Monday, September 25, 1989

Tears for Fears The Seeds of Love released

The Seeds of Love

Tears for Fears

Released: September 25, 1989

Peak: 8 US, 11 UK, 5 CN, 18 AU

Sales (in millions): 1.0 US, 0.3 UK, 4.0 world (includes US and UK)

Genre: new wave


Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. Woman in Chains (Orzabal) [6:31] (11/6/89, 36 US, 32 CB, 37 AC, 27 MR, 26 UK, 11 CN, 39 AU)
  2. Badman's Song (Holland/ Orzabal) [8:32]
  3. Sowing the Seeds of Love (Orzabal/ Smith) [6:19] (8/21/89, 2 US, 1 CB, 4 RR, 29 AC, 4 AR, 1 MR, 5 UK, 1 CN, 13 AU)
  4. Advice for the Young at Heart (Holland/ Orzabal) [4:50] (2/19/90, 89 US, 62 CB, 24 AC, 36 UK, 25 CN)
  5. Standing on the Corner of the Third World (Orzabal) [5:33]
  6. Swords and Knives (Holland) [6:12]
  7. Year of the Knife (Holland/ Orzabal) [7:08]
  8. Famous Last Words (Holland/ Orzabal) [4:26] (8/6/90, 83 UK)

Total Running Time: 49:40

The Players:

  • Roland Orzabal (vocals, guitar, keyboards, etc.)
  • Curt Smith (vocals, bass)
  • Ian Stanley (keyboards)


4.022 out of 5.00 (average of 19 ratings)

Quotable: “Dynamic, poignant pop [that] took Tears For Fears to new levels of artistry.” – Eric Aaron,

Awards: (Click on award to learn more).

About the Album:

The Seeds of Love completes a trilogy familiar to many careers: the tentative debut, the fully realized follow-up, and the grandiose third album.” HE The album, which took more than four years to make, and “reportedly cost over $250,000 to produce,” WK “bears all the scars of struggle and indecision” HE of a band in limbo. “The musical landscape had changed…so there are a few differences here.” AD “The songs feature expansive melodies instead of blatant hooks” SS and “the pounding drum patterns that were a feature of both their 'synth' albums are gone.” AD Instead, the band “dramatically extended their range of musical textures, shying away from the dark rock edges of prior albums and embracing richly layered elements of jazz, soul” EA and even gospel.

The album’s “dynamic, poignant pop…took Tears For Fears to new levels of artistry.” EA The Seeds of Love “shows [their] soulful pop glory in its fullest bloom;” EA “the songs stick in the listener's head in almost subliminal fashion.” MA While this album lacks “the compelling immediacy of Songs from the Big Chair, The Seeds of Love was an ambitious attempt to establish themselves as pop craftsmen of the highest order, and it succeeded brilliantly.” EA

“Like their other albums, The Seeds of Love continues the concept of moving from hurting to healing to beginning anew (the hit “Sowing the Seeds of Love”) to growing apart.” SS Each of the “eight sprawling tracks” MA “is a five-minute-plus mini-drama with moments of delicacy and discomfort, restraint and excess, inspiration and creative exhaustion.” SS “Curt Smith and Roland Orzabel are clearly perfectionists – the record is heavily produced, but not to the point that all the life is produced right out of it.” MA

“As the last album to feature…Smith, it is a fitting end to an era.” HE Tears for Fears was becoming “more a platform for…Orzabal than a true band.” SS “Ian Stanley was replaced by Nicky Holland as a keyboardist and Orzabal's songwriting partner” SS while Smith only gets co-writing credit on “Sowing the Seeds of Love.” Even guest “vocalist, Oleta Adams…gets more parts than Curt does.” AD Not surprisingly, “Orzabal and Smith…parted on bad terms during the album, ensuring yet another change in the band's direction thereafter.” SS

But, back to this album for now. The “lush, atmospheric” EA and “solemn” HE Woman in Chains “could simply be a women's-lib anthem, but like everything else about this album, there's another level or two – an unearthing of the ‘feminine’ side of the male psyche and, by extension, an explanation of just why everybody wants to rule the world.” MA The song featured Phil Collins on drums and “demonstrated Orzabal’s affinity for melodic, moody soul, with [the aforementioned] Adams replacing Smith as his vocal sparring partner.” EO “Orzabal's passionate vocals are well matched by Oleta Adams' fervent contributions.” SS She “informs the entire record with her soulful pipes, adding a human vibrancy barely present in the band's earlier, highly automated music.” MA

