Discussion in 'Charts, rates etc' started by VivaForever, Apr 26, 2017.
Oh wow at Manchild leaving.
Gloria Estefan has been done so wrong on this rate. So I'm going to post this and you will all feel shame when you remember the queen of the megamix.
This was a 10 from me as well.
The correct placement of course.
I was just thinking "wow, they've not cut Neneh yet."
Whoops, I was looking at the wrong row. @Sprockrooster gave that a much more reasonable 8.
24. Breakaway – 7.70
Low score: 2.5 (@Terminus)
High score: 10 x 5 (@VivaForever, @SmashHitter, @ohnostalgia, @unnameable, @A&E)
Really, @Terminus? Really? Are you and @iheartpoptarts (3) shitting me? There are a zillion versions of this song (okay, three) and you hated all of them that much?
So, Breakaway was remixed twice for two different single releases. In 1989, Atlantic issued it as a single in the US to support Another Place and Time, with a remix ("The Power Mix") by Tony Humphries. It wasn't released in the UK until 1991, when Warner Bros. released it to promote The Best of Donna Summer, with a remix by longtime PWL affiliates Harding & Curnow. Their mix incorporated similar spoken-word sound effects to the ones they'd added to Kylie's What Do I Have to Do for its single release the previous year.
I'll admit that the album version doesn't do much for me, and I actively dislike the US single mix, but the UK mix just gets me. The intro is a bit... off... but the instrumentation just meshes perfectly with Donna's vocals. Unusually for Donna though not for PWL, it's rather sad lyrically, relating the story of a girl who struggles to admit that her relationship is no longer as fruitful as it once was and that it's time to "forget about the bad times, remember all the good times, hold your head up high, and break away." It's not angry or histrionic, just melancholic, capturing the soft sadness of the end of a relationship incredibly well. ABBA whom?
I know no one will get this reference, but I have to throw in here that this song always reminds me of one of my favorite anime series, Toradora, and specifically the characters Taiga and Minori. Admittedly, the lyrics don't quite fit either of them - Minori chooses to give up on pursuing a crush before it blooms into a relationship, while Taiga basically acts opposite to the song, struggling to allow herself to feel the goodness of a relationship - but the melancholy and angst suit them both so well. So that probably contributes to why I love the song so much. Though I'll also admit that I could easily have been the song's protagonist toward the end of my last (only) relationship.
But what do you lot have to say about it?
Well, not much, it seems. @Sprockrooster (9) says it's "Quite the discovery!!" while @unnameable (10) merely states, "I love the UK single mix."
@ohnostalgia (10) crows, "Look at Donna blazing that tropi-bop trail from the eighties." @A&E (10) seems to have picked up on that as well: "Probably the most atypical track on the album happens to be my favourite. It’s simply beautiful and feels quite refreshing both in and out of the context of the album. Favourite version: Power Radio Mix." Oh, sis, you were doing so well till the end there.
At least I have the comfort of knowing that it received the most 10's so far, despite the lack of 11's.
US single mix:
UK single mix:
Hey, she is the only extra girl with two songs still in the running. Granted, Tina only had one to begin with.
At least it's never winter when it's Donna Summer all rate long.
I think you got the threads mixed up xx
I hope The Saturdays are paying you for this promo.
You labor under the illusion that The Saturdays care enough to seek out promo.
22. You Wouldn't Know Love – 7.80
Low score: 5.5 (@A&E)
High score: 10 x 2 (@GhettoPrincess, @idratherjack)
I'm a bit surprised this made it this far. It's clearly the best thing on the album aside from the three big singles, but that's like saying Angela Merkel is Europe's best head of state. Not much basis for comparison. In fact, the phrase "damned by faint praise" comes to mind.
@Sprockrooster (7) calls it a "great pop/rock track, love the production and Cher’s vocals really shine."
@ohnostalgia (7.5) says, "Massive chorus, but a guitar solo and the verses stop genius." But do they stop desire? Oh oh oh oh, you can't stop desire.
"I love the 80s keyboards on this," reflects @unnameable (8).
We'll end with @A&E (5.5) even though they're the low scorer because their commentary made me laugh. "I imagine that Cher only realised half the chorus was missing from her lyric sheet during the recording, and so she just repeated the title a few times and then they just went with it. Also, there’s a twinkly synth in the intro that reminds me of Fleetwood Mac’s Seven Wonders."
Oh Christ it's another Michael Bolton song.
