Heaven Is a Rate on Earth. The Belinda Carlisle Rate. Ooh, baby, do you know what that's worth? | Page 30 | 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. Dame Catherine of Dennis name-checked in a Belinda thread?

    Sexy redheads unite.

    Calling @Eric Generic.

    Also… that version of Too Many Walls posted. I've not heard that mix before sounds a bit beefier and I don't think it's on any of her CDs?
  2. I didn't listen to it till now, just grabbed the first YouTube link I found. It does sound different from the mix I know (album version/radio edit). I'm not sure if it's actually a different mix, or if it just sounds like it because of the YouTube compression.
    MixmasterRemix likes this.

    I knew that my 11 would be gone early. I always assumed that 'Circle' was one of her best-loved songs, but it seems to be pretty divisive here on PJ.
    pop3blow2 likes this.
  4. At least you can take comfort in it having placed three spots higher than the old rate? And that's with one song (Valentine) still in the running that wasn't even in the first rate!
    Deleted member 30181 likes this.
  5. True, and I gave Valentine a 10 anyway. Talent always wins!
  6. My brand remains on point!

    I actually probably have more to say about 'Circle In The Sand', but between my PM dump to you & other assorted commentary in your rate thread... my love for the song is obvious so I'll spare everyone more of rambling! It's likely a top 100 song of all-time for me, though & solidified Belinda as 'Belinda' to me, if that makes sense.

    Also, yay for 'Too Many Walls' being a fave of yours! I'd love to either host or participate in a Cathy rate sometime on here. She's a big one for me. The essay incoming for 'Too Many Walls in such a rate', well, it would be something. (The lyrics are quoted in my PJ profile page, so yeah.... it's a something I love.)

    side note: Not a good day for 11's in rates for me. I lost my 11 in @berserkboi 's Dalida rate, too. *sad face*
  7. YAS. Am I the Kinda Girl would have to be my 11.
  8. Please can we have a Cathy Dennis rate?

  9. If I hosted it, I'd have to buy a West End Pad to use with my pencils and ruler.
  10. I'm pretty sure that version of "Too many walls" is the standard album edit played with a little bit of audio compression. It sounds a lot like when I played it on cassette with the bass boost on my walkman turned on.
    MixmasterRemix and pop3blow2 like this.
  11. Did I just hear the words "Cathy Dennis" and "rate" in the same sentence?


    Already preparing the monologue for when I give Just Another Dream my 11.
  12. When I scribbled down some rate ideas last year, Cathy was towards the top of my list! I think @VivaForever mentioned the idea once too. If no one else picks up hosting it in the next several months, I'd be happy to put some feelers out to run it. (The Mandy rate is gonna keep me occupied for awhile, though, since....ummmm, well, let's just say she's inspired a bit more words from me for the reveals than I thought she would. Haha!)
    MixmasterRemix likes this.
  13. But would C'mon and Get My Love be included?
  14. Sorry for not getting anything out yesterday. I forgot that I was out in the afternoon for an appointment (new shrink, woo), and my meeting before I went out ran over, so here we are...

    12. Always Breaking My Heart - 8.89
    A Woman and a Man

    Highest score: 10 x 3 (@Hatbar, @Cundy, @Remorque)
    Lowest score: 7 (@unnameable)​

    Like Love Doesn't Live Here, this one was written by Per Gessle of Roxette; unlike that one, Per actually demoed it himself for Roxette, and produced Belinda's version. It's been fairly well known for years that Belinda doesn't like the song, with two competing explanations. One, she didn't like how she sounded on it; two, she didn't think the song was melodic enough. Her mamby-pamby explanation in her memoir didn't help matters:

    I relinquished too much control over the ... album, starting with the songs. Basically, I checked my instincts at the door. I didn't fight when the record company insisted on using two songs from Roxette's Per Gessle that may not have been perfect for me. Nor did I point out that Rick, whom the executives [read: fucking Miles Copeland] didn't want to produce me, wrote or cowrote five of the album's eleven cuts, including [three of the four singles]. Why not go all the way with his vision?

    As you can see, most of Belinda's memoir is calculated to provide as little offense as possible to literally anyone else, which I have to say got incredibly tiresome, and I wish she just would have been honest and said why she didn't like the songs.

    @Hudweiser (8) alludes to the situation, saying, "She doesn’t like this, does she? Something to do with guide vocal being used as the final recording? It’s good though." It is good. It's not top-tier Belinda for me, but it's very good. Deserved its spot in the top 20, though I don't think I'd have put it as high as #12.

    "Per served two great tunes to a slightly unappreciative Belinda, this being the superior cut," notes @tylerc904 (9) in a moment of understated whatever.

    "I’m not remotely surprised that this is written by Per Gessle, as it could easily be on almost any Roxette album (edit: apparently it was actually demoed for one)," says @Seventeen Days (7.25). "I feel like Belinda could have sang this a little stronger on the chorus, but otherwise it’s pretty good."

    "Classic Belinda," cries @CasperFan (9.5). "God knows why she hates it so much - a big UK hit deserves to be in her concert setlist." I believe she's started performing it again? "I prefer the album version with the longer intro - this is up there with her best. Extra points for a non-fadeout ending." Ah, remember when a certain former forum member insisted there was no radio edit of this or In Too Deep, only to be proven wrong? Good times, good times.

    "Fantastic song, great single choice," says @bonnieetclyde (9.5). Great gowns, beautiful gowns. "Up there with some of her best singles. Great middle-8 too." One thing you have got to say for Per, the man knows how to write a killer middle-8.

