Paula Jean Brown, who joined the Go-Go's as bass guitarist following Jane Wiedlin's departure, co-wrote the song with Jim Whelan, and Wiedlin and Charlotte Caffey sang back-up vocals. "Mad About You" was one of a few songs being considered for the fourth (unrecorded) Go-Go's album. The Go-Go's split, and "Mad About You" and two other songs co-written by Paula Jean Brown ended up on Belinda.
The music video was directed by Leslie Libman. It features Andy Taylor of Duran Duran and Carlisle's husband, Morgan Mason. During one scene she dances to a vinyl LP of Yma Sumac's Mambo!. The outdoor scenes are largely set in or near Palisades Park in Santa Monica, California.
The single's B-side, "I Never Wanted a Rich Man", was also included on Carlisle's first long playing work. The extended version of "Mad About You", originally on the A-side of the 12-inch single, was then included on the album compact disc re-release by Virgin in 2003.
Mad About You Track List:
7-inch single
12-inch single
Three weeks ago, Rick Astley shared his new single "Raindrops" now the icon is releasing the official video which consist of several footages taken from rehearsals to the Reflection Tour stage.
From the folk pop of opener "These Are the Days," it was clear he was more focused than ever. "You've Had It With You" arkens back to the more ragged Replacements vibe, while "MamaDaddyDid" and "Once Around the Weekend" were somewhat paint-by-numbers alt-pop for the era—radio-friendly pop songs, perfect for a soundtrack near you.
The album was full of these mid-tempo, melody-driven adult pop songs that, while fine, fail to really catch fire at first. Paul Westerberg quit drinking around the time of The Replacements' demise and began to mature. Some people never will forgive Paul for simply growing up. His first solo album was an excellent, if slightly uneven record. Until today Eventually was his most fully realized solo album. Every song is excellent and brilliantly ordered in sequence of songs, each song builded on the previous one to create a sum that is greater than its parts.
It starts off brilliantly with "These Are the Days" and continued to grew, "Love Untold" was a heartbreaking ode to two potential lovers who never get a chance to meet. Westerberg’s attention to small details is captured as perfectly here as it’s ever been. It’s those small details that has made Westerberg one of the greatest, if unfortunately underrated songwriters of his generation. He captures all the heartbreak, the angst, the joy and the passion that we all feel from time to time. He knows how to convey what we all feel inside. "Ain't Got Me" was another excellent song that segues beautifully into "You've Had it With You."
Then it came "MamaDaddyDid" revealed his ambivalence towards having children & his own parents’ inability to raise him. Although I guess he had a change of heart a few years later, when he did in fact have a child. "Hide N Seekin" was probably the type of song that his fans crucify him for back then, the one of the most touching songs of his entire career "Good Day," a piano & strings-based ballad, a hopeful, positive ode to being alive sung with heartfelt passion. A tribute to fallen, former Mats guitarist Bob Stinson.
Released on 30 April 1991 "Why Do Birds Sing?" was the 5th., studio album by the US band Violent Femmes. It was the band's last album with original drummer Victor DeLorenzo, who left two years later to devote his time to acting, and was produced by Michael Beinhorn. The album spawned three singles, the hit "American Music," which rose to number 2 on Billboard's Modern Rock chart during the week of May 18, 1991, and became a staple of the band's live shows, also the Culture Club's Hit cover "Do You Really Want To Hurt Me", & the college rock classic "Used To Be."
Why Do Birds Sing? was something of a return to form, if only in terms of having song after song of the kind of weirdly fractured folk pop that represented the band at their most accessible. Upbeat and straightforward album-opener "American Music" was placedssomewhere between campfire song and pop masterpiece, with subtle production details like sleighbells and sparingly used organ runs growing along with the song's steady build. The snarling cover of Culture Club's hit "Do You Really Want to Hurt Me," the band chose to record this unlikely cover: We took it as a challenge,” laughs Gordon Gano, who reworked the majority of the lyrics, making the song sound like a Violent Femmes original. Ritchie adds, "It was an experiment that turned out really well…in fact, we bumped into Boy George once in a hotel bar and he told us, 'That is the best cover of any of our songs anyone’s ever done.'" the inverted girl group appropriation of "Look Like That," and the driving college rock of "Used to Be."
