If you weren’t walking around in some state of chronic melancholy, you almost didn’t fit in. Not that any of us really felt like we fit in anyway.
Douglas Coupland’s Gen X novels seemed to remind us that we had been born into confusion, uncertainty and a general sense of What the hell are we doing here? Feeling like a misfit was practically part of the uniform. And, for a while, I was absolutely leaning into it.
I had traded in my hair bands for Bush, Pearl Jam, the Afghan Whigs and pretty much anyone else who sounded like they were closer to Seattle or Portland than the East Coast. Flannel? Absolutely. Questioning the meaning of everything? Obviously.
Then Janet Jackson came along and completely changed the mood.
Her 1993 self-titled album, janet., stayed in my CD player for what seemed like months. I was obsessed with everything about it. The music. The videos. The attitude. The choreography. And, yes, Janet's abs. Let’s not pretend we weren't all staring at those too.
This wasn't the same Janet Jackson who had given us Control and Rhythm Nation. She had grown up, thrown open the doors and completely reinvented herself. The music was sexier, funkier and more confident, while still having that unmistakable Janet sound. And somehow, it was exactly what I needed.
Maybe it was the timing. Maybe it was the music. Maybe it was the fact that Janet seemed to have figured out something the rest of us were still struggling with: you didn't have to fit in. You could create your own damn world.
The entire era was so ridiculously well-packaged that it was impossible not to get sucked into it. Even the fashion worked. Yes, I am talking about the flannel shirts. Janet somehow made them look infinitely cooler than the ones the rest of us were wearing.
MTV was still a thing in those days, and Janet's videos were events. The behind-the-scenes footage featuring her dancers made me desperately wish I was one of her "kids." Seriously. Those dancers were awesome. And then came If. That video remains one of my absolute favorites. The song itself was fantastic, but the choreography? Holy hell.
Three-plus decades later, I can still remember pieces of it.
If was released as the second single from janet. and became another massive Janet moment. The video was visually stunning, incredibly sensual, and packed with choreography that seemed almost impossibly precise. It was one of those videos that made you stop whatever you were doing and watch.
Looking back, it's kind of funny to think about how much music could affect your mood back then. There were no playlists customized by an algorithm to tell you what you should be listening to. You bought a CD, put it in the player and lived with it. And I lived with janet for months.
It was the perfect antidote to my early ’90s existential crisis. While everyone else was busy being miserable in flannel, Janet was reminding us that there was nothing wrong with being confident, sexy, ambitious and completely in control of your own identity. Maybe that's why the album still hits differently for me. It wasn't just a great record it was a mood changer.
Drawing pictures Of mountain tops With him on top Lemon yellow sun Arms raised in a V And the dead lay in pools of maroon below"
I don't think anyone really expected "Jeremy" to break through quite the way that it did. Released as the third single from Pearl Jam's landmark 1991 debut album Ten, the song wasn't initially treated like an obvious blockbuster. It never received a standard commercial single release in the United States, which meant it wasn't eligible to climb the Billboard Hot 100 in the traditional way at the time. Yet somehow, it became one of the defining songs of the entire grunge era.
The reason? MTV.
Back when music television still had the power to launch songs into another stratosphere, the video for "Jeremy" arrived like a punch to the gut. Even if you only saw it once, you remembered it. The striking imagery, rapid-fire editing, and emotionally charged performance by Eddie Vedder made it impossible to ignore. It wasn't just another rock video, it felt like a short film that demanded your attention.
Vedder wrote the lyrics after reading a newspaper story about a Texas high school student who died by suicide in front of his classmates. He blended that real-life tragedy with another difficult childhood memory, creating a song that explored isolation, bullying, neglect, and the devastating consequences that can follow when someone feels invisible. Those themes were unsettling then, and sadly, they remain just as relevant today.
What made "Jeremy" so powerful wasn't simply the subject matter. It was the way Pearl Jam refused to sugarcoat it. The band paired haunting lyrics with one of the most unforgettable music videos of the '90s. Rather than relying on shock value alone, the video created an atmosphere that stayed with you long after it ended. It sparked conversations at school, around the dinner table, and among music fans who suddenly realized that rock songs could tackle subjects this heavy.
By the time the 1993 MTV Video Music Awards rolled around, "Jeremy" had become a cultural phenomenon. The video earned four Moon Person awards, including Video of the Year, cementing Pearl Jam as one of the biggest bands in the world and proving just how influential MTV could be during that era.
