My Obsession with Samantha Fox's 1987 Album: A Nostalgic Dive

Okay, let's get real for a second. Remember that moment when a song just totally grabbed you, and you knew, just knew, you had to have the whole album? That was me with Samantha Fox and her 1987 self-titled album. It wasn't just about "Touch Me" anymore; this was a whole new level of musical infatuation. I first got a taste of Samantha Fox when “Touch Me” was playing almost nonstop on Q-100 and fell in love with her, but her second album? That's where the real obsession began. When Jive Records dropped it in July 1987, things changed for me. This album wasn't just a collection of songs; it was a time capsule, a memory bank and honestly, a huge part of my young life.

This album made waves, too. It hit No. 22 in the UK, No. 51 in the US, No. 41 in Canada, No. 86 in Australia, and No. 16 in Germany. That's a pretty big deal! But for me, it wasn't about the charts. It was about the feeling.

I distinctly recall the days at daycamp when I would find myself at Skateland with my friend Jenny Reeves. I would request the song be played a few times during skating sessions and we’d belt out “Naughty Girls” at the top of our lungs, mostly off-key, but who cared? We were just kids, around 12 or 13 and that song was an anthem in the soundtrack of my life for a while. Every trip to the store turned into a mission. I’d beg my parents for the tape because I needed to hear all those songs that radio wasn’t playing. My friend Stig, bless his soul, gifted me a copy that he intended to sell at school or his flea market side hustle. Little did I know that the album version was different from the extended version they played at the skating rink, which sent me on another quest!

I remember spending countless hours in my room, playing that tape, trying to drift off to sleep. I’ve always struggled with insomnia and music has always been my go-to in hours of need. It cleared my head and sometimes, the songs would spin into these elaborate dreams, way cooler than any music video on MTV. I still wonder, was I the only one who experienced that? Anyway, I adored every single track. Over the years, remastered and expanded versions of the album have been released. Of course, I snagged them all, but nothing beats the original for me.

After the success of her first album, Touch Me (1986), Samantha Fox jumped back into the studio. Her label was worried, apparently, that the second album didn’t have any hits. So, they got Stock Aitken Waterman to write “Nothing’s Gonna Stop Me Now.” That definitely helped! But Full Force, who were working with Lisa Lisa then, also gave her a major hit with “Naughty Girls (Need Love Too).” The album also had other solid singles like “I Surrender (To the Spirit of the Night),” “I Promise You (Get Ready),” and “True Devotion.”

There's also this interesting tidbit about Jim Lea and Noddy Holder from Slade writing “Shooting Me Down” for the album. Jive wanted them to, and they made a demo, but Samantha didn't get to record it due to time constraints.

Track Listing Deep Dive: Let's Get Real About These Gems!

• "I Surrender (To the Spirit of the Night)" - 3:56: Okay, confession time, this was and still is the one for me. Seriously, why didn't this get more airtime? Pure magic!
• "I Promise You" - 3:54: Such a sweet track. Still holds up!
• "Naughty Girls" - 5:10: Ah, yes! The song that sealed my fate. Totally head over heels after this one. It is also THE big one from the album.
• "True Devotion" - 4:37: Ballad alert! And not just any ballad. This one hits deep. Seriously, Cars "Drive" vibes, anyone?
• "(I Can't Get No) Satisfaction" - 5:36: A bold cover! Gotta respect the guts.
• "Nothing's Gonna Stop Me Now" - 3:43: You know you sang along.
• "If Music Be the Food of Love" - 4:49: Such a lovely, dreamy track. Perfect for zoning out.
• "That Sensation" - 4:19: This one's got that undeniable 80s energy. Can't help but move!
• "Dream City" - 4:55: Takes me to another world. Just close your eyes and drift.
• "The Best Is Yet to Come" - 4:50: Ending on a high note! Optimistic and catchy.

So, that's my deep dive into Samantha Fox's 1987 album. It's more than just music; it's a snapshot of my childhood, a collection of memories and a reminder of simpler times. I'm curious, did anyone else have that one album that just stuck with them? Any Samantha Fox fans out there who remember those days? Share your stories in the comments below! I always love hearing from fellow music enthusiasts and nostalgia buffs. Your thoughts and memories really make these discussions so much fun. If you've enjoyed reading about my musical journey, and feel inclined to show your appreciation in any way, feel free to get in touch! It’s all about sharing the love of music, right?