The “eight-and-a-half-minute Badman's Song suggests a stylistic continuum from Little Feat to Weather Report.” MA The “polychromatic” EA song “opts for safety, reveling in a sophisticated lethargy.” HE There are some “good vocals and some…exciting musical parts [but they] almost gets lost by the time the song has finished. It ultimately tries your patience.” AD

Lead-off single Sowing the Seeds of Love “manages to be insanely intricate as well as catchy.” SS It “carried by an over-the-top production that hauls out every last bell and whistle” MA and “updates the orchestral grandiosity” SS from the Beatles' Magical Mystery Tour era.” MA It is a “pop masterwork of…intricate interplay between Orzabal’s thicker, Lennon-esque voice, and Smith’s high, clear McCartney-like singing.” EO The song is “completely different from the polished, atmospheric soul that surrounds it, but paradoxically, it's also the album's cornerstone.” SS “Full of arcane references, lovely turns of phrase, and perfectly matched suite-like parts” (Swihart,. it “is a joyous call to activism.” MA “Despite a dalliance with Sixties naiveté, even the hippie-dippiest line, ‘Every minute of every hour, I love the sunflower,’ alludes to the Green party, leaving one to wonder whether the song's flower-power sentiments (and sound) are really as dated as they seem.” MA It is “all lovingly produced by the duo and Dave Bascombe in a style reminiscent of both the Beatles of Sgt. Pepper’s and the Beach Boys of ‘Good Vibrations.’” EO

“Woman in Chains” and “the sweetly accessible” EAAdvice for the Young at Heart are sung with…care and attention featuring Smith's vocal contributions.” JL With its “updated Philly-soul strain,” SS this “lush and melodic [song] comes closest to a conventional pop tune.” MA It “sounds like…a perfect summer pop hit.” AD In reality, it was released at the tail of end of winter as the third single from the album and met with only moderate success.

On the next couple cuts, “the group…dabbles in jazz” SS although they may have “drifted a little too much into middle of road territory…when perhaps their audience weren't quite ready for them to do so.” AD Both “the bleak, harrowing Standing on the Corner of the Third World, [which] gains its strength from a remarkable collision of sound and idea,” MA and Swords and Knives “are 'smooth', things to admire rather than actively enjoy.” AD

The “slow-burning,” SS “lean, hard–driving Year of the KnifeEA “is perhaps the focal point of the tension. Its admirable flamboyance makes for more fun than could be expected from a half-live, three-part, seven-minute swaggering rock & roll track packed with guitar solos.” HE

“The very pretty and touching Famous Last WordsAD is a “poignant closer…about two lovers' bracing for the Big One, reveals what might happen if the machismo outlined in ‘Woman in Chains’ were to go unchecked.” MA It is “one of the most perfectly realised songs on the entire album; very beautiful.” AD

Throughout this album, there is an “unspoken assertion that popular music can also be outstanding music. That's something this remarkable record proves over and over again.” MA

Notes: A 1999 reissue of the album added “Tears Roll Down,” “Always in the Past,” “Music for Tables,” and “Johnny Panic and the Bible of Dreams.”

Resources and Related Links:

Other Related DMDB Pages:

First posted 3/24/2008; last updated 9/4/2021.

Marillion Seasons End released

Seasons End


Released: September 25, 1989

Peak: -- US, 7 UK, -- CN, -- AU

Sales (in millions): 0.1 UK

Genre: neo-progressive rock


Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. The King of Sunset Town (Marillion, John Helmer) [8:01]
  2. Easter [5:57] (3/19/90, 34 UK)
  3. The Uninvited Guest (Marillion, Helmer) [3:50] (11/27/89, 53 UK)
  4. Seasons End (Marillion, Helmer) [8:08]
  5. Holloway Girl [4:27]
  6. Berlin (Marillion, Helmer) [7:43]
  7. After Me [3:19]
  8. Hooks in You (Marillion, Helmer) [2:54] (8/29/89, 49 AR, 30 UK)
  9. The Space… (Marillion, Woore, Dugmore, Harper) [6:14]

Music and lyrics by Marillion (Hogarth, Rothery, Kelly, Trewavas, Mosley) unless noted otherwise.