Looking back, "Jeremy" wasn't just another hit from Ten. It became a defining moment for an entire generation of music fans. It's one of those rare songs where the music and the visuals became inseparable. Mention "Jeremy," and chances are people immediately picture the video.
More than 30 years later, it remains one of the most powerful, haunting songs of the decade. Not because it was everywhere on the radio, but because it made people stop, watch, and think. That's a rare accomplishment, and it's a big reason why "Jeremy" still stands as one of Pearl Jam's greatest achievements.
This speech is my recital, I think it's very vital To rock (a rhyme), that's right (on time) It's Tricky is the title, here we go...
I was cruising through the DailyBOOM archives yesterday and realized something that honestly surprised me, there hasn't been nearly enough old-school rap featured here. That's a mistake I plan on correcting immediately, and there really isn't a better place to start than RUN-DMC.
While just about everyone else seemed completely obsessed with the group's legendary collaboration with Aerosmith on "Walk This Way," I was over in my own lane blasting "It's Tricky." It was the third track from their groundbreaking Raising Hell album, and for me, it was every bit as memorable as their biggest crossover hit.
Released in late 1986, "It's Tricky" was everywhere. It received constant airplay on local radio, and MTV had the video in heavy rotation. Back then, MTV still had the power to turn a great song into a cultural event, and RUN-DMC knew exactly how to make an impression. The video was packed with personality, humor, and one of those unexpected celebrity cameos that made you do a double take - magic duo Penn & Teller showed up to add even more fun to the chaos.
What I always loved about "It's Tricky" was that it perfectly captured the energy of RUN-DMC. The beat was infectious, the lyrics were playful, and the chemistry between Run, DMC, and Jam Master Jay was undeniable. It wasn't trying to be overly serious—it was simply cool, confident, and impossible not to sing along with. Even now, it's hard to hear that opening without wanting to shout, "It's Tricky to rock a rhyme..."
Looking back, Raising Hell was one of those albums that helped redefine what hip-hop could be. It introduced countless listeners to rap music while proving that the genre belonged right alongside rock, pop, and everything else dominating the charts in the mid-'80s. RUN-DMC weren't just making hit records, they were changing the landscape of popular music.
Nearly four decades later, "It's Tricky" still has all the energy it did back in 1986. It instantly transports me to afternoons spent watching MTV, waiting for my favorite videos to come on, and reminds me why this era of music continues to hold such a special place in my heart.
"Boy, there you go You're telling me that you love me But boy you know That you belong to another girl who loves you You are so fine, (so fine, so fine) You blow my mind (Things you do) with the things you do to me (She sees) She's not blind, she's not blind Things you do for me, but I know [Chorus] I'm so into you I don't know what I'm gonna do Boy, you got me so confused I don't know what I'm gonna do.
It's been a while since I've featured some classic '90s R&B, so I figured it was time to give SWV the spotlight.
Originally formed in the late 1980s as a gospel group, Sisters With Voices eventually shortened their name to SWV and embraced the exploding R&B scene of the early '90s. It turned out to be the perfect move. By 1992, smooth harmonies, slow jams, and heartfelt love songs were dominating both radio and MTV, and SWV quickly became one of the defining groups of the era.
It seemed like you couldn't turn on the radio without hearing "Weak," "Right Here," or "I'm So Into You." Flip over to MTV, and there they were again. Every couple of hours it felt like another SWV video was making its way into rotation. Along with groups like Jade, Xscape, En Vogue, and TLC, they helped define what R&B sounded like during one of the genre's strongest periods.
I'll admit something, though. Back then, I didn't always appreciate just how good we had it. I'd be watching MTV and think, "Ugh... there's SWV again." Funny how time changes your perspective.
Now? I'd love nothing more than to turn on MTV and have one of their videos randomly pop up. Those songs instantly transport me back to a simpler time when my biggest concern was getting through school, heading to work, or figuring out what music video was coming on next. Life moved a little slower, and somehow these songs became part of the soundtrack to all of it.
I think that's one of the reasons '90s R&B has aged so gracefully. The production still sounds smooth, the harmonies remain incredible, and the songs were built around melodies instead of trends. They're timeless in a way that so much modern music struggles to be.
