Discussion in 'Charts, rates etc' started by Ironheade, Nov 6, 2017.
A Whole New World should have left ages ago, I'm not sure why I gave it a 1 instead of a 0.
I had no idea there was a difference between these Disney ballads released as singles, and what you'd hear in the cartoons!
(There was a fantastic, if occasionally troubling, 2 hour doc on Walt Disney on BBC4 last week).
I only noticed that with Let It Go. I'm pretty sure the movie versions of the songs are always better.
Yes, because (at least in those two cases) they use Broadway leading ladies who are often Tony winners to sing in the movies and use a pop star of the day to sing the radio versions as a cross-promo vehicle.
Love Slays Lives being out before the top 40 is some serious bullshit
I don’t know about in anyone else’s part of the world, but I only ever heard the Adele Dazeem version on the radio etc. Poor Debbie Lovato.
I actually heard the Demi version in a supermarket before Christmas. An inferior version of a bop is still a bop.
Mariah songs leaving before the top 10? Why.
I love Belinda but she does not sound better than the movie version. Her vocal tics do not work on it. Of Disney ones only Vanessa's Colors of the Winds sounds better to me.
This mentality of her being entitled of the top 10 for 8 songs is the reason why...
Yeah, I can't believe I gave it a 5. It's like a 3, tops.
You could have finished the sentence there.
So people tanked her songs because they thought other people would stan for them? That’s... not really the point of rating.
Indeed but I don't think she got tanked (no 0 on LTT as you see) more that they might give her one point less here and there to give someone like Sinead or En Vogue a shot in hell...
Did anybody though? I understood this to be surprise at people expecting 8 Mimisongs in top 10 and being upset at anything else.
I rated everything objectively, so to say, even though I know it means "Vogue" winning, 5 Mimisongs in top 10 and my 11 dropping out at #35.
I’d be surprised if people have genuinely tanked songs just because they think other people love them. I was just challenging @berserkboi’s statement about the “mentality” being why Mariah is losing songs so early.
I just realised I am probably being too optimistic, since it's sung by a male.
The big pop girls are dropping like flies lately, aren't they?
Sorry, Paula. But let's rush rush this one out of the door...
44. Rush Rush - Paula Abdul
Highest score: 6 x 10 (@HarryEzra , @soratami , @phoenix123 , @Filippa , @Petty Mayonnaise , @Jeffo )
Lowest score: 2 x 2 (@DJHazey , @playboy69 )
Weeks at #1: 5 consecutive Hot 100, 8 consecutive airplay
Year-End Hot 100: #4 (1991)
If there is a more overt play at “respectability” by a pop star in this rate than “Rush Rush”, I don't know it. It bears all the hallmarks: it's a sentimental ballad, one serving as an album's lead single from an artist previously known for lightweight dance-pop, with plenty of big notes written in to prove that Paula Abdul can, like, really sing, maaaaaaan; it has a solo on a “real instrument”; and it's got a big Hollywood star in the video (Keanu Reeves, in this case). Make it “personal”, and we'd have everything. The result is what it often is in such cases: an alright but unmemorable ballad, one where it's hard to ignore the cold calculation written into every note. I mean, it sounds fine. The production is perhaps a bit thin, but the keyboards are a little less sugary than they usually are on this sort of song, and the beat is a bit livelier and looser, instead of being chained to slow power ballad gated drums. The violin solo is genuinely very good, and surprisingly doesn't sound as out of place as it could have. The tune's not a bad one either, really. The problem is that... well, that's about all it is, it drifts through one's head pleasantly and doesn't leave very much of an impression. It sounds superficially pretty while it's playing, but there isn't much to grab onto here.
But what mattered here, to the producer overlords, was probably not the music. In the aftermath of the Milli Vanilli scandal, you see, there was a nasty controversy swirling around pop stars like Paula Abdul, who were just as known for dancing as singing (if not more so), especially with regards to lip-syncing. So a lot of the point of this song, it seems to me, is to prove Paula's genuine vocal abilities. Uh... well, it's a brave effort, but to put it politely, I think she may still need some work in that department. Her voice remains nasally, thin and squeaky, and clearly not capable of the big performance she desires. She does try to put some genuine heart into it, to be fair (and I do sort of like the way she sings the chorus), but due to the flatness and lack of range of her voice, it doesn't come across as well as it might. Whenever she attempts higher belting notes, not only do they not sound very good, but she sounds extremely unsure of herself, like an American Idol contestant fighting off elimination, with the same desperate air of “This is what Real Singers do, right?”. Funny that she ended up a judge on that programme, really, because I don't think this performance would get her very far. Not that I would want some huge belty diva performance on this – it probably wouldn't fit – and to be fair, “Rush Rush” is written well enough to suit her abilities. Even so, it remains a big black mark on what is otherwise... I was going to say “something decent”, but no, it's not really that, because it's not really anything in particular. Five outta ten (5.5, actually) - pretty much the definition of it.
japanbonustrack (4.5) - No thanks. (Don't rush, then. Just find a place to make your stand, and take it easy...)
Ray (9) - World is a worse place for Paula Abdul not still having a singing career.
Filippa (10) - That’s her best song and I love it. Keanu Reeves helps of course. (You know what else would help? Guns. Lots of guns.)
WowWowWowWow (8) - KEANU!!!! ("Whoa.")
berserkboi (7) - Nice enough, and I am guessing the video was a bit iconic back in the day? (Quite the production, ain't it? Ted Theodore Logan doesn't come cheap, I imagine.)
iheartpoptarts (6) - The most stereotypically retro prom song that isn’t ‘Crazy For You’. I have no idea where I got that from because I’m too young for this, but anyway.
Hudweiser (5.5) - I always remembered this as being ‘more’. Some things should not be revisited. (Me with every emo song I used to like in 2007. - Ed.) Cute violin solo though.
londonrain (7) - A classic. That string section in the middle just elevates it further. (If only the rest of the song was that good...)
Rooneyboy (8) - I prefer her dance stuff but this is pretty decent.
Empty Shoebox (4) - Paula, why do you do this to me? Is this because I didn't give you an 11? Why drop such a dreary song? And how does it manage to go on for five minutes? Is there a tape loop in here somewhere? (Where's the bops though? On MC Skat Kat's album, probably.)
mung_bean (3) - What the fuck is going on with the melody? It almost sounds flat in places. I’m genuinely baffled by the success of this one. (I'm not. Big plays at "respectability" like this one usually do well...)
ohnoitsnathan (7.5) - Loved it at the time, but there's not much special about it really other than 'wow, Paula can (sort of) sing!' (She does her best, bless her.)
br0dy (8) - Her voice really isn't great is it? Nice song though.
"Are you here on business, sir?"
"Afraid so, Paula. ... Why don't you take the night off?"
@Jeffo, sis... I think you might have to brace yourself for a Paula-free top 40 at this rate.
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