Total Running Time: 50:55

The Players:

  • Steve Hogarth (vocals, percussion)
  • Steve Rothery (guitar)
  • Pete Trewavas (bass)
  • Mark Kelly (keyboards)
  • Ian Mosley (drums)


4.032 out of 5.00 (average of 23 ratings)

Awards: (Click on award to learn more).

About the Album:

After four albums with Marillion, their lead singer Fish departed for a solo career. His “distinct voice and poetic prose made him the defining member of the band. One can only imagine how record executives held their collective breath as Steve Hogarth was brought in to take the reins. His first outing with the band, 1989’s Seasons End, removed all doubts about the band's future. Hogarth’s unique, expressive voice fit Marillion perfectly.” AMG His “flexible range and beautiful phrasing shine on the entire album.” AMG

Whether “on the full-throttle rock assault of The Uninvited Guest or the emotional After You, Hogarth's singularity is unmistakable.” AMG Kerrang!’s Mick Wall called Hogarth’s voice “smooth as glass and emotive as hell…Steve Hogarth is no Fish clone…He doesn’t need to be. He’s got a voice of his own…you can almost forget the band ever had another singer.” WK

The band wrote most of the material before Hogarth joined. Some of the initial attempts with Fish on vocals appear on the 1999 reissue of Clutching at Straws. They also commissioned John Helmer to write lyrics to many of the songs. Still, Hogarth did write lyrics for a couple of the songs. One was the “beautiful” AMG and “heartfelt Easter with its imaginative electric-acoustic arrangement, is another showcase for Hogarth’s talents.” AMG The song is his “plea for peace in Ireland.” AMG

Hogarth also wrote The Space. He explained that the song grew out of an incident in which he saw a car parked too close to a tram and the tram tore the side of it off when it came down the road. Years later, Hogarth thought, “I was a bit like that tram when I probably ripped the side of a few things I hadn’t even felt and I hadn’t slowed down either and I probably hadn’t noticed. So the words came from that realization.” WK

Several of the songs make political and social statements. The title cut addresses climate change while Berlin “describes the situation in the divided city of Berlin.” WK

Helmer originally wrote The King of Sunset Town about poverty, but Hogarth modified it to address “the brutal oppression of the Tiananmen Square protests of 1989.” WK The line “And everyone assembled here / Remembers how it used to be / Before the 27th came” refers to the 27th Army who was involved in the massacre. WK

“Marillion’s ability to write music whose ideals live and breathe in the listener continues…on the inspiring Holloway Girl, which dissects the injustice of incarcerating mentally ill female inmates (at England’s Holloway Prison) instead of placing them in appropriate psychiatric facilities.” AMG It specifically addressed “the imprisonment of Judith Ward in Holloway Prison for IRA bombings.” WK

Notes: A 1999 remaster includes a second disc with outtakes of "The Uninvited Guest," (also the 12" single version), "The King of Sunset Town," "Holloway Girl," "Seasons End," and "Berlin" as well as B-sides "The Bell in the Sea" (2 versions) and "The Release."

Resources and Related Links:

Other Related DMDB Pages:

First posted 3/14/2008; last updated 3/6/2022.

Sunday, September 17, 1989

50 years ago: Frank Sinatra recorded “All or Nothing at All”


All or Nothing at All

The Harry James Orchestra with Frank Sinatra

Writer(s): Arthur Altman (m), Jack Lawrence (w) (see lyrics here)

Recorded: September 17, 1939

First Charted: June 19, 1943

Peak: 12 US, 3 GA, 11 HP, 8 RB (Click for codes to singles charts.)

Sales (in millions): 1.0 US

Airplay/Streaming (in millions): -- radio, 0.28 video, -- streaming

Awards: (Click on award for more details).