I'm not even sure I can pick a favorite SWV song. "Weak" is a classic. "Right Here" is impossible not to sing along with. But today I'm going with "I'm So Into You." There's just something about its laid-back groove and effortless vocals that still sounds as fresh today as it did over 30 years ago.
If it's been a while since you've heard it, do yourself a favor. Press play, close your eyes, and let it take you back to the golden age of slow jams. I have a feeling you'll appreciate it even more now than you did back then.
But I can see you- Your brown skin shinin' in the sun You got your hair combed back and your sunglasses on, baby And I can tell you my love for you will still be strong After the boys of summer have gone
I can still remember the first time I saw the video for Don Henley's "The Boys of Summer." It was late on a Friday night at my grandmother's house, sometime back in 1984. Those weekends usually meant staying up later than I was allowed at home, flipping through videos until my eyes couldn't stay open any longer. This video came on and I was completely mesmerized.
Looking back, I think it may have been the first time I realized just how much I loved black-and-white music videos. There was something about the stark imagery that made everything feel more important. It wasn't flashy or overloaded with special effects. Instead, it was cinematic, emotional, and haunting in a way that stayed with me long after it ended.
More than forty years later, the video still holds up beautifully. That's no small accomplishment. So many videos from the MTV era scream 1984 with giant hair, neon colors, and dated production techniques. "The Boys of Summer" somehow escaped all of that. It feels timeless. You could watch it today without knowing when it was made, and it would still have the same emotional impact.
Of course, when I was 13 years old, I had absolutely no idea what the song was really about.
The idea of looking back on your youth with a mixture of nostalgia and regret was completely foreign to me. Thirty years old seemed ancient. Forty? That practically meant your life was over. At that age, your world revolves around what happens this weekend, not what happened twenty years ago.
It's funny how life has a way of proving you wrong.
Today, I understand every word of that song in a way I never could back then. Memories become more valuable. Summers seem shorter. Certain songs instantly transport you back to a specific place, a specific person, or even a specific feeling you thought you'd forgotten.
Ironically, that's exactly what DailyBOOM has become.
Seven days a week, we're looking back at the music, movies, television shows, and moments that shaped our lives. We revisit them not because we're stuck in the past, but because those memories still matter. They remind us where we've been, who we were, and sometimes even who we've become.
Maybe that's why "The Boys of Summer" has never faded away. It isn't really about summer at all. It's about time. It's about growing older while holding onto the pieces of ourselves that made those younger years unforgettable.
Every summer, this song seems to find its way back onto playlists everywhere, and honestly, it deserves its annual return. It's one of those rare tracks that somehow becomes more meaningful with every passing year.
So if you're putting together your soundtrack for the season, this one belongs on it.
Turn it up, watch the video one more time, and let it take you wherever your own memories happen to live. Chances are, they're waiting for you in black and white.
"Darkness Imprisoning me All that I see Absolute horror I cannot live I cannot die Trapped in myself Body my holding cell Landmine Has taken my sight Taken my speech Taken my hearing Taken my arms Taken my legs Taken my soul Left me with life in hell "
By 1988, hard rock and heavy metal were absolutely everywhere. Hair bands ruled MTV, rock radio, and the walls of every teenage bedroom plastered with posters. If you weren't an actual fan of the genre, chances are you probably couldn't tell Whitesnake from Europe or Skid Row. Every band seemed to consist of impossibly good-looking guys with teased hair, leather pants, and enough Aqua Net to single-handedly destroy the ozone layer. They all had power ballads, flashy guitar solos, and videos that were in constant rotation.
Then there was Metallica. They didn't fit the mold at all.
While the glam bands were busy singing about love, parties, and fast cars, Metallica had spent years building a loyal following in the underground thrash metal scene. They were heavier, darker, and far less interested in looking like rock stars than they were in making uncompromising music. To be honest, they weren't really on my radar.
That changed one cold morning while I was standing outside waiting for the school bus.
I remember hearing "One" for the first time, and it completely changed my opinion of Metallica. This wasn't just another loud metal song. It was haunting, emotional, and unlike anything else that was getting airplay at the time. Even before I understood the full story behind the lyrics, I knew I was hearing something different.
Released as the third and final single from ...And Justice for All, "One" became Metallica's breakthrough into the mainstream. More importantly, it introduced a whole new audience to a band that had already spent years earning respect from metal fans around the world.