Lost in the Blue: My 80s Debbie Gibson Obsession (A Deep Dive)

Hey everyone! Let's take a vibrant trip back to the late 80s. Picture this: huge hair, neon EVERYTHING and the sound of infectious pop music filling the air. For me, one album perfectly encapsulates that era: Debbie Gibson's "Out of the Blue." Today, let's dive deep into this iconic record. I remember wanting this album with every fiber of my being. My mom, bless her heart, suggested taping it off the radio. But you guys get it, right? Radio only plays singles! I needed the whole experience: the artwork, the hidden gems and being able to hit play whenever I wanted.

My journey began with Debbie Gibson's "Only In My Dreams" video on VH1. What was super intriguing was that when they showed the video, there was no album title displayed! It was like a mystery I needed to solve. "Out of the Blue" officially dropped on August 18, 1987, but I didn't get my hands on a copy until my friend "Stig" shared a dubbed cassette a year later. Even then, the music still felt fresh and amazing. Over the years, I have purchased the album on cassette, CD as well as vinyl.

So, let's explore the musical landscape of "Out of the Blue." All tracks were written by the incredibly talented Deborah Gibson, showcasing her songwriting prowess at a young age.

Side A: The album kicks off with the title track, "Out of the Blue"—an energetic anthem that sets the tone with its catchy melody and optimistic lyrics. It's about stepping out and embracing new opportunities. "Staying Together" follows, a slightly more mature tune exploring the complexities of relationships. Then comes "Only in My Dreams," the breakout hit, a dreamy, synth-driven track about infatuation and fantasy. "Foolish Beat" slows things down with a heartfelt ballad that displays Gibson's vocal range and emotional depth. It's a song about heartbreak and regret, something many young listeners could relate to. Finally, "Red Hot" brings the energy back up with a danceable track.

Side B: "Wake Up to Love" starts the second half with a burst of positivity and encouragement, urging listeners to find and embrace love. "Shake Your Love" continues the upbeat vibe with a strong dance-pop rhythm, perfect for the roller rink or bedroom dance parties. "Fallen Angel" adds a bit of a dramatic edge, telling a story of someone who's lost their way. "Play the Field" is another fun, energetic track with playful lyrics about love and relationships. The album concludes with "Between the Lines," a reflective song about understanding and communication, showing a more thoughtful side to Gibson's songwriting.

Clocking in at just over 40 minutes, "Out of the Blue" was an album I could listen to endlessly—and trust me, I did. I'd often fall into a listening rabbit hole, getting lost in the music. Fun fact: some of these tracks even inspired moments in my debut book, "Under The Lifeguard's Watch." One of my main characters is a huge pop music fan and Debbie's album is one of his favorites—he clearly has great taste. When "Electric Youth" came out, it was massive, but thanks to my friend Charlie Thayer for the cassette hookup of that second album, I still always came back to "Out of the Blue." It's just got that special something.

What are YOUR favorite 80s albums? What memories do they bring back? Share your thoughts in the comments below! And if you enjoyed this nostalgic journey and want to support more of my writing and deep dives, well, any little bit helps keep the music playing. 😉 Thanks for reading, and keep the 80s spirit alive! 🤘

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Whitney Houston's "Whitney" Album: An Eternal Pop Masterpiece

There are no perfect words to describe Whitney Houston's voice. She possessed an extraordinary ability to bring life to songs in a way that no one else could. Whitney's voice was a treasure, and her beauty, grace, and class made her an unparalleled artist. Her effortless, smooth riffs and sophisticated elegance made her a true icon.

Released on June 1, 1987, "Whitney" is one of the best-selling albums of all time, with over 20 million copies sold worldwide. This album marked the beginning of her incredible rise, debuting at number one on the US Billboard Top 200 Album Chart and staying at the top for a record 11 consecutive weeks. It features five top-10 hits on the US Billboard Hot 100, including four number-one singles.

When I first saw the "I Wanna Dance With Somebody" video, I was captivated by its infectious and colorful energy. I knew I had to own the album. My dad bought me the 45 singles of "I Wanna Dance With Somebody" and "So Emotional," and I still have the 12-inch single of "I Wanna Dance With Somebody" to this day. When my friend Stig added the cassette to his "stock" at his little flea market business, I acquired the cassette tape from my friend and fell in loved with the rest of the tunes I'd not heard on the singles I had, or the radio. Now, I cherish my CD, digital versions, and the remixed tracks of So Emotional and I Wanna Dance WIth Somebody, all of which are loaded on my phone. When I discovered it was re-released on vinyl, I couldn't resist and bought it with a gift card I received for my birthday a few years ago.

