Heaven Is a Rate on Earth. The Belinda Carlisle Rate. Ooh, baby, do you know what that's worth? | Page 18 | The Popjustice Forum

Heaven Is a Rate on Earth. The Belinda Carlisle Rate. Ooh, baby, do you know what that's worth?

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

  1. I used to hate I Feel Free and used to skip it all the time but this rate has made me warm to it at last. Sad to see Tell Me go too, it's one of my favourites off Real.
  2. 1. Runaway Horses
    2. Live Your Life Be Free
    3. Real
    4. A Woman and a Man
    5. Heaven and Earth
    6. Belinda

    The rest.
    CasperFan and Hatbar like this.
  3. 1. Runaway Horses
    2. Live your life be free
    3. Heaven on Earth
    4. A Woman and a man
    5. Real
    6. Belinda
  4. 45. We Can Change - 7.18
    Heaven on Earth

    Highest score: 8.5 (@Untitled)
    Lowest score: 5 x 2 (@Cundy, @Seventeen Days)​

    Oh, now, this is ridiculous. This has NO right to be out ahead of so much else in this rate! Though it is impressive that it's averaged what it has given that it got no scores above 8.5. (Side note? None of you scoring it higher is a crime. Okay, I gave it an 8, but I'm not out here throwing 10's around like some of you.)

    I've always felt that Heaven on Earth is the rare album whose side B is better than its side A, despite the lack of Heaven and presence of Love Never Dies, thanks to I Get Weak and then the trilogy of We Can Change/Fool for Love/Nobody Owns Me. Is any of the three a pop classic in its own right, like Heaven or Weak? Nah. But they're all perfect for driving in the summer with the windows down and the sun roof open. And really, what more could we ask of Dame Belinda?

    Interestingly, despite the similar sound (in my opinion) of that string, they were all written by different people. We Can Change was a Charlotte/Rick co-write, which is an interesting combination. Though those two plus Tom also wrote Love Never Dies, which I forgot about till just now. Well, the superior Caffey/Nowels composition won, that's for sure.

    What does joint low scorer @Seventeen Days (5) have to say for haself? "Harmless adult contemporary fluff. Not super loving it but it’s a decent track." That's sad, huh?

    @unnameable (6), somehow again neither high nor low scorer, calls it "pleasant enough," which is so tepid a review it made me laugh.

    @CasperFan (7.5) has some analysis for us. "Good song-like how the verses change tempo throughout. With a bit of a remix this could’ve been a single. Oh, and a nice key change!"

    Time for a shot! "This one falls a bit back into The Go-Go's sound, which isn't a bad thing by any means. Another perfect pop chorus," saith @bonnieetclyde (8).

    Finally, high scorer @Untitled (8.5) exclusively reveals, "I kinda wanna scream along the whole time." That's how I feel about Fool for Love more than We Can Change, but go for it, sis!

  5. 44. Shot in the Dark - 7.23

    Highest score: 10 (@tylerc904)
    Lowest score: 5 (@unnameable)​

    Another debut album track I have no memory of despite having given it a 7. Written by Paula Jean Brown (you'll hear much more about her later) and James Whelan, who also made up half the team behind Gotta Get to You and two-thirds of the team behind Mad About You.

    "My other stand out from the debut, a fun bop." - @Hatbar (8), whose first standout was, of course, Mad About You

    "An absolute slapper! Should have been the second single." - @tylerc904 (10), who has got to be kidding me

    "Quite like this one, catchy little number- should’ve been released instead of I Feel The Magic!" - @CasperFan (6.5), who should be glad to see it's placed higher in the rate, at least

    "This song makes me smile." - @pop3blow2 (8.5), who makes me wonder if any song could fail to make him smile

    "And now we take a hard left back into the 80s, with gratuitous synth bass and some sprinkling of drum machine. Neon wig, I feel that already." - @Seventeen Days (8.5), who has failed to stir up any memory of the song in my brain despite giving a rather precise description

    "an OK song wrecked by the worst 80s production could do to a song" - @unnameable (5), who makes me feel better about forgetting it

    "What kind of low-key dark cut bop theaux." - @Remorque (8.5), who has reminded me of the Kylie song What Kind of Fool (Heard All That Before), which is a 10

    Last edited: May 8, 2019
  6. While I prepare the next elimination, please enjoy our intermission bops: the aforementioned Kylie song, and Twist in the Dark by literal Princess Frida, far better than the Belinda song seen above that nearly shares its name (and according to the YouTube description - yeah, I know - Frida's favorite post-ABBA song? Amazing).

    cc: @Mikey1701
  7. Hmmm....

    berserkboi likes this.
  8. Did I say that I Feel the Magic should have been the second single? I did nauxt.