The song itself is devastating.
Inspired by Dalton Trumbo's anti-war novel Johnny Got His Gun, "One" tells the story of a soldier who has lost his arms, legs, sight, hearing, and ability to speak after being critically wounded in combat. Trapped inside his own body, he's fully aware of what's happened to him but has no way to communicate with the outside world. It's one of the most powerful anti-war songs ever written, not because it preaches, but because it forces you to imagine the unimaginable.
The music video only intensified that message.
MTV put "One" into heavy rotation almost immediately, and it was impossible to look away. Alternating between Metallica performing in stark black-and-white and unforgettable scenes from the 1971 film Johnny Got His Gun, the video felt more like a short film than a typical rock video. There were no glamorous sets or pyrotechnics—just raw emotion, heartbreaking imagery, and a story that stayed with you long after the song ended.
For a band that had resisted making videos for years, Metallica couldn't have chosen a more impactful debut.
The song also earned Metallica their very first Grammy Award, taking home Best Metal Performance in 1989. It was a landmark moment not just for the band but for heavy music as a whole. Metal had finally received recognition on one of music's biggest stages, and "One" was the perfect song to do it.
Musically, it's a masterpiece.
It begins almost like a ballad, with clean guitars and a slow, haunting build before gradually exploding into one of the most intense finales in rock history. James Hetfield's vocals perfectly capture fear, anger, and despair, while Kirk Hammett delivers one of the greatest guitar solos of the era. By the time Lars Ulrich's machine-gun-like double bass kicks in during the final section, the song has transformed into something unforgettable.
Even after all these years, "One" still gives me chills every time I hear it.
I've been fortunate enough to experience it live, and it's one of those songs that somehow becomes even more powerful in concert. The opening notes are enough to send a wave of anticipation through the crowd, and by the explosive finale, thousands of fans are singing every word together. It's one of those rare live performances that you don't just watch, you feel.
Looking back, it's funny that a few minutes spent waiting for a school bus could completely change the way I looked at a band. "One" opened the door for me to appreciate Metallica's songwriting, musicianship, and willingness to tackle subjects far deeper than what most of their contemporaries were doing.
Nearly four decades later, it remains one of the greatest metal songs ever recorded and, in my opinion, one of the most powerful anti-war songs in rock history.
By 1986, Madonna wasn't just ruling the charts, she was defining an entire era. In just a few short years, she had reinvented herself once again, trading the lace gloves and "Like a Virgin" look for a stronger, more mature image. Gone was the wild-haired club kid. In her place stood a toned, confident woman with a cropped hairstyle that perfectly matched the powerful message behind "Papa Don't Preach."
When the song was released, it immediately sparked controversy. The music video follows a young woman as she tells her father that she's pregnant and intends to keep the baby. Today, it might not seem quite as shocking, but forty years ago it ignited debates everywhere.
Some groups accused Madonna of glamorizing teenage pregnancy, while others claimed the song was taking an anti-abortion stance. Everyone seemed to have an opinion. Ironically, Madonna's own position almost became secondary to the conversation itself. What she really accomplished was getting people to talk openly about a subject that had often been considered off-limits in mainstream pop music.
Of course, none of the controversy hurt the song's success. If anything, it fueled it. "Papa Don't Preach" became Madonna's fourth No. 1 hit on the Billboard Hot 100, further cementing her status as the biggest female pop star of the decade.
Looking back, it's easy to see why the song has endured. Beyond the headlines and the debates, it's simply a well-crafted pop record with an unforgettable melody and one of Madonna's strongest vocal performances of the '80s.
Whether you remember the controversy firsthand or are discovering it for the first time, "Papa Don't Preach" remains one of the defining pop moments of 1986.
You've brought my world to an end Love takes its victim and leaves its remains My broken heart has died in vain Tell me why have we forsaken the dreams we had The pain makes it so hard to understand You're a lifetime ago but a memory away And I'll love you till my resurrection day Love kills the fire's gone Dying embers still remain Love kills and now you're gone Girl, I'll never be the same again
I'm going to be honest here, saying I don't remember Vinnie Vincent Invasion's "Love Kills" would be an understatement. Somehow, this one completely slipped past me back in the day.
Released in 1988 for the A Nightmare on Elm Street 4: The Dream Master soundtrack, the song unexpectedly popped up during an episode of MTV Classic's Metal Mayhem this morning, and I'm glad it did.