About the Song:

Frank Sinatra started singing professionally as a teen in the 1930s. In 1939, he contracted with bandleader Harry James and released his first commercial record, “From the Bottom of My Heart,” in July. It sold less than 8000 copies. They also recorded “All or Nothing at All.” Arthur Altman wrote the music for the song and turned to Jack Lawrence, who later wrote the Ink Spots’ “If I Didn’t Care,” for lyrics. Harry James, Freddy Martin, and Jimmy Dorsey’s orchestras all recorded the song, but none had a hit with it. SF

Nonetheless, “All or Nothing at All” proved an important stepping point in Sinatra’s career. He said it gave him his start. CR It’s “the song I used to audition for Tommy Dorsey, who signed me on the strength of it.” CR In November 1939, he left James to join Dorsey’s band as the replacement for singer Jack Leonard. Dorsey was “the most successful bandleader of the early ‘40s.” SF From 1940 to 1942, Sinatra was featured on 39 top-twenty singles SF including the #1 hits “I’ll Never Smile Again,” “Dolores,” “In the Blue of the Evening,” and “There Are Such Things.”

Sinatra became “a heartthrob sensation, headliner, and show business icon. He was the most talked-about performer in the music industry” SF when he signed as a solo artist with Columbia Records in 1943. Unfortunately, a strike by the American Federation of Musicians left record companies desperate for product to release. Columbia “had the hottest new singer in show business and could not record him.” SF

Music publishing mogul Lou Levy came up with a solution. The strike from the musician’s union only restricted current recording. Columbia could still release older recordings. They decided to reissue “All or Nothing at All.” The song, “effectively a Sinatra solo,” CR was rebilled as “Frank Sinatra accompanied by Harry James Orchestra” instead of “The Harry James Orchestra with vocal by Frank Sinatra.” SF The song gave Sinatra his fifth trip to the top of the charts.

Resources and Related Links:

  • DMDB encyclopedia entry for Frank Sinatra
  • DMDB encyclopedia entry for Harry James
  • CR Toby Creswell (2005). 1001 Songs: The Great Songs of All Time. Thunder’s Mouth Press: New York, NY. Page 743.
  • JA David A. Jasen (2002). A Century of American Popular Music: 2000 Best-Loved and Remembered Songs (1899-1999). Routledge: Taylor & Francis, Inc. Page 8.
  • SF Songfacts
  • SS Steve Sullivan (2013). Encyclopedia of Great Popular Song Recordings (Volumes I & II). Scarecrow Press: Lanham, Maryland. Pages 200, 373.
  • PM Joel Whitburn (1986). Pop Memories 1890-1954. Menomonee Falls, WI; Record Research, Inc. Pages 133-9, 391.
  • WK1 Wikipedia page on Frank Sinatra
  • WK2 Wikipedia page for “All or Nothing at All”

First posted 3/29/2021.

Tuesday, September 12, 1989

Aerosmith’s Pump released

First posted 4/2/2008; updated ?.



Buy Here:

Released: September 12, 1989

Peak: 5 US, 3 UK, 2 CN, 13 AU

Sales (in millions): 7.0 US, 0.1 UK, 11.5 world (includes US and UK)

Genre: classic rock

Tracks: (Click for codes to singles charts.)

  1. Young Lust (Tyler, Perry, Jim Vallance) [4:18]
  2. F.I.N.E. (Tyler, Perry, Desmond Child) [4:09] (11/25/89, 14 AR)
  3. Going Down/Love in an Elevator (Tyler, Perry) [5:39] (9/2/89, 5 US, 1 AR, 13 UK, 13 CN, 33 AU, gold single)
  4. Monkey on My Back (Tyler, Perry) [3:57] (4/14/90, 17 AR)
  5. Water Song/Janie’s Got a Gun (Tyler, Tom Hamilton) [5:38] (9/23/89, 4 US, 2 AR, 76 UK, 2 CN, 1 AU)
  6. Dulcimer Stomp/The Other Side (Tyler, Vallance, Brian Holland, Lamont Dozier, Eddie Holland) [4:56] (6/16/90, 22 US, 1 AR, 46 UK, 22 CN, 73 AU)
  7. My Girl (Tyler, Perry) [3:10]
  8. Don’t Get Made, Get Even (Tyler, Perry) [4:48]
  9. Hoodoo/ Voodoo Medicine Man (Tyler, Brad Whitford) [4:39]
  10. What It Takes (Tyler, Perry, Child) [5:11] (1/13/90, 9 US, 1 AR, 15 CN, 46 CN)

