Yesterday was Sheena Easton's 52nd birthday. Which is ridiculous because she still looks younger and fresher than Miley Cyrus. Anyway, I was planning a little tribute post to celebrate the occasion and decided to write about "Telefone" - my all time Sheena favourite. Released in 1983, this synth-pop gem became the Scottish diva's 4th US top 10 hit and nabbed her a Grammy nomination for Best Pop Vocal. I love everything about it, from the sublime 80s production (courtesy of Greg Mathieson, who also delivered the goods on her previous album "A Private Heaven") to the supernaturally catchy chorus. That's not even mentioning Sheena's adorably indignant vocal. She's so pressed that her man hasn't called! Her pain is universal and a generation of gays loved her for it.
So here I was writing about my beloved idol when I started having visions of Lady Gaga. I initially assumed her Monsters had finally gone too far and made a voodoo doll in my likeness but then I had a shocking realisation. Sheena Easton is yet another victim of the fame monster's thievery. Just look at that cover. It conveys the same demented, slightly Gothic look that Gaga likes to think she coined. Then I re-watched the video and knew I was onto something. The black & white clip sends up B horror, bringing an unexpected edge to a fluffy pop song - making it an early blue print for "Born This Way". Only Sheena succeeds where Gaga falls flat. Her clip is hilarious and the bad special effects (the bat kills me) add to the fun. I love her crazy eyes at the 50 second mark and the stunning beauty rocks that lace gown with more attitude than a punk rocker. This is so far ahead of its time it's absolutely mind boggling. Everyone talks about Madonna's role in shaping Gaga - perhaps it's time to pay Sheena her due. And wish her a happy birthday while you're at it! Source URL: https://popmusicrecords.blogspot.com/search/label/Sheena Visit pop music records for Daily Updated Hairstyles Collection
Every now and again someone will ask me to name my ten favourite albums of all time. Over the years the list has changed radically (the brief inclusion of Holly Valance's "State Of Mind" was a memorable miscalculation) but a handful of discs make a regular appearance. If I knew I was going to be stranded on a deserted island for a year, I would definitely take Olivia Newton-John's "Totally Hot", Dannii's "Neon Nights", La Toya's "Heart Don't Lie" and Kylie's "Light Years" - along with as much food and porn as I could possibly carry! I would also pack my cherished copy of Sheena Easton's 1984 masterpiece "A Private Heaven". It pains me that Sheena will forever be remembered as the "Morning Train" girl. As great as that song is, there was and is so much more to this amazing Scottish diva. I love Sheena's early material but "A Private Heaven" took things to an entirely new level.
The seeds for "A Private Heaven" can be traced back to Sheena's hugely underrated 1983 album "Best Kept Secret", which updated her output from ballad heavy soft rock to more contemporary uptempo pop. That album not only revived Sheena's career in the US (it became a Gold selling top 40 hit) but also introduced her to producer Greg Mathieson, who would again take the reigns on "A Private Heaven". Chances are if a song was camp, fabulous and released in the 1980s - Greg had something to do with it. Toni Basil's "Mickey" and Laura Branigan's "Gloria" are just two of his contributions to popular music. While "Best Kept Secret" subtly modernised Sheena's sound, "A Private Heaven" offered a complete transformation. The pretty girl next door emerged as a sex siren complete with an impressive arsenal of edgy dance-pop anthems. The album was an instant hit in America where it sold over a million copies and spawned three popular singles. Inexplicably, "A Private Heaven" failed to chart in the UK and stalled at #88 in Australia. Perhaps the mix of synth-pop and melodic R'n'B was simply too American for the international market but I suspect the real culprit was the album's controversial lyrics - but I'll get to that later. Whatever the reason, the rest of the world missed out on one the best pop recordings of all time. Here is my track by track review:
Strut
The album's opening track doubles as a declaration of intent. "Strut" is a winning mix of driving beats and suggestive lyrics that still sounds vibrant today. The song perfectly showcased Sheena's new found confidence and attitude. The production was cutting edge and the kinky lines about wearing "leather and lace" and "feeling like a girl for hire" must have raised eyebrows back in the day. This was a completely transformed woman. Written by Julian Littman and 70s pop star Charlie Dore (who would go on to pen tunes for Celine Dion and German girlband No Angels), "Strut" earned Ms Easton a Grammy nomination for best pop/rock vocal performance and became one of her biggest hits - peaking at #7 in America and reaching the Australian top 20. Watch the video (above). No one works the camera quite like Sheena!
