Re: Friday Poll Thread #7 - Best Power of Love
Posted: 27 Aug 2019, 3:46pm
That was a Russian bot.Heston wrote: ↑27 Aug 2019, 4:03pmEven I never stooped to the depths of proclaiming love for the type of hideous power ballad that you have voted for. Even at my lowest point (probably KISS vs the Dolls) I had at least one person on my side.
IMCT has taught me to keep musical opinions to myself in my new job.Heston wrote: ↑27 Aug 2019, 4:03pmEven I never stooped to the depths of proclaiming love for the type of hideous power ballad that you have voted for. Even at my lowest point (probably KISS vs the Dolls) I had at least one person on my side.
Matedog is human.JennyB wrote: ↑27 Aug 2019, 4:07pmThat was a Russian bot.
Technically.Heston wrote: ↑27 Aug 2019, 4:09pmMatedog is human.JennyB wrote: ↑27 Aug 2019, 4:07pmThat was a Russian bot.Heston wrote: ↑27 Aug 2019, 4:03pmEven I never stooped to the depths of proclaiming love for the type of hideous power ballad that you have voted for. Even at my lowest point (probably KISS vs the Dolls) I had at least one person on my side.
Read Fredric Dannen's Hit Men, about how payola worked in the 70s and 80s. It's possible that here record company just didn't apply the cash to the right people in the right places.Heston wrote: ↑27 Aug 2019, 4:34pmIt's weird that Jennifer Rush's song was the biggest selling single of the year in the UK in 1985 but hardly made an impression in the States. Especially when it fits almost every demographic for a huge US hit, and went to number one in almost every other country in the world. American singer, huge hair, massive AOR production, absolutely shit, all boxes ticked. These things always puzzle me. I know Celine Dion eventually had a hit in America with it but that was a few years later.
Sometimes I don't want to see behind the Wizard of Oz's curtain, I want to believe what was presented to me back then. That every song got to where it got to on merit. Does sound an interesting book though.Dr. Medulla wrote: ↑27 Aug 2019, 4:37pmRead Fredric Dannen's Hit Men, about how payola worked in the 70s and 80s. It's possible that here record company just didn't apply the cash to the right people in the right places.Heston wrote: ↑27 Aug 2019, 4:34pmIt's weird that Jennifer Rush's song was the biggest selling single of the year in the UK in 1985 but hardly made an impression in the States. Especially when it fits almost every demographic for a huge US hit, and went to number one in almost every other country in the world. American singer, huge hair, massive AOR production, absolutely shit, all boxes ticked. These things always puzzle me. I know Celine Dion eventually had a hit in America with it but that was a few years later.
It's not a completely rigged game. People still buy records of their own free will. Even a heavily hyped song can bomb. But at the same time, if a record company doesn't grease the right palms because they believe it can be a hit, it stands little chance of getting airplay.Heston wrote: ↑27 Aug 2019, 4:50pmSometimes I don't want to see behind the Wizard of Oz's curtain, I want to believe what was presented to me back then. That every song got to where it got to on merit. Does sound an interesting book though.Dr. Medulla wrote: ↑27 Aug 2019, 4:37pmRead Fredric Dannen's Hit Men, about how payola worked in the 70s and 80s. It's possible that here record company just didn't apply the cash to the right people in the right places.Heston wrote: ↑27 Aug 2019, 4:34pmIt's weird that Jennifer Rush's song was the biggest selling single of the year in the UK in 1985 but hardly made an impression in the States. Especially when it fits almost every demographic for a huge US hit, and went to number one in almost every other country in the world. American singer, huge hair, massive AOR production, absolutely shit, all boxes ticked. These things always puzzle me. I know Celine Dion eventually had a hit in America with it but that was a few years later.
I keep banging on about it but "Kissin' In the Back Row of the Movies" by the Drifters is always the one that puzzles me. That could have sold millions in America if all it took was a few palms to be greased. I'm still incredulous that it wasn't a hit over there, someone missed out on some big money.Dr. Medulla wrote: ↑27 Aug 2019, 4:54pmIt's not a completely rigged game. People still buy records of their own free will. Even a heavily hyped song can bomb. But at the same time, if a record company doesn't grease the right palms because they believe it can be a hit, it stands little chance of getting airplay.Heston wrote: ↑27 Aug 2019, 4:50pmSometimes I don't want to see behind the Wizard of Oz's curtain, I want to believe what was presented to me back then. That every song got to where it got to on merit. Does sound an interesting book though.Dr. Medulla wrote: ↑27 Aug 2019, 4:37pmRead Fredric Dannen's Hit Men, about how payola worked in the 70s and 80s. It's possible that here record company just didn't apply the cash to the right people in the right places.Heston wrote: ↑27 Aug 2019, 4:34pmIt's weird that Jennifer Rush's song was the biggest selling single of the year in the UK in 1985 but hardly made an impression in the States. Especially when it fits almost every demographic for a huge US hit, and went to number one in almost every other country in the world. American singer, huge hair, massive AOR production, absolutely shit, all boxes ticked. These things always puzzle me. I know Celine Dion eventually had a hit in America with it but that was a few years later.
On the other side of things, Dannen relates how the majors boycotted the pluggers—the middle men used to distribute payola—in the middle of the 80s because of costs and trying to assert control of the process. So the pluggers went to smaller, mostly UK labels. And the result was a summer of hits by unknowns like Johnny Hates Jazz, T'Pau, and Cutting Crew. Because they're labels took advantage of the situation. Even shitty songs can become a hit if that's all that's being promoted. And once the majors caved, we never heard from those bands again.Heston wrote: ↑27 Aug 2019, 5:21pmI keep banging on about it but "Kissin' In the Back Row of the Movies" by the Drifters is always the one that puzzles me. That could have sold millions in America if all it took was a few palms to be greased. I'm still incredulous that it wasn't a hit over there, someone missed out on some big money.Dr. Medulla wrote: ↑27 Aug 2019, 4:54pmIt's not a completely rigged game. People still buy records of their own free will. Even a heavily hyped song can bomb. But at the same time, if a record company doesn't grease the right palms because they believe it can be a hit, it stands little chance of getting airplay.Heston wrote: ↑27 Aug 2019, 4:50pmSometimes I don't want to see behind the Wizard of Oz's curtain, I want to believe what was presented to me back then. That every song got to where it got to on merit. Does sound an interesting book though.Dr. Medulla wrote: ↑27 Aug 2019, 4:37pmRead Fredric Dannen's Hit Men, about how payola worked in the 70s and 80s. It's possible that here record company just didn't apply the cash to the right people in the right places.Heston wrote: ↑27 Aug 2019, 4:34pmIt's weird that Jennifer Rush's song was the biggest selling single of the year in the UK in 1985 but hardly made an impression in the States. Especially when it fits almost every demographic for a huge US hit, and went to number one in almost every other country in the world. American singer, huge hair, massive AOR production, absolutely shit, all boxes ticked. These things always puzzle me. I know Celine Dion eventually had a hit in America with it but that was a few years later.
Hey, don't knock Cutting Crew. Me and Tom love (I just Died) In Your Arms Tonight.Dr. Medulla wrote: ↑27 Aug 2019, 5:32pmAnd the result was a summer of hits by unknowns like Johnny Hates Jazz, T'Pau, and Cutting Crew. Even shitty songs can become a hit if that's all that's being promoted