Belinda Carlisle 'Big Scary Animal'

Chart Peak: 12

YouTube

'Big Scary Animal', a No. 1 hit in September '93, is the latest British success for the American singer. The former lead singer of the Go-Go's has had consistent UK chart success since 1987.

Well consistent if you don't count the singles that missed the Top 40, but it was true that she'd managed a pretty regular run of hits from her previous three albums. After those and a successful Best Of collection, she returned with what was presumably intended to be a more rock-oriented sound, co-writing this song with fellow Go-Go Charlotte Caffey (and producer Ralph Shuckett). Unfortunately the finished track seems to fall between two stools somewhat, still a bit too glossy to really work as rock but by the looks of things not really delivering the goods as a pop hit either: it flopped in the US and even here this was a relatively unsuccessful part of her career. At any rate, I was able to resist the CD single (with free poster) I saw in a charity shop today.

What is notable about this release is Michel Gondry's promo video, one of his first for a non-French act. I think he may have recycled some of the forced-perspective ideas into his video for 'The Denial Twist' by the White Stripes over a decade later. In fact the video was so creative the US branch of the record label rejected it and insisted on a more generic remake.

Also appearing on: Now 11, 12, 16, 18, 19, 20, 34, 35
Available on: Real

Belinda Carlisle 'Leave A Light On'

Chart Peak: 4

YouTube

Her 4th British smash hit following the success of the 1988 trio 'Heaven Is A Place On Earth', 'I Get Weak' and 'Circle In The Sand' ...Had reached No. 4 by 22nd October 1989.

And so we go from a one-off appearance to a regular star of the series; and curiously enough this is one of four times when she's the second track on the first disc. The sleeve note is not technically wrong in calling this her fourth big UK hit, but of course it doesn't mention the two less popular singles from her previous album, let alone the cash-in re-issue from her former label that scraped the Top 75. Also curiously unmentioned is the guitar solo by George Harrison, which I believe is his only contribution to a main series Now! album: he certainly doesn't appear as a solo artist or as a Beatle.

The start of this comeback hit is probably the closest her solo material ever got to reflecting her punk roots, with a tense guitar part that faintly recalls 'I Got You' by Split Enz. After that we launch back into full-on eighties stadium rock, for this is a track much happier to be of its time than the retro styles of the Tears For Fears opener. This very confident punch does arguably undermine the sentiment of the song a little, as Belinda never sounds like she needs to implore anyone to wait in for her. But then again it is only a song and whilst the effect is a little wearing on the ears now, this a decent pop record that works on its own terms and was unsurprisingly a massive hit. As if to prove the point, hits were soon harder to come by: her next three singles all fell short of the Top 30.

 Also appearing on: Now 11, 12, 18, 19, 20, 26, 34, 35
Available on: Original Hits - Drivetime

Belinda Carlisle 'Live Your Life Be Free'

Chart Peak: 12

YouTube

The opening title track from her fourth album, and seemingly about the point in her career when the home market abandoned her, though she remained a star in Europe, even if not to quite the same extent as she had before. At the same time, she was evidently still trying to make very commercial music, working with the same producers as her early hits. Indeed, in places this seems to recycle 'We Want The Same Thing', and the overall effect is that it's trying a bit too hard to please, throwing in more hooklines than there's really room for.
That said, the slick production doesn't seem to have dated quite as badly as some of her 80s work, and as usual her distinctive voice lends the record a bit more personality than it might otherwise have had. But this is more decent than impressive.

Also appearing on: 11, 12, 16, 18, 19, 26, 34, 35
Available on: The Best of Belinda Vol.1

Belinda Carlisle 'Circle In The Sand'

Chart Peak: 4

YouTube

When I wrote about Ms Carlisle before, I mentioned the effect I recall this track having on my younger self. Since I also went on to say how much the track I was reviewing there disappointed me in retrospect, it was with both trepidation and embarassment that I re-approached 'Circle In The Sand'. Actually, it's weathered somewhat better than its younger sibling, although it has nothing like the same impact on me as an adult. Probably no bad thing, to be fair.

It does actually seem to have something nursery-rhyme-like about it now. It sounds decidedly artificial too, but in a way that actually helps here, as the constant drum machine seems to accentuate the circularity of the song; indeed it comes as something of a surprise that the songs comes to an actual end instead of the fade it seems to be heading for. It also makes a good background for her vocal, which is technically limited but delivers a decent amount of personality, especially towards the end. It's a pity the middle eight seems to go nowhere though.I wouldn't go out of my way to listen to this nowadays, but I have more affection for it than I expected.

Also appearing on: Now 11, 16, 18, 19, 20, 26, 34, 35
Available on: A Place on Earth: the Greatest Hits

Belinda Carlisle 'In Too Deep'

Chart Peak: 6

YouTube

After our little Bon Jovi confessional the other day, I might as well keep going. I don't suppose it's terribly shameful to say that 'Circle In The Sand' made at least some contribution to persuading my ten-year old self that girls might be more interesting than I'd previously assumed. I had less excuse by the time I was of voting age, but there's no denying that it once crossed my mind to buy the seven-inch picture disc of this, with '(We Want) The Same Thing' on the flipside. What was I thinking?

Actually, even when I came to do this review, I thought I remembered this as being a bit better. The lead piano line that I remembered is alright, but slower and less energetic than I remember, and not strong enough to bear the weight of the overproduction, nor even of lyrical howlers like "Thanks for the crash-course/You came riding on your noble horse". A decent vocal, at least, but it really doesn't do the trick. Still a big improvement over Bryan Adams, though.


Also appearing on: Now 11, 12, 16, 18, 19, 20, 26, 35
Available on: A Woman & A Man