Sugar Walls
If "A Private Heaven" is remembered at all today it is usually for housing the Prince penned trash classic "Sugar Walls", which imbued the album with an air of notoriety that lingers to this very day. With amazing lyrics like "blood races to your private spots" and "come spend the night inside my sugar walls", it's pretty clear that this tune isn't referring to a gingerbread house! I doubt a mainstream diva would even get away with this kind of sauciness today (take, for example, the controversy surrounding Britney's comparatively prudish "If You Seek Amy") but the track caused a major scandal at the time. "Sugar Walls" became one of the few songs to be banned from MTV for lyrical content and was even included on Tipper Gore's "Filthy Fifteen" - a list of songs considered to be indecent and morally reprehensible. The media backlash did little to curb the song's popularity and it followed "Strut" into the American top 20, becoming something of a pop culture phenomenon. The controversy had a greater impact internationally, however, where the song failed to chart in just about every market. Despite the dodgy innuendo, "Sugar Walls" is an absolutely magnificent pop song. Admittedly the lyrics are highly dubious (and very amusing) but the production is unbelievably tight and the chorus is pure magic. Prince was at the height of his powers when he wrote this and Sheena was the perfect muse. They would go on to work together again many times but this is by far their finest achievement and remains a true 80s classic. Check out the banned video below.
Hungry Eyes
A single in Japan, "Hungry Eyes" is a Hi-NRG slice of 80s keyboard heaven. The catchy chorus is set against some truly weird and wonderful sound effects, making for one of the album's hidden treasures. Written by the album's producer and Trevor Veitch (who worked extensively with Donna Summer), "Hungry Eyes" positively channels Harold Faltermeyer's early experiments with electronica. The track hasn't aged quite as gracefully as some of the others but I think it perfectly reflects everything that was good about mid-80s pop music. I wish Sheena hasd played around with this sound more. It suited her voice and would have worked wonders in Europe.
Hard To Say It's Over
"Hard To Say It's Over" is a complete showstopper. This is the kind of searing power ballad that would have made Cher and Barbra Streisand green with envy. I've often wondered why this wasn't a single. It would have connected with Sheena's old fanbase and gone down a storm on American radio. I love the bombastic guitar solos and Sheena's brilliant vocal delivery always gives me goosebumps. I was interested to learn while researching this post that the song was co-written by Australian pop star Gino Cunico, who was signed to Arista in the 1970s. Some truly amazing artists contributed their talent to this album. And it shows.
Swear
If you need any further proof of Sheena's credentials as an innovator, check out the album's third single. Ms Easton incorporates a spoken word rap on "Swear" half a decade before Madonna got around to it on "Vogue". However, that's only a small part of the song's appeal. "Swear" is a fiery revelation from beginning to end with its driving guitar (that sounds vaguely reminiscent of Michael Jackson's "Billie Jean"), attitude filled lyrics and experimental production. I wasn't aware until recently that the song was a cover and you can check out Tim Scott's original version here. In retrospect, I'm not surprised that it was originally performed by a man. "Swear" is such a strong and muscular track. Sheena's interpretation completely turns the gender issue inside out, making the song all the more powerful. The video (below) is also something of a masterpiece. Clearly inspired by Michael Jackson, the clip is a three and a half minute explosion of 80s fashion and fabulousness.
Love & Affection
I have often thought that "Love & Affection" is the odd song out on "A Private Heaven". This sublime cover of Joan Armatrading's 1979 top 10 hit is the only cut that wouldn't sound out of place on one Sheena's early albums. While the rest of "A Private Heaven" is a boisterous celebration of mid-80s musical trends, there's something pristine and classic about this gem. Joan is a pretty hard act to follow but this version is a silky smooth delight. I love the crispness of the production and Sheena's understated vocal delivery is nothing short of exquisite. "Love & Affection" hasn't aged a day and is one of the few examples of a cover version matching the quality of the original.