Vinnie Vincent formed the band in 1984 after leaving KISS, where he had made a name for himself as the band's lead guitarist. Two years later, he recruited a then-22-year-old Mark Slaughter as lead vocalist, and the chemistry was undeniable. While the band never reached the commercial heights of some of their glam metal peers, they produced some seriously underrated material.
Watching the "Love Kills" video today, what struck me most was just how incredible Mark Slaughter sounded. Even at only 22 years old, his powerful, soaring vocals were impossible to ignore. Looking back now, it's easy to hear why he would go on to front Slaughter, one of the more successful hard rock bands of the late '80s and early '90s with hits like "Up All Night" and "Fly to the Angels."
The song itself is exactly what you'd want from a late-'80s horror movie soundtrack: big guitars, melodic hooks, dramatic vocals, and enough attitude to fit perfectly alongside Freddy Krueger's latest reign of terror. It's a reminder of just how many great rock songs were tucked away on movie soundtracks during that era.
Of course, Vinnie Vincent Invasion eventually called it quits, and the members went their separate ways. Mark Slaughter found mainstream success with his new band, while Vinnie Vincent's career continued to take some interesting twists over the years. Even so, "Love Kills" remains a fun snapshot of a moment when everything seemed poised to break even bigger.
Sometimes all it takes is an old episode of Metal Mayhem to remind you of a song you either forgot or never really discovered in the first place.
Like a lot of people my age, Private Dancer was my introduction to Tina. At the time, I knew nothing about her incredible journey with Ike Turner or the years she spent fighting to rebuild her career as a solo artist. All I knew was that the second the video for "What's Love Got to Do with It" came on MTV, I couldn't look away.
Back then, my dad had a pretty great system. He'd buy the latest 45s, record them onto one of his mixtapes, and then I'd inherit the singles. I still remember bringing those records home and playing them over and over again. Like just about every radio DJ at the time, my dad couldn't stop talking about Tina's iconic fishnet look on the Private Dancer cover. Me? I just thought she was the coolest woman I'd ever seen.
By the time the album's title track, "Private Dancer," was released as a single, I was already a full-fledged fan. Ironically, I wasn't crazy about the song the first time I heard it. It felt slower than the other hits from the album, and I didn't immediately connect with it. But sometimes the songs that take the longest to grow on us become the ones we treasure most.
Now, all these years later, "Private Dancer" is one of my favorite Tina Turner recordings. I also love the different videos that have been released for it, but this live performance from Wembley Arena has always been my favorite. It captures Tina at the height of her powers, commanding an arena packed with fans who hung on every word.
Watching it today is a reminder of why she became such a legend. The performance is understated, elegant, and completely captivating. It's proof that great songs—and great artists—never really age. They just find new generations of fans to fall in love with them.
I'm only happy when it rains I feel good when things are going wrong I only listen to the sad, sad songs I'm only happy when it rains
I only smile in the dark My only comfort is the night gone black I didn't accidentally tell you that I'm only happy when it rains
If you've been reading DailyBOOM for any real length of time, then you already know that I absolutely love Garbage. I'll worship at the feet of Shirley Manson and praise the talent of the rest of the band each and every chance that I get. Finally getting to see them was absolutely everything that I had hoped for and more. It's always risky when you wait years to see a band that you love for the first time. Especially more than 20 years. You run the risk of voices fading, vocal range diminishing, and fingers just not playing the way that they once did.
Not the case with Garbage. I can't imagine them ever sounding better than they currently do. And Shirley has certainly gotten better with some good years under her belt. The performance anxiety she once had has been traded in for a sense of authority and control as she stalks the stage. There have been so many great tracks over the years, but since it is currently pouring, I'm going to make a fairly obvious choice.
Is "Only Happy When It Rains" their best song? Maybe. Is it their best song played live? Definitely maybe. It has always created or (embraced an already existing) mood. It described the 90's angst perfectly, which is, I'm sure, why it became such a huge breakout (and breakthrough) hit for Garbage. I also think it has one of the best videos of the entire decade to accompany it. Check it out below! Fabulous still, isn't it?