Total Running Time: 47:22

The Players:

  • Steven Tyler (vocals, keyboards, harmonica, percussion)
  • Joe Perry (guitar)
  • Brad Whitford (rhythm guitar)
  • Tom Hamilton (bass)
  • Joey Kramer (drums, percussion)


4.346 out of 5.00 (average of 13 ratings)

Quotable: “Rank[s] with Rocks and Toys in the Attic.” – Stephen Thomas Erlewine, All Music Guide


About the Album:

1987’s Permanent Vacation heralded in the second wave of Aerosmith, the return of the original lineup in one of rock history’s greatest comeback stories. While that album “seemed a little overwhelmed by its pop concessions, Pump revels in them without ever losing sight of Aerosmith’s dirty hard rock core.” STE

For Pump, the band set out to explore “a rawness that had been glossed over for a commercial sound in Permanent Vacation.” WK As guitarist Joe Perry said, “We wanted to strip off a little fat we felt on our last one.” WK The result? Q magazine called it “the year’s best metal album,” WK noting that “it took a bunch of hoary, addled old stagers like Aerosmith” to “hoist the heavy metal crown from the likes of Def Leppard and Bon Jovi.” WK

Rolling Stone called Aerosmith “the reigning kind of the double entendre” WK but said Pump “has more going for it than locker-room laughs, such as the vintage high-speed crunch (circa Toys in the Attic) of Young Lust…[and] the sassy slap ‘n’ tickle of My Girl.” WK

Part of the success of Vacation was due to producer Bruce Fairbairn, who returns for Pump. At his suggestion, the band brought in outside songwriting help from Desmond Child (Loverboy, Bon Jovi) and Jim Vallance (Bryan Adams, Bon Jovi) for the previous album. Both songwriters show up again here – Child on What It Takes and F.I.N.E. and Vallance on “Young Lust” and The Other Side. Two of those songs were top 40 hits. “What It Takes,” which “has more emotion and grit than any of their other power ballads,” STE hit #9 on the U.S. pop charts while “The Other Side” reached #22. Both songs also topped the album rock tracks chart.

“The Other Side” gave Aerosmith some legal troubles when the famed Motown songwriting team of Holland-Dozier-Holland threatened to sue the band because of similarities between the melodies of “The Other Side” and “Standing in the Shadows of Love.” Aerosmith ended up adding them to the songwriting credits. WK

The album’s two biggest songs, however, were penned solely by the band. Lead single Love in an Elevator, like “The Other Side,” rock[s] relentlessly, no matter how many horns and synths fight with the guitars.” STE The song was a top-five pop hit and, surprisingly, Aerosmith’s first trip to the pinnacle of the album rock chart.

Janie’s Got a Gun tackles more complex territory than most previous songs” STE with its no-holds-barred glimpse into incest and murder. It was also a top-five pop hit. It also gave Aerosmith its first Grammy – for Best Rock Performance by a Duo or Group with Vocals. They went on to win the award three more times.

Notes: An alternate version of the album included a hidden instrumental track after “What It Takes” while the Japanese version added the song “Ain’t It Enough.”

Resources and Related Links:

Monday, September 11, 1989

Melissa Etheridge Brave and Crazy released

Brave and Crazy

Melissa Etheridge

Released: September 11, 1989

Peak: 22 US, 63 UK, -- CN, 9 AU

Sales (in millions): 1.0 US, -- UK, 1.28 world (includes US and UK)

Genre: mainstream rock


Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. No Souvenirs [4:33] (9/9/89, 95 US, 9 AR, 18 MR, 4 CN, 30 AU)
  2. Brave and Crazy [4:37]
  3. You Used to Love to Dance [5:33]
  4. The Angels [4:38] (3/3/90, 34 AR)
  5. You Can Sleep While I Drive [3:14] (3/31/90, --)
  6. Testify (Etheridge, McCormick) [4:28]
  7. Let Me Go [3:56] (11/18/89, 27 CN, 70 AU)
  8. My Back Door [4:24]
  9. Skin Deep [3:10]
  10. Royal Station 4/16 [7:08]

All songs written by Melissa Etheridge unless noted otherwise.