Back In The City
Greg Mathieson and Trevor Veitch rope in the services of guitar legend Lee Ritenour for the album's only Latin flavoured jam. There's something so summery and laid back about "Back In The City". The slinky chorus is subtle yet catchy, while the heavy percussion adds a whole new dimension to the proceedings. Sheena released a Spanish language album ("Todo Me Recuerda a Ti") in Latin America around the same time as "A Private Heaven" and I've often wondered if "Back In The City" somehow evolved from those sessions. I was pretty sure the song was never released as a single so it was quite a surprise to discover the video clip on youtube (below). It's very grainy but still rather fabulous.
You Make Me Nervous
The keyboards return in full force for "You Make Me Nervous". Written by the team behind Robbie Nevil's 80s hit "C'est La Vie", this slice of 80s dance music isn't the finest moment on "A Private Heaven" but it is rather pleasant filler. I love the electronic sound but the guitar solos are unnecessary and the chorus feels slightly disconnected from the verses. It is, however, a welcome return to the uptempo pace of the opening tracks after a couple of mid-tempo detours.
All By Myself
The album's second big ballad is not a cover of Eric Carmen's similarly titled classic but an original penned by Trevor Veitch and Steve Lukather (the ex-Toto band member who heavily contributed to Michael Jackson's "Thriller" album). "All By Myself" doesn't quite reach the melodramatic heights of "Hard To Say It's Over" but the delicate production and emotional lyrics more than make up for it. As usual, Sheena's voice is pitch perfect and utterly exquisite. I'd love to see this performed live.
Double Standard
It's only fitting that such a consistently brilliant album end on a high and "Double Standard" more than fulfils that objective. This extremely catchy serving of 80s synth-pop has always been one of my favourite songs on the album. It's just so upbeat and fun. I love the adorable chorus and Greg's production is spot on. "Double Standard" also reminds strongly me of Olivia Newton-John's output at the time, which isn't a coincidence. The song was written by Steve Kipner, who composed ONJ classics like "Physical", "Heart Attack" and "Twist Of Fate". It's a huge compliment to say that Sheena's effort more than holds its own in that lofty company.
A quarter of a century has passed since "A Private Heaven" was recorded and the years have wearied it to some extent. The album was very much a product of its time and some of the tracks sound very dated. However, that's also part of the album's immense charm. "A Private Heaven" is a veritable audio time capsule of 80s music trends and production techniques. It's a snapshot of a time when popular music was still inventive, irreverent and fun. Most of all, it showcases an amazing diva at the very peak of her formidable powers. "A Private Heaven" is a near perfect pop album that deserves to be remembered, appreciated and acknowledged as a triumph.
The impossibly fabulous Sheena Easton celebrates her 48th birthday today. I can't believe the woman is a day over 35 - she still looks absolutely stunning! I would like to extend my birthday wishes to Sheena with a post that honours her very first single and one of my personal favourites, "Modern Girl".
Sheena started her career as the subject of a television documentary, "The Big Time", which charted the making of a pop star. From what I gather, TV cameras followed Sheena around while she recorded her debut single, "Modern Girl". I would love to see the footage! "Modern Girl" is perhaps Sheena's most anthemic early recording after the sheer genius of "Morning Train (9 To 5)". The song is an incessantly cheerful ode to the hardships of modern womanhood, tackling hard hitting matters like dating and the workplace - set against a gloriously dated synth track. The song originally stalled at #56 but after "The Big Time" aired, the song was re-released and reached #8.
"Modern Girl" received a new lease of life in the late 90s, when it was remixed and included on Sheena's highly underrated "Freedom" album (which coincidentally was finally released in the US only this year! Purchase your limited edition copy here). "Modern Girl '97" is a cheesy delight and was even released as a single in Japan, a country with enough sense to wholeheartedly embrace Sheena's genius. I've uploaded "Modern Girl '97" in honour of Sheena's birthday.