Pay attention, are you listening? You're my favorite girl Excuse me for the moment, I'm in another world On a mountain, by a fountain, flowers blooming everywhere With Venus and cupid, the picture's very clear
It's strange how I can hear a song and easily remember the time of year that it first became popular. The summer of 1987 was loaded with great music and there was one little song that seemed to follow me everywhere that I went. The System's "Don't Disturb This Groove" eventually became know as the official song of that summer but that was after it followed me to the Jersey Shore, to Six Flags and it played in the background no matter what store I shopped in at the time. I affiliate "Don't Disturb This Groove" with car windows rolled down and sunshine. And maybe a bit of Sun In and my big boom box as well.
I love when songs are kind of timeless in that you really can't tell by listening what era that are from. This is one of those so check it out below!
I have to admit, I had completely forgotten about Lisa Fisher's "How Can I Ease The Pain" until MTV Classic played it's stunning video the other day. Whatever I was doing at the time, I stopped to watch every second of it. This is easily one of the very best ballads of the '90s. When it was released back in 1991 Fisher kind of skyrocketed to success. She was the IT girl and was expected to follow "How Can I Ease The Pain" with years of equally gut-wrenching ballads. Her Grammy win for the track only reinforced that notion.
So where has Fisher been for the last 25 years? The answer is everywhere. She has toured, dueted, and provided backing vocals for Tina Turner, The Rolling Stones, Patti Labelle, Chaka Khan... you get the idea. She also does tour on her own and sounds even better live. Few songs from the '90s connect with heartbreak quite like "How Can I Ease The Pain".
(Revisiting this one) Since Memorial Day weekend is creeping up on us, and it is, like, the unofficial start to summer, it only seems right to take a look at one of the most popular summer songs of the 1980's. I'm talking about Bananarama's "Cruel Summer". Not only is this a popular summer track, but it's also probably one of the most easily identified songs to come out of the 80's. I say "Cruel Summer," and you instantly hear the music, don't you? It instantly brings me back to the Jersey shore in the early 80's. I remember scorching sun, the smell of Coppertone, and this song playing from someone's boom box on the beach.
That's the sign of a great song- when it transports you back in time. Where does "Cruel Summer" take you back to?
For many of us, life just seems a whole lot better when we're surrounded by sun, sand, and of course a great big ocean. Salt life is a real thing, and it has been featured in music videos almost since the very start of MTV. Some of the most memorable visuals by music artists have featured the ocean as a backdrop. Since it's the unofficial start of summer, I thought it would be fun to revisit some old MTV favorites. Each of these videos has a beach theme and really stands out in my memory (hopefully yours too). So here we go and in NO particular order...
Belinda Carlisle- "Circle In The Sand"
Sundown all around
Walking thru the summer's end
Waves crash baby, don't look back
I won't walk away again
Oh, baby, anywhere you go,
We are bound together
I begin, baby, where you end
Some things are forever!
This was released in May of 1988 with Carlisle singing as various layered beach scenes flashed behind her. This song came at a time when the former Go Go's frontwoman could do no wrong musically. She had a string of solo hits, including "Heaven Is A Place On Earth" and "Mad About You" that all charted well.
The Fat Boys- "Wipe Out"
For three years straight we toured the nation
When we get through we needed a vacation
We wanted to party and get a little rest
So we packed our things and headed out west
We got our surfboards took the beach ball out
Jumped in a limousine ready to "Wipeout"
The Fat Boys were a hip-hop trio from Brooklyn that first emerged in the early 80's. Their 1987 cover of "Wipe Out" was one of the biggest songs of the summer and this video was in heavy rotation on MTV.
Huey Lewis And The News- "Stuck With You"
Yes, it's true, (yes it's true) I am happy to be stuck with you
Yes, it's true, (yes it's true) I'm so happy to be stuck with you Cause I can see, (I can see) that you're happy to be stuck with me (yes it's true) I'm so happy to be stuck with you
I'm happy to be stuck with you
Happy to be stuck with you.
What guy wouldn't want to be stuck on a deserted island with Keely Shaye Smith circa 1986? Huey Lewis was probably thrilled to get to play in the sun and sand with the then-model for hours while filming "Stuck With You". The song itself spent 3 weeks at number one on Billboard's Hot 100 and the video was one of the biggest of the year. The desert island in this is actually about ten miles from Paradise Island in Nassau.