The recording process of "Whitney" was a meticulous endeavor, involving top-notch producers and musicians. The album showcases a blend of ballads and dance-pop tracks, featuring unique instruments that added depth and richness to the songs. Synthesizers, drum machines, and electric guitars were used to create a sound that was both contemporary and timeless.

The album's artwork is a reflection of Whitney's playful side while still retaining that look of elegance and sophistication we fell in love with. The cover features a striking image of Whitney, exuding confidence and grace. Her radiant smile and captivating presence make the album visually as well as musically stunning.

Each track on the "Whitney" album is a testament to her incredible talent. The standout tracks include "I Wanna Dance With Somebody," "So Emotional," "Where Do Broken Hearts Go," and "Didn't We Almost Have It All." These songs not only showcase her vocal versatility but also her ability to connect with listeners on an emotional level.

How does one do justice to a review of a classic Whitney album? It simply can't be done. Whitney and her voice speak for themselves. She is irreplaceable, and her music is timeless. We all miss her shining spirit and hope that wherever she is, she knows that we loved her in body and in spirit.

If you've had the joy of experiencing this album, I'd love to hear your thoughts and memories in the comments below. And if you feel inspired, any contributions or gifts are always appreciated but never expected. Let's keep the spirit of Whitney alive together.

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The Tape King of the Flea Market: Stig's Shady Shenanigans

A few weeks ago, I shared my Columbia House/BMG story. Now let me tell you about my friend Stig (not his real name, as I prefer to keep his true identity under wraps) and his ingenious (though slightly mischievous) method of making money back in the day. Stig was a bit of a legend among our group for his creative ways to turn a profit. Just in case you're curious, he was one of my friends during my hustling days. One of his best schemes, during his middle and high school years, involved the good old Columbia House and BMG music clubs. Just like me, Stig had no intention of paying for those “free” tapes.

Picture this: Stig, with his knack for finding loopholes, realized he could exploit the Columbia House and BMG music clubs by ordering multiple sets of tapes under different variations of his name, as well as made-up names. Stig's grandma owned and ran a trailer park with a bunch of vacant lots but full-sized mailboxes. His method was simple: find every postcard in magazines offering those tempting “12 Tapes for a Penny” deals, fill them out with different names, and wait for the magic to happen. Stig didn't just depend on his sister's "Seventeen" magazine; he went to gas stations, pulled out the postcards from the magazines, bought a can of Pepsi and a Slim Jim, and walked out of the store with a stack of music club and magazine subscription cards. A few weeks later, boxes of tapes would arrive at his house and his grandmother's trailer park mailboxes, which were only a few blocks away from Stig's house. Stig was always helping his granny around the trailer park with little tasks for money, so it wasn't unusual for him to be seen around the trailer park in the afternoons after school.

But Stig didn’t just sit on his haul. No, he always had a plan. He had a booth at the local flea market where he sold items left behind by people who moved out of his grandma's trailers. This was the perfect opportunity for him to sell his ill-gotten tapes for $5 to $6 each. His stock was impressive, and he quickly became known at his school as the go-to guy for the latest hits, never offering a discount to his friends. Each week, his classmates would ask what new tapes he had, and his answer was always, "Come on by and see." And they did. People would flock to his booth every weekend, eager to see what new treasures he had in stock.

Stig’s flea market booth thrived for years. He managed to keep the operation running smoothly by continuously ordering more tapes under different aliases and always staying one step ahead of the collection agencies. His parents, blissfully unaware of his entrepreneurial exploits, just thought he had a knack for finding abandoned items to sell.

Stig also had another trick up his sleeve to make even more money from those that couldn't afford his full, yet low price. He would make copies of the tapes onto blank TDK, Maxell, Sony, and Memorex tapes and sell those at a discount. Then, he would re-shrink wrap the original and sell it at his regular full price of $5 to $6. This way, he maximized his profits while keeping his customers happy with both original and discounted copies.

