45 REVELATIONS
As black artists make greater inroads on pop, the music seems stronger than ever. For the first half of 1986, crossovers from the Black/Urban chart made up almost 30 percent of the Top 15 pop hits, a 12-year high mark. And when you add in the myriad white dancebeat-based hits, there’s no question about what’s pop radio’s dominant sound.
45 REVELATIONS
KEN BARNES
As black artists make greater inroads on pop, the music seems stronger than ever. For the first half of 1986, crossovers from the Black/Urban chart made up almost 30 percent of the Top 15 pop hits, a 12-year high mark. And when you add in the myriad white dancebeat-based hits, there’s no question about what’s pop radio’s dominant sound. As black music’s influence increases, so does its variety. Case in point: the two Singles of the Month.
The Jets’ “Crush On You” was a definitive bopper crossover, but I like “Private Number” even better. With its fairground organ, marshmallow harmonies, and tricky rhythm section, it represents the full flowering of the New Bubblegum— adorable kids’ music with enough complexity to entrance adults as well.
The other winner is miles removed from bopper territory. Randy Crawford’s “Can’t Stand The Pain” is a gorgeously mature, restrained performance, all slowbum intensity and something like a late-’60s Motown Gladys/Martha/Marvelettes record. I especially like the slightly astringent piano accents (in the Chic tradition—early Madonna producer Reggie Lucas can take some bows).