Duran Duran- "Rio"
Her name is Rio and she dances on the sand
Just like that river twisting through a dusty land
And when she shines she really shows you all she can Oh Rio, Rio dance across the Rio Grande
While Duran Duran was picking up momentum in the early 80's their second studio album, Rio didn't really click here in the states- until their flashy video for the title song. "Rio" eventually became a visual example of all of the excesses that the decade became synonymous for. This features the band is slick suits speeding through the Caribbean on a yacht surrounded by beautiful women. Once the video was picked up by MTV then people realized what a great song this really was.
Bon Jovi- "In And Out Of Love"
Young and wired
Set to explode in the heat you won't tire Cause baby was born with the beat
Do you guys even remember this video from 1985? I had actually forgotten it but it has to be included here because it features the original Jersey boys playing on the boardwalk and in the sands of Seaside Heights!
David Lee Roth- "California Girls"
Well, East coast girls are hip,
I really dig those styles they wear; And the Southern girls with the way they talk, They knock me out when I'm down there, The mid-west farmers daughters Real-ly make you feel alright, And the northern girls with the way they kiss They keep their boyfriends warm at night.
Not long after leaving Van Halen in 1984 David Lee Roth returned to the airwaves with 1985's Crazy From The Heat. All four songs on the EP were covers of already established hits from the past. "California Girls" was kind of a no-brainer and the video loaded with chicks in bikinis became a summer staple.
Expose`- "Seasons Change"
Seasons change feelings change
It's been so long since I found you
Yet it seems like yesterday
Seasons change people change I'll sacrifice tomorrow Just to have you here today
In 1987 Expose` took their Miami freestyle sound and delivered it to the masses, with great success. Hits like "Come Go With Me" and "Let Me Be The One" landed in Billboard's top ten and solidified their run as a great dance band but that wasn't all that they were capable of. Their ballad "Seasons Change" earned the girl group their first number-one single and just as the song was a bit of a departure, so was the video. Instead of being a flashy, fun live performance, "Seasons Change" was set in a beach house. The girls are seen packing up their summer house while singing and eventually a run on the beach is of course in order.
Chris Isaak- "Wicked Game"
What a wicked game you played to make me feel this way
what a wicked thing to do to let me dream of you what a wicked thing to say you never felt this way what a wicked thing to do to make me dream of you
Take a sultry, haunting song, a topless Helena Christensen in Isaak's arms, and film it in black and white. The result? Perfection, the kind that even 27 years after its' original release still makes you stop to watch.
Wreckx-N-Effect- "Rump Shaker"
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom - Just shake ya rump! The year was 1992 and Teddy Riley's production and guest vocals made "Rump Shaker" a club classic for Wreckz-N-Effect. The visual of a hot chick walking in the sand playing the saxophone is probably still cemented in the minds of many men out there.
Madonna- "Cherish"
Cherish the thought
Of always having you here by my side (Oh baby I) cherish the joy You keep bringing it into my life (I'm always singing it) Cherish the strength You got the power to make me feel good (And baby I) perish the thought Of ever leaving I never would
This was the third single off of Madonna's 1989 Like A Prayer release. After two controversial songs in a row, it was nice to see Madonna take on something as simple as love. Watching her play in the surf in "Cherish" was a nice reminder that while the diva was certainly issues-oriented, she still had a fun side.
Don Henley- "Boys Of Summer"
I can see you,
Your brown skin shining in the sun.
You got that top pulled down,
And that radio on, baby.
And I can tell you my love for you will still be strong,
After the boys of summer have gone
Can you believe that this song is 32 years old? Well, it is and I think that "Boys Of Summer" might be one of the most timeless videos around. The black and white imagery flashes through the different stages of a man's life, from boyhood to middle age adulthood and you can feel the major flashback unfolding in front of your eyes. This is undoubtedly one of Henley's best songs, don't you think?
There is just a sampling of some of the best beach videos in old-school pop culture history. What are your favorites?
"I always love a little mystery But now the tensions killing me No place left for words to hide I never thought it could be quite so tough Lips once sealed are splitting up There ain't no secrets to outshine, father time."
I can remember walking into a Listening Booth store in the middle of my local mall and flipping through their one rack of 12" dance mixes of freestyle/house music and finding a copy of A'Me Lorain's "Whole Wide World". I bought that and a copy of Lisette Melendez's "Together Forever" and felt like I hit the music lottery. Back in 1990, in the middle of suburban Pennsylvania, club music was a novelty rather than a standard. I was 90 minutes from Philly, two hours from NYC and basically just far enough out for stores not to carry a whole lot of dance stuff.