    Band of Gold should have been the second single, then Gotta Get to You or Magic the flop third single.
  9. What the frig is We can Change doing out already?!? Fool for love had better last a lot longer.
    Phonetics Girl and VivaForever like this.
  10. Band of Gold was a weak single choice (and I know you are going to say the whole album was weak but if we HAAAAADD to find singles) I think Shot In the Dark and Gotta Get To You are the only songs along with Magic/Mad that work as singles.
    VivaForever likes this.
  11. Not going to lie, seeing those bangers next to one another made my pussy tremble with erotic desire!
    WhipperSnapper and VivaForever like this.
  12. Dddddd.

    43. Gotta Get to You - 7.24

    Highest score: 10 (@unnameable... of course)
    Lowest score: 4 (@Hatbar)​

    As we hit the halfway point in our eliminations, I'm going to take the unusual step of quoting some commentary up front, because it leads into my write-up so nicely. A confused @Hudweiser (7.5) notes, "This was on the American Greatest Hits album for some reason but wasn’t a single anywhere? Bop though, should’ve been!" Well. I think I have an explanation for that. In addition to Paula and James Whelan, the other two writers were Charlotte and... Belinda. Yes, this is the song I referred to as a proto-Shades of Michelangelo. Not because of any similarity in their sound, but because it was the original "throw it on the greatest hits so Belegend can get some royalties." It did not, incidentally, appear on Her Greatest Hits' UK/European counterpart, The Best of Belinda, Volume 1 (side note, I HATE when an album is released as "volume 1" but there's never a "volume 2"), as no songs were licensed from Belinda's first album for that one.

    As stated above, I wouldn't have made it a single, except perhaps as a throwaway third single. And before @tylerc904 asks, I gave this a 7 too.

    "Does this sample another song, it sounds familiar?" asks @bonnieetclyde (8). "I like her vocals on this and how she lets rip on the chorus." I'm not aware of any sampling going on.

    @CasperFan (5.5) might be picking up on the co-writers here... "Very similar to Mad About You (the chorus sounds the same) but not as good-just ok and not very memorable. Just sounds like a demo of Mad About You!"

    Her Greatest Hits has probably done more for Gotta Get to You's reputation (by Taylor Swift, stream it now on Spotify) than Icon and its successors have for that of Shades... @Seventeen Days (9) says, "I remember when I bought Belinda’s Greatest Hits CD, and I heard this song for the first time - I absolutely loved it. The organ swirling just under the mix along with the obligatory 80s sax solo really make this one great."

    Get yourselves ready for another shot. @unnameable (10) calls it "a perfect piece of sultry Belinda, this song firmly reminds me of the Go-Go's, clearly Charlotte’s songwriting must be carrying through."

    I pulled up @Remorque's (6) commentary last simply because he's last in my spreadsheet, but he closes us out nicely with the tea. "It's lovely, but that's about it. It's completely irrelevant, but she sounds great. No surprises there though."

    Tomorrow, we eliminate two songs I 10'd, and naturally I'm pissed about it. Stick around, viewers!
    Last edited: May 8, 2019
  13. I love the lyrics to Taylor Swift's next single. She's going edgier than I expected.
    unnameable and Mikey1701 like this.
  14. When you're right...!

    I actually think Band of Gold was really good, definitely better than Magic or Gotta Get to You - I somehow gave it a 7 as well, and I was an utter fool for that - and as a bop probably would have done better had it been promoted right (which I can only assume it wasn't... and/or Magic killed the album campaign).
    Last edited: May 7, 2019
    tylerc904 likes this.
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  16. You can't spell SCREAMING without ME! Stream Old Town Road on Spotify.
    Seventeen Days and Mikey1701 like this.
  17. I really did want to enjoy We Can Change - honestly I did. But Fool for Love and Nobody Owns Me coming after it really just kind of steal all of its spotlight, and leave it to just kind of languish where it is (for me, anyway).
  18. Interesting. Nobody Owns Me is the weak point of the trilogy for me. Fool for Love is definitely the highlight, though.
  19. *looks back at posts and finds two glaring typos*

    Wow, how drunk was the me of 30 minutes ago?
    WhipperSnapper likes this.
  20. We Can Change is definitely the biggest loss so far. Should have lasted a bit longer.
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