The band's penchant for sardonic and juvenile humor remains intact on the faux-blues stomp of "Girl Trouble" and the shadowy clunk of "Make More Money," a bitter revenge story of the tormented high school nerd becoming a rich rock star. When Why Do Birds Sing? was first released, the Violent Femmes were already a decade into their career, enjoying cult success but still living mostly in the shadow of their debut. The album would be one of their most commercially successful up until that point, despite some critics finding it disjointed and a little too all-over-the-place stylistically.
The album felt more solid, with its lesser moments strung together by some of the best songs the band ever penned, and production that makes space for both the Femmes' anxious demeanor and their not-so-secret love of big, dumb pop songs. As the band recorded Why Do Birds Sing?, they found themselves returning to their classic Violent Femmes-era sound, particularly with songs like "Out The Window" and "Look Like That." They also revisited several compositions from their earliest days, including "Girl Trouble," "Life is a Scream," and "Flamingo Baby."
The album pushed the Violent Femmes into their highest level of mainstream success—nearly a decade into their career. Over the next few years, the band became a must-see act at festivals like Lollapalooza and Woodstock '94, while their videos could be seen regularly on MTV. As the group was embraced by a new generation of fans, Violent Femmes entered the Billboard 200 for the first time since its release.
The accompanying UK B-sides, "The Horrors", "A Song" and "St. Louis", continued the dramatic change in style for Blur first evidenced on the "Stereotypes" single, being stark and raw, foreshadowing the stylistic shift that would realize itself on their eponymous follow-up album.
The inspiration for the song was a visit by Damon Albarn to his grandmother in Lincolnshire. He stopped off at Grantham railway station and when inside the gentlemen's toilet, he noticed a piece of graffiti on a similar theme to the song's title.
Reviews praised the single considered probably the best track off "The Great Escape",This should restore Blur's status as a more-than-convincing chart band." Even Morrissey quoted the single by saying he liked it at the time.
The music video for "Charmless Man" was directed by British film writer and director Jamie Thraves. It starts with a man (the Charmless Man, played by Jean-Marc Barr) running down a dark street with a makeshift bandage or wrapping on his right hand, while cross cut edits show Blur playing in a music hall.
Track List:
1. UK 7-inch and cassette single
2. UK CD Single
3. European CD Single
Nearly 20 years in the business, it would be impossible for a band not to have already established or discovered its signature sound. The band had clearly defined their position with the previous "Where You Stand" back in 2013, which were reaffirmed with "Everything At Once" with a truly distinct and unique sound.
You can clearly noticed that with tunes such as "What Will Come" whose optimistic lyrics set the tone for the nine songs that followed. "Magnificent Time," which had already been released, has all the makings of a crowd-pleaser at a concert: rhythm, lyrics, and feeling. "Radio Song" reminded at times of one of the band's classics, "Love Will Come True." While there were completely different things, they evoke the same degree of romanticism. This romanticism faltered with "Paralysed" and "Animals," even though they attempted to innovate using strings and excellent bass chords that were sadly wasted here.
At this point, the album had become slightly monotonous, so it's quite fitting that "Everything at Once" is included here; it's elegantly catchy with a touch of energy and vitality. "3 Miles High" was unremarkable, as is its successor, "All of the Places." However, "Idlewild" stood out from this sea of familiarity. With a change in tone and vocals for the chorus, it was the most daring song. It managed to somehow fly off the radar without straying from Travis's essence. Then the closer "Strangers on a Train," perhaps it was not memorable, it was a good ending with a hint of spirituality.