Sorry sis, I put it off as long as I could... (No I didn't)
22. Up All Night – 7.80
Low score: 5 x 3 (@VivaForever, @Sprockrooster, @unnameable)
High score: 11 (@iheartpoptarts) / 10 x 3 (@Remorque, @A&E, @Oleander)
Truthfully I don't understand how this made it this far, but I don't want poptarts to murder me in my sleep, so I'll keep my mouth shut. Which is, uh, definitely because of poptarts and not at all because - go ahead and clock me, @Jeffo - I don't remember this at all. I'm pleased to say that's not an issue with any of the 21 remaining songs though!
"Taking a page out of Viva's school of commentary," drawls @ohnostalgia (6), "1D >." She's right, you know.
Katy Perry's on her plane.
"That pre-chorus!!!!!!!!!" shouts noted Taylor stan @tylerc904 (9).
@unnameable (5) notes that it "feels like filler from Donna’s album." @A&E (10) seems to be thinking along similar lines, but with a completely different conclusion: "PWL could never! From the propulsive production to the infectious chorus, this screams lead single."
Tomorrow, three people lose their 11's! Exciting!
I hope my 11 makes the Top 20 at the very least.
If we could just lose the final 3 Taylor Dayne tracks along with that over-rated Kate Bush song and the over-rated Just Like Jesse James and the over-rated Kisses On The Wind, then we'd be left with wall to wall 8.5/10 and above songs….
21. Vision of You – 7.83
Low score: 5 (@iheartpoptarts)
High score: 11 x 2 (@ohnostalgia, @unnameable) / 10 x 2 (@idratherjack, @tylerc904)
Like Breakaway, Vision of You was released twice, in different mixes, to promote different albums. It was originally released as a single in 1990, in the original album mix, to support Runaway Horses. Then it was reissued in 1991 in a slightly more upbeat, Hot AC radio-friendly remix to support The Best of Belinda, Volume 1 (still no word on Volume 2) - which, like The Best of Donna Summer, was a UK-only release; the US got a similar comp called Her Greatest Hits. The '91 remix was released on a clear 12" single, which I am delighted to inform you that I own. Cruelly, I do not have the zipper pack in which it was originally packaged, which frankly is as cool as or cooler than the clear vinyl. It did, however, have the World Without You and La Luna 12" single calendar packs with it.
It was later covered by Lea Salonga, of Aladdin/Mulan/Miss Saigon/Allegiance fame, for her US debut album, produced by Glen Ballard, of Wilson Phillips/Alanis Morissette fame:
it was also covered by Jennifer Rush, of "originally did that Céline Dion song" fame:
While not nearly as bad as Shades of Michelangelo, I have always found it to be rather boring. Vision of Snooze, as it were. I'd like to offer a special drag to @ohnostalgia, who turned down the chance to give Buffalo Stance her 11 in favor of this. It is a bit sad, though, that she and @unnameable are losing their 11 now. Some reward for being the only two to submit complete commentary...
"A lovely and relatively low-key song. The 91 remix wasn’t a great idea with the plodding percussion though," says @A&E (8). Darling, if it were much lower-key it would be played in elevators.
"Overall it’s a nice song that has it’s moments but it’s also a bit underwhelming," says an even-handed @Oleander (6.5). "There are also moments where Belinda pushes her voice and makes it sound rough and coarse. I’m normally a fan of gravelly voices but it doesn’t work here." This, this is very good commentary.
@tylerc904 (10) calls it "such a gorgeous little tune. It really sounds like a Diane Warren-in-her-prime powerballad by the end, but touché to Rick and Ellen to creating something that manages to sound like a classic despite flopping (twice in some countries)." I don't like most "classics" as in the Great American Songbook either, so perhaps you're on to something, actually.
"Belinda's influence knows no bounds," notes @ohnostalgia (11), before quoting Daft Punk's Digital Love:
"Tell me what can I do? I had this vision of you
(Last night I had this dream about you)
Tell me what can I do? With this vision of you?
(Oh I don't know what to do about this dream and you)"
"I adore every incarnation of this song," enthuses @unnameable (11). "It also poses a conundrum – why, when every year they select songs for Strictly Come Dancing, does no-one choose this for their rhumba?" It flopped, Jill.
Not sure I have ever registered the difference between the original and Vision Of You 91.
Was the remix even the version on the Best Of Belinda? I think it was released before Live Your Life Be Free so was just a final re-release from the arse end of the Runaway Horses era rather than anything to do with the greatest hits album which was released over a year later?
Wikipedia claims it was a "very popular" radio hit in the UK. Can't say I'm convinced.
Separate names with a comma.