Total Running Time: 44:13


3.631 out of 5.00 (average of 9 ratings)

About the Album:

“Not a trace of the dreaded sophomore curse was to be found on Melissa Etheridge’s second album. On Brave and Crazy, the throaty singer/guitarist/composer is slightly more reflective than on her first release, but no less confident. Nor is she is any less rootsy.” AMG “As introspective as things get…Etheridge never becomes wimpy or self-pitying. For all its vulnerability, Brave and Crazy is the work of someone who comes across as a survivor.” AMG

“Etheridge’s earthiness is a large part of her appeal, and she uses it most advantageously on the gutsy rockers Skin Deep and Let Me Go, as well as more reflective pieces such as Testify, You Used to Love to Dance and You Can Sleep While I Drive.” AMG The latter is Etheridge trying her hand at balladry and it is one of the best of her career. “Like a lot of Bruce Springsteen’s songs, equates long drives with freedom and liberation.” AMG It’s criminal that the song didn’t even dent the charts.

Etheridge travels down much of the same thematic road here as she did on her debut. She may not venture far from her songs about love both discovered and lost, but she knows her way with the lyrical pen. Having not yet come out, she uses clever wordplay to craft songs that don’t identify the gender of a lover. For example, the lead single, No Souvenirs, refers to the lover in question simply as “Romeo” which implies male, but doesn’t have to be.

Resources and Related Links:

Other Related DMDB Pages:

First posted 8/25/2021.

Saturday, September 9, 1989

50 years ago: Judy Garland charted with "Over the Rainbow"

Over the Rainbow

Judy Garland

Writer(s): Harold Arlen/E.Y. “Yip” Harburg (see lyrics here)

First Charted: September 9, 1939

Peak: 5 US, 12 GA, 17 HP (Click for codes to singles charts.)

Sales (in millions): 4.2 US, -- UK, 5.63 world (includes US + UK)

Airplay/Streaming (in millions): -- radio, 60.8 video, -- streaming

Awards: (Click on award for more details).

About the Song:

There are few songs more associated with a movie more than “Over the Rainbow” is with The Wizard of Oz and then-sixteen-year-old Judy Garland’s performance of it. It topped the AFI’s list of movie songs. However, the song was initially deleted when it was thought to slow down the film. LW Movie execs even said it was inappropriate for audiences to see the movie’s star singing in a farmyard. LW It only made it back in when Harold Arlen, one of the song’s writers, and executive producer Arthur Freed lobbied on the song’s behalf. AB40

Arlen and lyricist “Yip” Harburg originally penned the song not as “a little girl’s plea for a silver lining,” TC but as a declaration of hope for America from two “unabashed lefties” TC who believed in President Roosevelt’s New Deal. TC

As was common in the first half of the 20th century, multiple versions of the song charted. In 1939, four acts took “Rainbow” into the top 10. Interesting, Garland’s was neither the most successful nor the first to chart. Glenn Miller and Larry Clinton both debuted with it the week of August 19. Miller’s went to #1 the same week Garland hit the charts. A week later, Bob Crosby hit with his #2 version.

However, it was Garland’s version which “became the most famous and beloved.” JA Hers was selected by the RIAA as the top song of the 20th century and won the Oscar for Best Song. She had no problem with the “theme song around which she constructed her career.” LW As she said, “I’ve sung it time and time again and it’s still the song that’s closest to my heart.” TC

Resources and Related Links:

  • DMDB Encyclopedia entry for Judy Garland
  • DMDB Encyclopedia entry for Harold Arlen
  • DMDB Encyclopedia entry for E.Y. “Yip” Harburg
  • AB40 (2007?) “Top 40 Pop Songs: The Best of the Best” by Bill Lamb
  • TC Toby Creswell (2005). 1001 Songs: The Great Songs of All Time. Thunder’s Mouth Press: New York, NY. Page 211.
  • JA David A. Jasen (2002). A Century of American Popular Music: 2000 Best-Loved and Remembered Songs (1899-1999). Routledge: Taylor & Francis, Inc. Page 154.
  • LW Alan Lewens (2001). Popular Song – Soundtrack of the Century. Billboard Books: New York, NY. Page 80.

First posted 9/9/2011; last updated 4/22/2021.