It was the project that should have re-launched Sheena Easton's glittering career in spectacular style. After a decade of declining sales and increasingly obscure material, Sheena decided to ditch the ballads that comprised most of her 90s output and focus on the dancefloor. While hardly original, the plan made great sense. Dance music is fast becoming the retirement village of struggling gay icons, ageing divas and fading stars. When the rest of the industry no longer takes them seriously, these lovely ladies can always be assured of finding some solace in the clubs. "Fabulous" was Sheena's desperate grab for the pink dollar and I'm still surprised by its failure. If ever an album lives up to its title, then this is it.
I suspect that "Fabulous" was heavily inspired by Cher's stunningly successful "Believe" album. Like Cher, Sheena's pop pedigree can not be faulted. As one of the true stars of the 1980s, Sheena delivered some of the most enduring and memorable hits of that decade and established herself as a pop culture icon with her Bond anthem and appearances on "Miami Vice". Again like Cher, who worked with Xenomania, Sheena turned to the holy diva of dance - Dannii Minogue - for inspiration and teamed up with long time Dannii collaborators, Tezza and Ian Masterson! If that recipe isn't enticing enough, then the tracklist of disco classics should have ensured a hit record. Sadly, the first single stiffed worldwide and the second single was only released in Japan. Sheena's comeback was over before it started, much to disappointment of tragic queens the world over.
As a huge Sheena Easton fan, I am undoubtedly biased but I still think "Fabulous" makes for an exceedingly entertaining listen. Yes, the album positively reeks of desperation. I can also admit that the song selection is unimaginative and, with all due respect to Dannii's ingenious "hit" makers, I grant that some of the production is less than inspired. But whatever its flaws, there is no denying that "Fabulous" is a shitload of fun and the holy grail of craptastic dance music! The album begins with a fairly insipid cover of "Don't Leave Me This Way", before getting into full swing with the first single "Giving Up, Giving In". "Giving Up, Giving In" is a truly gorgeous offering and the remixes were suitably hot. Obviously, the buying public was simply not ready for this much fabulousness. The next song, a cover of "Love Is In Control" was touted as a single and remixes were commissioned by Almighty. Needless to say, Almighty and Sheena is a match made in pop trash heaven!
"That's What Friends Are For" is followed by fantastic covers of "Never Can Say Goodbye" and "Best Of My Love". Just when you think that "Fabulous" can not get any gayer, Sheena teams up with Tezza to duet on a truly wondrous cover of Burt Bacharach's "On My Own". The outstanding production and vocals make for one of the album's finest moments. I'm not as taken with Sheena's version of "Can't Take My Eyes Off You", which was an odd selection for the second single in Japan. While the album version is slightly dull, the remixes are excellent and breathe some much needed life into the song.
"Fabulous" ends on a high with two Tezza/Ian Masterson penned songs. "You Never Gave Me The Chance" is a sweetly sung ballad, while "Get Here To Me" enchants with a gorgeous trumpet solo before transforming into dancefloor stomper. I bet Dannii was jealous when she first heard it! I've also included the Japanese bonus track, a cover of Teena Marie's brilliant disco classic "I Need Your Lovin'".
I firmly believe that "Fabulous" belongs in every self-respecting homo's record collection. The album turns up regularly on Ebay and is still available at Amazon. It really is time for Sheena to launch another comeback. The music scene is infinitely less fun without her.Source URL: https://popmusicrecords.blogspot.com/search/label/Sheena Visit pop music records for Daily Updated Hairstyles Collection
Yesterday was Sheena Easton's 52nd birthday. Which is ridiculous because she still looks younger and fresher than Miley Cyrus. Anyway, I was planning a little tribute post to celebrate the occasion and decided to write about "Telefone" - my all time Sheena favourite. Released in 1983, this synth-pop gem became the Scottish diva's 4th US top 10 hit and nabbed her a Grammy nomination for Best Pop Vocal. I love everything about it, from the sublime 80s production (courtesy of Greg Mathieson, who also delivered the goods on her previous album "A Private Heaven") to the supernaturally catchy chorus. That's not even mentioning Sheena's adorably indignant vocal. She's so pressed that her man hasn't called! Her pain is universal and a generation of gays loved her for it.