    On the other hand, @pop3blow2 (8.3) calls it a "B-team Roxette song, but still enjoyable. Not something I’d come back to." I mean, when our resident high scorer offers less than effusive praise...

    But even our lowest scorer can find something good to say, as @unnameable (7) tells us, "The chorus pops so much."

    (Eric Bana had a talk show? Today I learned.)

  15. Based on the discussion the other day about what Belinda's most popular songs were, I took this screenshot of my Spotify while listening to her. I know her whole catalogue isn't there, but these are her top 10 most streamed songs. No 'Leave A Light On', surprisingly to me.

    Also *scream* at 'La Luna' having less streams than 'Mad About You' or 'I Get Weak, but their algorithm being like, 'nah, I'm good. It's her #4, to me.'

    Screen Shot 2019-06-03 at 3.56.27 PM.png
  16. So, which will it be?

    Will we wave goodbye to In Too Deep, in a double elimination for AWAAM?

    Will we bid adieu to Sun, our last remaining extra?

    Or will Heaven fucking crash before we even get to the top ten (I wouldn't put it past some of you)?

    I adore all three, so it's bad news for me in any case...

    The song leaving at #11 received, perhaps ironically, no 11's, but did rack up six 10's, the most so far, and the most we'll see until #4.

    And it...



    11. Sun - 8.90
    Extras (Icon, 2013)

    Highest score: 10 x 6 (me, @bonnieetclyde, @CasperFan, @pop3blow2, @Cundy, @unnameable)
    Lowest score: 6.5 (@tylerc904 ... sis)​

    Comeback singles can be tricky, given that often they aren't done with the same writers and producers that were behind an act during their original rise to fame. In the worst-case scenario, you can wind up with something that sounds like amateur hour (because it probably is). In the best-case scenario, however, you can give the world a Scared of the Dark or Something New: an instant classic on a par with the hits of your glory days. Perhaps most often, you get something that isn't terrible but is no match for your finer moments.

    Things weren't looking terribly good for Sun at first, as it was being tacked on to a budget compilation in Universal's Icon series (the successor to the 20th Century Masters series), which - unlike most of the CD-only series - was also being shoved onto iTunes, retitled "Best of Belinda Carlisle," because God forbid they just keep calling it Icon, I guess. The tracklist also included the infamous Shades of Michelangelo, giving absolutely no one any confidence that the album had been well-thought out (it probably wasn't). I remember gaining a bit of confidence when I learned that Belinda had co-written the thing with Jane, as well as Gabe Lopez, a producer/songwriter I'd never heard of at the time, but who would go on to do the Wilder Shores album with Belinda. Say it with me: dddddddddd.

    Anyhow, I was for some reason not impressed with it at the time, but now I recognize it as Belinda's equivalent of Scared of the Dark. It fully deserves to sit beside her 1986-1996 classics - above many of them, I'd say! It's joy. It's euphoria. And most of all... issa bop. It totally deserves its inclusion on every single one of Demon/Edsel's Belinda comps.

    "Come on Belinda, you’ve still got a great pop album in there!" @Hatbar (8) shrieks. YES, SIS, YES. Mother needs to stop dicking around and give us the comeback non-smash we know she can deliver. She said a while back that she'll never make another pop album as she feels she can't match her original run, and well, Goodbye Just Go isn't great, but if it were in the lower half of a new album that had even one song as brilliant as Sun, it would absolutely be a match for Heaven, to say nothing of debut/Real/Woman!

    @Hudweiser (8.5) finds it "a worthy comeback single, but she waited too long to follow it up with an album or anything." Or anything being the operative words there, since frankly this barely even qualifies as a single, and the next things she gave us were Goodbye Just Go (even less single-y) and the reissue campaign with Demon.

    @bonnieetclyde (10) praises the "amazing instrumental, great vocals, massive chorus." Great gowns, beautiful gowns, stunning gowns. "Should have been huge." Hahaha. Yeah, that was never going to happen, sadly. "Should have led into a full album. So damn catchy."

    A new Carlislbum was clearly on all our minds, as @CasperFan (10) enthuses, "What a comeback to pop-such a bop, so euphoric and equally as good as her imperial phase. Oh can you imagine if she’d done a complete album with Sun as a template??? But no we got Wilder Bores!!!"

    "Am I hearing the slightest bit of autotune on Belinda’s vocals in some spots?" @Seventeen Days (8.75) asks, before concluding, "It doesn’t matter, because this is a total return-to-form bop and I am loving it." As you should.

    @unnameable (10) gives me Miranda Priestly but make her nice, saying, "Ms Carlisle does electropop banger? Surprising and delightful."

    And @pop3blow2 (10) asks the real questions. "If making a song like this when you’re 55 isn’t a life goal for you, are you making the best choices?"

  17. Two 10s fall in a row for me. Ouch! But that means my 11 has made the top 10. Hurray!

    Belinda really needs to STFU about the Per Gessle-penned songs from AWAAM. They're two of the best things there, for sobbing out loud. Always Breaking My Heart is easily the very best song on the album, and would have made more of a statement as lead single than In Too Deep.

    And as pretty much everyone has said, Sun was an amazing comeback and totally unexpected. I'd love another pop album from her.

    EDIT: just noticed I'm the lowest scorer of the Extras.

  18. Of those, I'd like Heaven to go next.

    It won't though.
    berserkboi likes this.
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