding back EEEMOOOTIOOON' along with this?"

     
  19. Okay!

    30. California - 7.75
    A Woman and a Man

    Highest score: 10 (@Remorque)
    Lowest score: 4 (@Seventeen Days)​

    Written by Rick, Billy Steinberg, and Maria Vidal. Brian Wilson of The Beach Boys and "father to two-thirds of Wilson Phillips" fame contributed backing vocals.

    In her memoir, Belinda recalls Brian coming in to the studio to "half-explain and half-sing" what he'd written for his part, based on a demo he'd received with Belinda's vocal track. Belinda, Rick, and producer David Tickle were so skeptical that his ideas would work that they decided to remove him from the project at the literal last minute. However, when Belinda went to tell him the news, she hemmed and hawed so much that he didn't realize he was being fired, and when he started to "burp and fart up whatever he had eaten earlier ... oblivious to the noises coming out of him," Belinda decided discretion was the better part of valor and quickly said they were ready for him to record before she started laughing. To the shock of Belinda & co., Brian's part actually worked (and was burp- and fart-free). "I was crying when Brian finished," Belinda writes. "I felt like we had watched Mozart at work." Glad she doesn't exaggerate.

    I gave this one a 7. It's a good song, but not a great one. I also prefer the title track to it and am a bit stumped as to how it became a single over said title track. The only reason I could have seen was the Brian Wilson feature... which wasn't indicated on the single release.

    "Her voice goes a little sheepy time to time, but the entire song is so good, Brian Wilson’s input shines through to good effect," notes @Hudweiser (9.5). I hadn't thought about it quite like that, but yeah, she does have some unpleasant vocal moments.

    "Some interesting lyrical ideas here and some lovely vocal melodies. Not too distant from the style she was playing with on the Real album," says @bonnieetclyde (8.5). Yeah, in a way I'd say it's the Real album done right.

    "I like this," says noted Beach Boys fan @pop3blow2 (8.8), "but it doesn’t quite reach levels I think it should for the talent involved. Still a solid B+ effort, though."

    "I wanted to like this, but it just doesn’t give me any strong feelings. The topical references have also dated this pretty strongly," says @Seventeen Days (4). Eh, I don't know that the song being dated is necessarily a bad thing? It's absolutely a product of its time, but I feel like that may have been the goal (although it probably wasn't).

    @unnameable (8) has some interesting cultural commentary. "I suppose at the time River Phoenix seemed like the one to watch, and his death seemed quite significant. Now we live in 21st century social-media-reminding-you-of-every-celebrity-death-saturation-point, it’s hard to remember how poignant some celebrity deaths were." Real talk, I had to look up River Phoenix on Wikipedia because I'd never heard of him and, frankly, assumed from the name that Belinda was talking about an old folk singer or something. I'd never realized that Joaquin had siblings.

    What better way to end an elimination than on an ellipsis? Especially for a song that ends on a musical ellipsis. @CasperFan (8) says, "The only track from the album Belinda seems to like - a laid back chilled song and I love the poignant final line..."

     
  20. I think we're down to two eliminations a day, at least for the time being. Work is picking up, and my energy is going down. Sorry - I do like to eliminate things at a good clip until the top 15 or so, considering most of my rates (this one included) are rather small in terms of user base and I'm not going wild with the graphics à la @ohnostalgia/@pop3blow2.

    Actually, I'd be tossing out another right now, but I gave it a 10 and I need to ruminate on what to say about it. So you have that to look forward to. Then the two songs after it are the last remaining songs for which I'm the lowest scorer (and two of my three lowest scores remaining), so I have that to look forward to.
     
  1. This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
    By continuing to use this site, you are consenting to our use of cookies.