Tunes Du Jour Presents 1990

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By 1990, pop music was as fragmented as ever, with the charts reflecting a mix of dancefloor anthems, alternative breakthroughs, and genre-defying oddities. Hip-hop’s mainstream ascent was well underway, electronic music was taking shape in new and exciting forms, and rock music was shifting toward something grittier. The year’s defining hits weren’t just about big hooks—they were about movement, whether physical, emotional, or cultural.

Dance music thrived in 1990, blurring the lines between house, hip-hop, and pop. Madonna’s “Vogue” channeled the underground ballroom culture into a global phenomenon, while Deee-Lite’s “Groove Is in the Heart” mixed funk, rap, and psychedelic whimsy into a club classic. Elsewhere, Snap! (“The Power”) and Black Box (“Everybody Everybody”) brought European dance music into the mainstream, and 808 State’s “Pacific (707)” hinted at a future where electronic beats would dominate pop music. Even hip-hop joined the party, with M.C. Hammer’s “U Can’t Touch This” and Digital Underground’s “The Humpty Dance” bringing humor and flamboyance to the genre.

Meanwhile, alternative rock was carving out a larger space. Jane’s Addiction’s “Been Caught Stealing” and Faith No More’s “Epic” merged funk, metal, and punk into something unpredictable. The UK’s Madchester scene, fueled by dance rhythms and psychedelic guitars, produced The Stone Roses’ “Fools Gold,” Happy Mondays’ “Step On,” and Primal Scream’s “Loaded,” while The Charlatans’ “The Only One I Know” signaled Britpop’s coming rise. Across the Atlantic, Tom Petty’s “Free Fallin’” offered a more traditional take on rock, while Aerosmith’s “Janie’s Got a Gun” tackled dark subject matter with arena-sized drama.

Elsewhere, pop and R&B pushed forward with innovation. En Vogue’s “Hold On” showcased impeccable vocal group harmonies, Lisa Stansfield’s “All Around the World” delivered a fresh take on blue-eyed soul, and George Michael’s “Freedom ’90” turned self-reinvention into an art form. Janet Jackson’s “Escapade” and Prince’s “Thieves in the Temple” kept their respective streaks of forward-thinking pop hits alive. And then there was Sinéad O’Connor’s “Nothing Compares 2 U”—a Prince-penned ballad that, in her hands, became one of the most emotionally raw performances of the era.

Yet 1990 also had space for the delightfully weird. They Might Be Giants’ “Birdhouse in Your Soul” was an offbeat yet catchy rock song that felt beamed in from another world, while Pet Shop Boys’ “So Hard” continued their sophisticated synth-pop explorations. Biz Markie’s “Just a Friend” made earnest goofiness into a virtue, and DNA’s remix of Suzanne Vega’s “Tom’s Diner” pioneered a new wave of genre-hopping, blending folk with electronic beats. Even the global phenomenon of “Lambada” proved that music was becoming more borderless. Whether through innovation, reinvention, or sheer force of personality, 1990’s music remains as compelling as ever.

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Tunes Du Jour Presents 1987

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The year 1987 stands out as a significant moment in music history, marked by a diverse array of singles that have maintained their appeal over the decades. This year saw the release of songs that would go on to define careers, shape genres, and become enduring favorites.

The pop landscape of 1987 was populated by distinctive vocalists and memorable melodies. Whitney Houston’s exuberant “I Wanna Dance With Somebody (Who Loves Me)” captured the essence of joy in music, while George Michael’s “Faith” showcased his evolution as a solo artist. Madonna continued her prominence with “Open Your Heart,” demonstrating her knack for combining catchy hooks with provocative themes. Michael Jackson’s “Bad” further cemented his status as a pop icon, blending funk and rock elements with his signature vocal style.

