JSparksFan wrote:I erred in pluralising the term; I should have written "track", as it's "Rhythm Nation" I'm referring to in saying that there's another song that bests "State of the World" in its 'message' contest. With "State of the World", even though it covers so many bases, it's a bit like Madonna's "Swim" in that it presents issues, but doesn't offer anything in the way of a solution to these issues. It doesn't stir the passion in me that "Rhythm Nation" does. "State of the World" says, "Here is a litany of social ills. Bye". I feel like "Rhythm Nation" says, "Here is a singular social ill that has a litany of nasty branches, and let's come together and use music - one of the greatest bridging forces - to combat it."
That...makes perfect sense! The more I played the track over the past few days, I also recognized how the chorus doesn't really live up to the hard-hitting/gut-wrenching impact of the stories told in the verses, and just gets really generic (even verging on cheesy). I might've been a tad too eager to make the song sound flawless to defend it against that No. 55 placement.
JSparksFan wrote:That's like moving from gear two to gear two and a half, in my opinion. I don't even count it as a full shift.
I always felt like that part really sticks out (in a good way). It's like the track basically shifts into bubblegum-pop territory for a few lines (until things get more stern again with "you ought to be thankful, for the little things..."
JSparksFan wrote:One of these songs is falling in this next set!
Ha, yeah, I've definitely over-estimated your fondness for that song
I think it's just stood out so clearly in my mind over all these years because it's a track I'd never expected to see spotlighted. Until it started performing so well on your personal chart, it stood among her most forgettable/insta-skippable moments for me (especially on that particular album), so its daily chart success had both the shock factor and the "What have I been missing?!"
factor, encouraging me to re-examine my old impressions.
• Speaking of forgettable, I'd totally forgotten that "You Can Be Mine" hadn't fallen yet
When I saw the Control
cover, I just immediately started composing my response for "He Doesn't Know I'm Alive" in my head. I think it's the deadpan chorus that holds this one back for me (which also features that random pausing-between-words effect that's found on "Funny How Time Flies...").
• "Enjoy" had never stood out to me until word started circulating about it becoming an (ultimately Japan-only, video-less) single. Like you said, it really does capture that refreshing, relaxing, rejuvenating feel that some of Damita Jo
's finest moments convey.
• I wish that "Any Time, Any Place" made me feel more than it does. On paper, I'm so ready to root for it...but I kept catching myself yawning as I was re-visiting it just now. Maybe the track's just too tender and romantic-sounding for a song whose message amounts to "you need to start f**kin' me right here, right now!"
I'm getting déjà vu to my "Like You Don't Love Me" response. I'm not saying it should've been sub-100 or anything, I just wish it could successfully put me in the same state as "If," "Rope Burn," "Would You Mind," etc., because there's certainly a titillating story being told.
• I'd never checked out the "Dream Street" video before, and I definitely owe you for having encouraged me to finally do so now
I can't say it sells me on the song much, but those green screen scenes in particular are truly a treasure! The whole story, with all the different settings, seems pretty elaborate for an artist's first-ever-video (and for a fourth single, no less) in the mid-80's, but I guess some/most of that is thanks to her being on Fame
at the time?