Remember I mentioned he collected magazine subscription cards too? Stig's booth didn’t just consist of left-behind items and music club tapes (and later, CDs); he also sold magazines ranging from Playboy to Good Housekeeping to Highlights for Children, using a magic marker to mark out the name and address where they were delivered. I asked if he ever tried the VHS or Book of the Month clubs to stock his booth, and his answer was no. He said books would mean people would hang out in his booth too long reading, and the VHS club seemed harder to scam for some reason. I joined the Columbia House Movie Club back in the 90s, and I agree, it was definitely more tightly run than the music version.

Stig’s story is a testament to the creativity and resourcefulness of a kid determined to make a little extra cash. While the ethics of his method might be equal or slightly more questionable than my own, there’s no denying the ingenuity behind it. And let’s be honest, those were the days when getting music was an adventure, and each tape came with its own little drama.

Where is Stig today, and what does he do for a living, you ask? He did not inherit his grandmother's Trailer Park, it was leveled and redeveloped as an assisted living facility in the early 2000's. Let's just say he’s an entertainer of sorts, still offering content to those willing to pay and has an impecable gift of helping people avoid trouble when they are in tight spots.

Sort of Stig back in the day

Looking back, it’s amazing how a penny could buy so much...chaos and creativity. Stig turned a simple mail-order scam into a thriving business, and his legacy lives on in the stories we still share. And speaking of creative ventures, thoughtful comments or whatever from my readers are always appreciated!

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The Great Columbia House Scam of My Youth

Long before Napster reared its ugly head and opened the floodgates to music-sharing sites, before iTunes, and before the Feds, RIAA, MPAA, FBI, CIA, or any other acronym-heavy organizations started nosing around our computers, we had Columbia House and BMG music clubs to "devalue" the music industry. When I say "devalue," I mean it in a humorous way, not an offensive one. I believe these companies must have made legitimate profits; otherwise, they wouldn't have lasted as long as they did. Over the years, I came to realize the true value of media but back in the day, free stuff clouded my mind.

I was a creative and somewhat deprived child. My mom's idea of getting that hot new tape all the other kids were listening to was taping it off the radio, which entailed holding an old cassette tape recorder up to a radio speaker—or better yet, the TV and recording it onto a cheap Certron, Laser or of I was lucky Memorex or Sony branded tape. My copy of the "The Sound of Music" soundtrack was one of a kind. Just under Julie Andrews singing "My Favorite Things," you could hear my dad in the background proclaiming, "The Sound of Music is the BEST movie ever made!" and my mom screaming from another room, "Turn that shit down!!!" My bootlegged "Like a Virgin" tape wasn't much better, thanks to Mom's voice chiming in with "Tell that whore to shut up and dress herself up!" during "Dress You Up." Not exactly playlist-worthy recordings.

So, back to devaluing the music industry pre-internet. How did Columbia House or BMG ever make money? Picture it: you're flipping through Seventeen magazine, and out pops a postcard reading, "12 Tapes for a Penny." IN-TER-EST-ING! How many more issues of Seventeen are in the house? Four to six weeks later, four boxes arrive in the mail addressed to variants of my name. Forty-eight tapes, all for free! No more smokers' cough and banging on my door followed by a voice telling me to turn that shit down. Four weeks later, four different bills arrive. Bills? For free tapes? Must be a mistake. We'll just file that under "86." Bill, bill, bill, garbage, garbage, garbage.

Eight weeks later, the novelty of my 48 tapes had long since worn off. Need more tapes...Damn, I can only find two order cards. Six weeks later, 24 more tapes arrive in the mail. Four weeks later, six bills arrive addressed to my clones. My mom asks, "What are all these bills coming to you for?" My reply: "Dunno!" Then came the final notices, times six. Shortly after, a collection agency called North Shore started sending bills and demands for payment. What ever will I do? I know—I’ll fix it so no one will ever find out. Change of address...Family moved to New Hampshire. No one lives there, so who would ever tell?

My parents never caught onto my early life as a mail fraudster, nor do I think they understood why their mail seemed to have been redirected and lost for over six months when the forward request expired. Those were the days when getting music was an adventure, and each tape came with its own little drama. When I shared this story with a friend, he one-upped me with his own Columbia House/BMG Music Club tale, which I’ll be sharing in the future with his permission. Looking back, it’s amazing how a penny could buy so much...chaos and creativity. And speaking of pennies, thoughtful comments or whatever from my readers are always appreciated!