Rock music saw bands crafting anthems and pushing creative boundaries. U2’s “With or Without You” exemplified their ascent to global recognition, its atmospheric sound and emotional depth marking a new era for the band. Bon Jovi’s “Livin’ on a Prayer” became a quintessential rock anthem, its narrative of perseverance resonating widely. R.E.M.’s “The One I Love” signaled their transition from college rock darlings to mainstream success. Bruce Springsteen’s “Brilliant Disguise” showcased his storytelling prowess, while Peter Gabriel’s “Big Time” continued his innovative approach to both music and video.

The year also saw the continued evolution of electronic and alternative music. New Order’s “True Faith” merged dance beats with introspective lyrics, creating a template for future electronic pop. Pet Shop Boys’ “It’s a Sin” demonstrated the potential for electronic music to tackle serious themes, while The Cure’s “Why Can’t I Be You?” showed how alternative bands could create irresistibly catchy tunes without compromising their unique sound. The Smiths’ “Girlfriend in a Coma” exemplified Morrissey and Johnny Marr’s ability to blend dark humor with infectious melodies.

1987 was a landmark year for hip-hop and R&B. The Beastie Boys’ “(You Gotta) Fight for Your Right (To Party!!!)” fused punk rock attitude with hip-hop and heavy metal styles, helping to bring rap to a wider audience. Eric B. & Rakim’s “I Know You Got Soul” set new standards for technical proficiency and lyrical complexity in hip-hop. In R&B, Anita Baker’s “Caught Up in the Rapture” showcased her sophisticated, jazz-influenced style.

The year also saw notable releases from established artists exploring new territories. Prince’s “Sign ‘☮’ The Times” demonstrated his musical versatility and social consciousness, while Paul Simon’s “You Can Call Me Al” incorporated South African musical elements, reflecting the growing interest in global music.

Nineteen eighty-seven produced an impressive number of singles that have maintained their popularity over time. From pop to rock, R&B to alternative, the year offered a variety of sounds and styles that continue to resonate. The enduring appeal of these tracks speaks to the creativity and talent that was evident in this notable year of musical history.

Your (Almost) Daily Playlist: 5-28-23

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I tend to think there are three age groups – children, the elderly, and folks around my age. Children bang on about things I’ve never heard of. The elderly tell stories of how when they were kids nobody in the neighborhood owned a television set so the family would take the trolley downtown to Sears and watch The Lawrence Welk Show through the store window. Folks in my age group all share the same cultural references.

This morning when walking my dogs, Ringo and Winston, I was made aware that there are those who are older than children yet younger than I. We saw Jeffrey, who lives across the street, walking his dog Molly and another dog. We said hello (well, I said hello. Ringo and Winston didn’t say anything. They’re not morning dogs.) and I asked “And who is this?,” referring to the other dog. Jeffrey replied “This is Luka,” to which I said “Does he live on the second floor?” I know the three or four of you reading this were thinking the same thing. Jeffrey had a puzzled look on his face. “What?” “His name is Luka. Does he live on the second floor?” Jeffrey, still confused, said “No. He lives next door to me.”

I hadn’t thought about it, but now I know Jeffrey is a lot younger than I. Unlike me, I’m sure when filling out a form that asks in which age group he falls, he never has to color in the circle by the group that ends with “and over.”

Everyone should know Suzanne Vega’s song “Luka.” And everyone should absolutely know Creedence Clearwater Revival’s “Fortunate Son.” If you aren’t familiar with it, put down your phone, then pick it back up because I just remembered that’s how young people listen to music nowadays, play the song (which kicks off the playlist below), and do this every day. Memorize the words. Scream along with it. It’s a great way to release your pent-up rage at The Man. Take my word for it. I’ve been doing so for <and over> years.

Creedence Clearwater Revival’s John Fogerty turns 78 today. I’ve never heard him mention The Lawrence Welk Show, though a show called Fortunate Son – A Tribute to Creedence Clearwater Revival is now playing at the Welk Resort Theater on Lawrence Welk Drive in Escondido, California.

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