THE SONGS
Heaven Is A Place On Earth
A powerful contender for probably the most bombastic opening to a pop track ever. The phrase ‘energy chord’ was certainly coined to explain this monitor. Heaven Is A Place On Earth adheres to the George Martin college of arranging, by whacking the hook upfront (in any other case referred to as ‘don’t bore us, get to the refrain’). Only a thunderous kick drum, then growth!, straight into that well-known singalong chorus delivered by multilayered vocals. In truth, the quick touchstone for the monitor was Bon Jovi’s You Give Love A Unhealthy Title. The lyrics have been apparently impressed by a truckstop postcard. Not Shakespeare then, however generally, you want that blunt, direct message to interrupt by means of, and its common theme continues to resonate. For sure, it conquered the charts virtually in every single place and stays Carlisle’s solely US Billboard No.1 single thus far. The chutzpah is capped off with the compulsory final-chorus key change. Heaven… has taken on a lifetime of its personal, a basic pop-rock anthem and jukebox customary.
Circle In The Sand
Infinitely extra delicate than the opener; and although not as quick, Circle In The Sand is arguably extra musically fascinating. Slightly than increase in linear trend to an explosive singalong refrain, it merely skulks together with a round high quality. The lyrics immediately conjure imagery of a sandy seashore at sundown, piña colada in hand. The association has an ethereal shimmering high quality, because of Thomas Dolby’s keyboards, mixed with session gamers John McCurry and John Pierce on guitar and bass respectively. One other High 10 single.
I Really feel Free
A spirited cowl of the Cream favorite. A refreshing and sudden delight – much better in actuality than it may appear on paper. The trippy, sampled male vocal chorus within the opening bars feels genuinely modern and contemporary even now. The place Heaven Is A Place On Earth’s overbearing manufacturing would possibly understandably really feel just a little stodgy to some, this monitor positively jumps out of the audio system as a futurist punch contrasted with throwback psychedelia. Launched as a single, within the US it reached a paltry No.88, however deserved to be a a lot larger hit for Carlisle. It additionally options within the 1988 ‘two Coreys’ movie, License To Drive.
Ought to I Let You In?
The primary of a number of co-writes from Belinda’s ex-Go-Go’s pal, guitarist Charlotte Caffey (together with Australian, Mark Holden on this monitor). Ought to I Let You In? kicks off with an ominous tribal drum pulse, earlier than erupting into extra customary pop-rock honest, echoing The Go-Go’s new wave type, although extra muscular and tooled up. The guitars ring out with a satisfying jangle, and when mixed with the vocal, the impact is like Blondie meets The Byrds. Carlisle workouts her sturdy vibrato, affecting a raspy voice, which is embellished with era-typical guitar licks (caked in delay, refrain and each different impact accessible). A positive album reduce, it’s tailored to soundtrack some generic late-80s primetime TV present, most likely starring David Hasselhoff.
World With out You
The primary of two tracks in a row on the album that was written by Diane Warren. World With out You is a candy, silky track showcasing a softer falsetto refrain, that floats alongside gently on a vaguely doo-woppy, girl-group vibe. Launched as a single, it reached No.34 within the UK.
I Get Weak
Songwriter Diane Warren apparently “had Stevie Nicks in thoughts” when she first shared I Get Weak with producer Rick Nowels. However it was deemed an amazing match for Carlisle, and so Stevie’s loss was Belinda’s achieve. It’s a positive reduce, related in type and tone to World With out You, and fewer in-yer-face than a few of its counterparts. However it’s efficient. Nonetheless, there’s a cute likability to the lilting melody over the descending chords. Although primarily a ballad, the brand new wave stylings and driving backbeat preserve the momentum going, moderately than descending right into a extra plodding or sludgy affair. It was one other hit, simply lacking the No.1 spot within the US, whereas additionally making the High 10 within the UK.
We Can Change
The tempo picks up as soon as once more with the assistance of vibrant synth chimes (seemingly utilizing the identical keyboard preset as Born In The united statesA.) and extra jangly guitars. It’s one other Caffey co-write (this time with Nowels), and once more has a definite Go-Go’s really feel – an upbeat track, with a constructive message about making the world higher by first beginning with ourselves. Certainly, presumably by sheer coincidence, it shares the identical lyrical sentiment as Michael Jackson’s Man In The Mirror (launched on his Unhealthy album in the identical 12 months).It’s catchy, for certain. The association hits in all the fitting locations – simply strive resisting the urge to sing alongside to all these “whoa, whoas!” within the refrain. In the end although, the lyric lets it down – just a bit too anodyne as a consequence of its naïve, happy-clappy optimism.
Idiot For Love
One other up-tempo rocker, with all the standard manufacturing gildings: a cavernous snare drum, chugging guitars and brash sparkly synths. Idiot For Love was written by Robbie Seidman, who has penned a number of songs for Carlisle all through her profession. Idiot For Love occupies that spot within the tracklisting usually reserved for the weaker materials (that’s, tucked away in the midst of Aspect B). On first impression, it feels just a little light-weight; not terrible, by any stretch, however neither does it ever fairly catch hearth. However in equity, it’s a grower that improves with time. You definitely received’t overlook the title – repeated endlessly within the chorus all through.
No person Owns Me
A rallying cry to the impartial spirit – “no-one owns me and no-one can ever inform me what to do”, Carlisle declares with real conviction (though the track title fails to say the lyrics’ caveat of “no one however you”). After all, Carlisle did present that she was not ready to be pushed about, refusing to incorporate sure songs on the document that she wasn’t eager on. So, this monitor holds explicit resonance. True to its sentiment, No person Owns Me is one in every of a number of high-octane rockers (once more a Caffey co-write), related in vitality and depth of the previous monitor, although packing a a lot larger punch.
Love By no means Dies
The document ends on a extra plaintive observe; a craving, heart-aching slowburner ballad, with a title straight out of a Bond movie. In type and quantity, it’s the polar reverse of the opening monitor – however lyrically, they share an apparent kinship, collectively neatly bookending the album. Love By no means Dies contains a dynamic vocal that builds in depth from a whisper to raspy pleading – certainly it’s that rawness that rescues it from potential sappiness, Carlisle’s voice usually on the sting of breaking. When she soars into these lengthy held notes within the refrain chorus, it’s extremely touching, with none of the Disney Princess sheen that so sometimes accompanies a rousing ballad like this. It occupies an analogous area to Kim Carnes’ 1981 hit, Bette Davis Eyes. A single within the UK (impressively, it was her fifth on these shores from the 10-track album), although it criminally missed the High 40, peaking at No.54 in 1988.
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