I was still glued to Dance Party USA and my friends from the series so I knew what was popping in the clubs. I found a way to get my hands on Judy Torres and Coro even if I had to order it. But A'Me Lorain was an unexpected find and I played this record into the ground. She is still around, in case you were wondering. She dropped a dance track last spring that didn't do much chart-wise, in spite of getting a bit of club play. You can check it out here.
"Something is wrong as I hold you near Somebody else holds your heart, yeah You look at me with your eyes in tears And then it's raining, feels like it's raining Oh no, tears are falling Oh no, tears are falling, whoo oh Oh no, tears are falling, whoo oh I saw you cry And now it's raining (yeah) Looks like it's raining (someone stole your heart) And now it's raining, feels like it's raining."
1984 was a monstorous year for KISS. Their album Animalize spawned the hit "Heaven's On Fire" and for the first time the hard rock icons were performing and shooting videos without their infamous makeup. It was almost strange to see them all glammed up. Big hair, lipstick and colored spandex replaced their old painted face look and the MTV crowd kind of ate it up.
By the fall of 1985 the boys were back with their 13th studio album, Asylum, which didn't do as well as its' predecessor. However, it brought with it one of my all-time favorite KISS tracks, "Tears Are Falling". The video was filmed earlier in the year in London and for whatever reason I was kind of obsessed with it. My uber religious mother believed that anything connected to KISS was leading fans down a path of imminent destruction, so I really had to keep my love for the band on the low.
Instead of watching MTV after school and out in the open like my friends I'd get up super early to watch it before mom crawled out of bed. There was a point in time when the "Tears Are Falling" video played at 6:40am for about a week straight and I was up and out of bed to see it.
Thirty-plus years later, I still love it so check out the video below!
Latin freestyle seems to go hand in hand with Friday, at least in my mind. If Friday is really the day to celebrate the weekend ahead then that means club songs, freestyle and old school house music are the very best way to kick it all off. Let me take you back to 1988 when Betty Dee and her girls stepped out from the shadow of Expose` and The Cover Girls and made their own mark in the dance world.
Sweet Sensation had the hair, the clothes, and all the moves. But they seemed like the chicks down the street. This was the girl group that you really could have gone to school with or partied with. And their music rivaled other dance floor anthems. Songs like "Take It While It's Hot" and "Hooked On You" were featured on Open House Party and Dance Party USA, making the ladies a pretty hot commodity leading up to their number one single, "If Wishes Came True".
Betty Dee, Jenae Colon, and Belle Ritter reunited a few years ago and on any given weekend you're likely to find Sweet Sensation hitting the stage somewhere on the east coast. "Sincerely Yours" remains one of their most popular hits. Check out the video below.
"Take me by surprise Look into my eyes And show me that Your love is real"
Remember back in the day when a great club song would get stuck in your head from the first spin? Dino (AKA Dean Esposito) had one of those in 1989. "I Like It" was that track. You could dance to it and whenever it came on you ended up in a better mood by the time it ended. Dino's career as a performer only last for a few years but he has remained active in the music business by writing and producing for other artists, such as Sheena Easton.
Dino is also connected to the music industry via his wife, Caroline Jackson. If her name doesn't ring a bell the fact that she's one of the original Cover Girls should help jog your memory. She currently performs at various freestyle shows across the country with the rest of the OCG.
Anyway, back to Dino. How much do you still love this song?
"There`s a real fine line Between love and hate And I`m not the type To just sit and wait I`ve made up my mind I can`t wait for you anymore"
Ya know that one song that you remember so well years (okay decades) later that no one else can recall? Bardeux's "When We Kiss' fits that bill for me. I have never mentioned it to another soul that has any idea what I'm talking about and if I play it for them, they still don't remember it. Bardeux was actually a dance duo from OC, Stacy "Acacia" Smith and Lisa "Jaz" Teaney (at least on this song), who released their first album, Bold As Love in 1988.
While Bardeux is often described as a one-hit-wonder, they actually had a few singles that charted on Billboard's Hot 100 and they did really well on the dance charts during their short time together. I've always loved "When We Kiss' because it's almost more of a spoken word song than anything else and that really made it stand out back in 1988. Check it out below. Do you guys remember Bardeux?
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