Saturday, November 14, 1987

Nov. 14, 1987: Dirty Dancing soundtrack hit #1 for the first of 18 weeks

image from fanpop.com

First posted August 31, 2011. Last updated September 2, 2018.

Dirty Dancing (soundtrack)

various artists

Released: Sept. 1, 1987


Sales (in millions):
US: 11.0
UK: 2.44
IFPI: --
World (estimated): 32.0


Peak:
US: 118
UK: 4
Canada: 114
Australia: 18

Quotable: --


Genre: pop/oldies


Album Tracks:

  1. I’ve Had the Time of My Life (BILL MEDLEY/ JENNIFER WARNES) (8/8/87) #1 US, #6 UK, #1 AC, sales: 0.5 m
  2. Be My Baby (THE RONETTES) (8/31/63) #2 US, #4 UK, #4 RB
  3. She’s Like the Wind (PATRICK SWAYZE/ WENDY FRASER) (12/19/87) #3 US, #17, #1 AC
  4. Hungry Eyes (ERIC CARMEN) (11/7/87) #4 US, #2 AC
  5. Stay (MAURICE WILLIAMS & THE ZODIACS) (9/26/60) #1 US, #14 UK, #3 RB
  6. Yes (MERRY CLAYTON) (4/23/88) #49 AC
  7. You Don’t Own Me (THE BLOW MONKEYS)
  8. Hey! Baby (BRUCE CHANNEL) (1/27/62) #1 US, #2 UK, #2 RB, sales: 0.5 m
  9. Overload (ALFIE ZAPPACOSTA)
  10. Love Is Strange (MICKEY & SYLVIA) (12/22/56) #11 US, #1 RB
  11. Where Are You Tonight? (TOM JOHNSTON)
  12. In the Still of the Night (THE FIVE SATINS) (3/56) #24 US, #3 RB

Notes: The soundtrack was so successful it spawned a sequel – More Dirty Dancing – in 1988. It was dominated by instrumentals and more oldies, but lead to The Contours’ “Do You Love Me” recharting – and peaking at #11 – more than 25 years after its original debut.

Click here for the chart codes for singles/hit songs.

Review:

The fall of 1987 marked the onset of my junior year in college. One of the hottest movies around was Dirty Dancing. I wasn’t interested, but ended up going – with five women. Hey, who would turn that down? Well, I thought the movie was cheesy and eye-rolling, but my movie companions loved it. They swooned over Patrick Swayze and all but danced in the aisles to the music.

Ah, yes. The music. As popular as the movie was and as much as women loved Swayze, this wasn’t the formula for a monster soundtrack. In the mid-‘80s, soundtracks to movies like Flashdance, Footloose, and Top Gun became huge sellers on the strength of well-done pop songs by acts who weren’t necessarily top rung, but were known commodities. Each album mustered a couple of top ten hits and at least one #1 each and then peppered the album with filler.

Dirty Dancing opted for artists best known for decades-old hits. Eric Carmen hit #2 in 1975 with “All By Myself” while Bill Medley had huge hits as part of the Righteous Brothers duo in the 1960s (“You’ve Lost That Lovin’ Feelin’”, “You’re My Soul and Inspiration”, “Unchained Melody”).

The best-known commodity was Medley’s duet partner, Jennifer Warnes, who had topped the charts in 1982 with “Up Where We Belong,” a duet with Joe Cocker from the movie An Officer and a Gentleman. Sure, she’d had a #1 hit, but who would’ve gambled that she had any more hits in her?

In addition, there were still a couple fillers…and even what would have seemed a cringe inducing concept of handing a song [“She’s Like the Wind”] to “Patrick Swayze, who played the male lead in the movie.” TH

On top of that, the album sprinkled in some well-known hits from the ‘50s and ‘60s, which certainly fit the setting of the movie, but didn’t seem like a winning formula for a successful soundtrack.

Somehow, though, it worked – primarily because these are well-done slices of pop music from the present and the past that, unlike many soundtracks, often tie in well with scenes in the movie. “While this may not be ‘the time of your life,’ as the album cover advertises, it is a fun collection.” TH


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Tuesday, November 3, 1987

George Michael released Faith: November 3, 1987

Originally posted November 3, 2011.



“A superbly crafted mainstream pop/rock masterpiece,” SH Faith was George “Michael’s stunning solo debut after four years in the lightweight British duo Wham!” MR and it made him “an international solo star.” SH He scored four consecutive #1 hits in the U.S. with singles from the album (“Faith”, “Father Figure”, “One More Try”, and “Monkey”) and book-ended those with two more top 10 hits (“I Want Your Sex” and “Kissing a Fool”). Some of those songs “were among the decade’s best pop.” MR

Faith’s ingenuity lies in the way it straddles pop, adult contemporary, R&B, and dance music as though there were no distinctions between them.” SH The album made Michael “the first white solo artist to hit number one on the R&B album charts. Michael had already proven the soulful power of his pipes by singing a duet with Aretha Franklin on the 1987 smash ‘I Knew You Were Waiting (For Me),’ but he went even farther when it came to crafting his own material, using sophisticated ‘70s soul as an indispensable part of his foundation.” SH

However, he didn’t just cross genres. He was equally successful at “funky dance-pop and airy, shimmering ballads.” SH As for the former, “Michael appropriates the Bo Diddley beat for the rockabilly-tinged title trackSH In regards to the latter, there was “the heartfelt ballad Father Figure.” MR However, he also proved “himself a better-than-decent torch singer on the cocktail jazz of Kissing a Fool.” SH



“Michael arranged and produced the album himself, and the familiarity of many of these songs can obscure his skills in those departments – close listening reveals his knack for shifting elements in and out of the mix and adding subtle embellishments when a little emphasis or variety is needed.” SH

“Though Faith couldn’t completely shake Michael’s bubblegum image in some quarters, the album’s themes were decidedly adult.” SH With its “wicked R&B groove” MR I Want Your Sex was the most notorious example, of course, but even the love songs were strikingly personal and mature, grappling with complex adult desires and scarred by past heartbreak.” SH

“All of it adds up to one of the finest pop albums of the ‘80s, setting a high-water mark that Michael was only able to reach in isolated moments afterward.” SH “Unlike so much 1980s treacle, this disc hold ups surprisingly well.” MR




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