=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= B E T W E E N T H E L I N E S Volume 5, Issue 5 - February 8, 1993 DDDDD D D D D GGGG D D G DDDDD G GGG G G GGGG A Debbie Gibson Discussion Forum =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= CONTENTS =- ADMINISTRATIVE NOTES INTRO BY GLENN STEIN - Glenn Stein MASSACHUSETTS COLLEGES REPORT ON DG - Michael DiBiasio REMEMBER WHAT DEBORAH IS ALL ABOUT - Nimet Damji/ Michelle Chobotar DEBBIE GIBSON EXPRESS - Jeff Tharp WEDNESDAY NIGHT REVIEW - BMS - Steven Manfred THOUGHTS ABOUT _BODY MIND SOUL_ - Jeff Tharp COMMERCIAL 12" OF "LOSIN' MYSELF" - Brett McLean JAPANESE BMS WITH "EYES OF THE CHILD" - Shaun Stuart _BODY MIND SOUL_ REVIEW AND COMMENTS - Michael DiBiasio DEBWATCH CLOSING REMARKS =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DISCLAIMER =- This forum does not necessarily reflect the views of Deborah Ann Gibson, Gibson Management Inc. (GMI), the Atlantic Recording Corporation, or any organizations to which members belong or represent. Opinions expressed in Between the Lines are those of the individual authors and do not necessarily reflect the views of the entire forum. All songs by Debbie Gibson are copyrighted by Deborah Ann's Music, ASCAP or Possibilities Publishing, Inc./ EMI April Music, Inc., ASCAP. Between the Lines operates on a non-profit basis. Distribution is permissible only under the condition that no part of it will be used for profit. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= ADMINISTRATIVE NOTES =- Before you submit your articles, please PROOFREAD them. Remember that about 200 people receive BtL via electronic mail and a significant number of people are receiving BtL via postal mail. Submissions via electronic mail should be sent to ALL moderators at their respective e-mail addresses listed below. We reserve the right to edit, defer, or reject submissions without notice. To submit articles by postal mail, please send them to: BETWEEN THE LINES c/o Felix Ng 2137 Qualicum Drive Vancouver, B.C. V5P 2M3 CANADA Postal submissions should be typed or written legibly. To submit articles by FAX, please call (604) 322-5936. For those of you who do not have access to electronic mail, you may subscribe via postal mail. Issues are printed with a bubblejet printer which allows six pages of text to be printed on both sides of one sheet of paper. Back issues are also available on one MS-DOS 3.5" or 5.25" high density disk (please specify disk format when ordering). Prices are at cost and are subject to change: Canada $0.65 Cdn. per issue / $2.75 Cdn. for back issues on disk United States $0.65 U.S. per issue / $2.75 U.S. for back issues on disk International 3 IRCs for two issues / 7 IRCs for back issues on disk Please make a cheque or money order payable to Felix Ng and mail it to the postal address mentioned above. We are not responsible for cash lost or stolen in the mail. Issues are always mailed via first class. If you would like to be added to a loosely moderated mailing list where you can discuss Debbie Gibson and her music on a frequent basis with other BtL members, please send e-mail to debhead-request@scf.nmsu.edu. For those of you who have access to Telnet and are interested in discussing Debbie Gibson and her music in real time with other BtL members, please send e-mail to Jonathan Bradshaw (jonathan@nova.decio.nd.edu). Debbie Gibson GIFs (these are computer graphics files) and BtL back issues are available via anonymous FTP at cs.uwp.edu. For more info on how to use FTP, send e-mail to Myra Wong (mkwong@freedom.nmsu.edu). Members without FTP access can obtain these files through two file-mailing services. For more information, send e-mail to Andrew Vernon (avernon1@ua1ix.ua.edu). -= BtL moderators =- Myra Wong : mkwong@freedom.nmsu.edu mkwong@sdcc13.ucsd.edu JSXS97D on Prodigy Felix Ng : fng@nyx.cs.du.edu 1:153/715.4 on Fidonet Andrew Vernon : avernon1@ua1ix.ua.edu avernon1@ua1vm.ua.edu avernon1@ua1vm.bitnet =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= INTRO BY GLENN STEIN =- Glenn Stein - Baltimore, Maryland (STEIN_GS@JHUVMS.HCF.JHU.EDU) February 2, 1993 My name is Glenn Stein. I am a 19-year-old sophomore (with junior standing) at The Johns Hopkins University in Baltimore, Maryland. As you might guess, I am pre-med and a biology major. I have made my home in Nashville, Tennessee, for 15 years. Before that I lived in Milwaukee, Wisconsin, and Chicago, Illinois. I was born on July 2 in the Windy City and am a huge fan of all of their sports teams. I first saw Deb in the fall of 1987 on "Friday Night Videos." Debbie was certainly in my dreams for a long time after that. My brother and I both became big fans of Deb and purchased _Out of the Blue_ soon after. When Deb went on the OOTB tour, I put off getting tickets. I planned on getting them after returning on a trip to Florida, only to find that the concert had been cancelled. When the EY tour rolled around, my brother and I got second row seats. Unfortunately, this concert was also cancelled. I did make good use of the weekend, helping my school's team to a second place finish at the Tennessee Tech Science Bowl. Probably due to past failures, I didn't even KNOW there was a OSA tour as Deb did not bother scheduling Nashville. At this point, I figured I would probably never get to see Deb. Then she got the role in Les Miz. In going to a Bulls-Bullets basketball game, I learned my companion was a big fan of Les Miz. We made plans to see Deb either at the end of January or during spring break. I couldn't change my plane ticket, so we got tickets for Spring Break. I looked forward to it all semester. Finally, the day came - March 15, 1992. Of course, Debbie was wonderful. When Eponine revealed that she had been shot, I was in absolute horror. All in all, it was the best performance I've ever seen. Unfortunately, I didn't get to meet her because my friend and I had to catch our bus back to his town. When I got back from Spring Break, I got on Prodigy. Unfortunately for me, it took me until mid-summer to discover the Arts Forum and the Debbie Gibson topics. Since then, I've expanded my DG collection by acquiring both of the Japanese CD's and finally joined D.G.I.F. Myra Wong immediately informed me of Between the Lines, and when I got back to school, I found the two latest issues of BtL. I really like the new album. My favorite song is "Goodbye." Unfortunately, I missed the recent "Friday Night Videos" and don't have cable, so I don't know when I'll see the video of "Losin' Myself," so I can't comment on that, yet. Glenn stein_gs@jhuvms.hcf.jhu.edu stein_gs@jhunix.hcf.jhu.edu 73677,1265 on CompuServe TBJF94A on Prodigy =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= MASSACHUSETTS COLLEGES REPORT ON DG =- Michael DiBiasio - Amherst, Massachusetts (mdibiasi@ecs.umass.edu) January 30, 1993 The following article appeared in the January 28th edition of THE MASSACHUSETTS DAILY COLLEGIAN, which has a circulation of about 25,000 students and townsfolk: Out of the blue _The Massachusetts Daily Collegian_ apologizes to its readers for not getting an exclusive interview with teen-dream Debbie Gibson. Our friends at Boston University's _Daily Free Press_ beat us to the punch, but to make up for it, "News from other U's" will provide the high (or low) lights. You may remember Gibson as the perky, bouncy, blonde-haired musical talent, who provided us with such classics as "Electric Youth" and the dreamy "Lost in your eyes." Gibson, now a mature 22, has changed from teenie-bopper to sex kitten. In her new video, "Losing Myself" [sic], Gibson plays a stripper. "People right from the start wanted me to have this sexy image, and it took six years before I feel comfortable doing a sexier video or sexier music," Gibson told the _Free Press_ "[The media] says 'What is this?' when I'm being too goody-goody and 'What is this?' when I'm being sexy." Gibson, who has been critical of Madonna's book SEX, was not comfortable enough to pose nude in _Playboy_. "I could never appear nude," Gibson said. "I wasn't flattered by the offer, I kind of figured that everyone gets asked to pose sooner or later." Gibson went on to explain she doesn't wear her own perfume and how she is involved in the AIDS movement but as with her songs, their [sic, keeps this opinion in context] just is not much substance to Ms. Debbie. COMMENTS: I think Deb's "What is this?" line is quite true and ironic. One thing that surprised me was the interest in this newspaper to carry the story. Pop acts seem to be taboo to college media, which often laud smaller alternative bands such as "Rippopotamus" and "Bim Skala Bim." These are the "cool" bands, despite not having a success record not nearly as impressive as artists such as Ms. Gibson. Thus included are the obligatory cheap shots at Deborah's career by the writer, who provides no support for his opinions and actually detracts from his point through misuse of the English language. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= REMEMBER WHAT DEBORAH IS ALL ABOUT =- Nimet Damji - Burnaby, British Columbia, Canada Michelle Chobotar - Surrey, British Columbia, Canada January 30, 1993 After watching "Losin' Myself" in its entirety, we have to ask what all the fuss was about. This is going out to all the fans who were overreacting after watching "Showbiz Today" and "Hard Copy" (BtL 5.1). Knowing Deborah, one shouldn't judge her video just from a few clips. Deborah can't be sixteen forever. Also, comparing her to Madonna is absurd since Madonna is pornographic whereas Deborah is just playing a part as a stripper. Just because she's a good actress doesn't mean she's going to live the part. Michael Falkner also mentioned that he wants her to bomb! If you're a true and dedicated fan, you have to support whatever she does. According to Deborah in Daily Variety, she explains about the video but nobody seems to be listening to her. In closing, us faithful fans should look beyond her image change and remember what Deborah Ann Marie Gibson is all about. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DEBBIE GIBSON EXPRESS =- Jeff Tharp - Indianapolis, Indiana January 26, 1993 I just wanted to let my Debbie Gibson friends know that I'm assistant editor of the "Debbie Gibson Express." Rusty Shelby from Atlanta, Georgia and I put out a magazine once a month to inform radio stations what Debbie is up to and to talk them into playing her records and to bring her to town! This magazine is also open to all my DG friends! If interested, please write to: Rusty Shelby 903 Byrnwyck Road N.E. Atlanta, GA 30319-1663 Please include a self-stamped envelope to receive subscription information. And this is very important. Please include your favorite radio station's address and phone number This is so your radio station can receive our magazine. The magazine is ten pages long filled with photos and update articles from Rusty and me. We hope to hear from you! [Editor's Note: BtL is not affiliated with "Debbie Gibson Express."] =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= WEDNESDAY NIGHT REVIEW - BMS =- Steven Manfred - Ellsworth, Wisconsin (steven.k.manfred@uwrf.edu) January 27, 1993 And now, not at all live from River Falls and Ellsworth, Wisconsin, it's the Wednesday Night Review! And tonight, it's the new Debbie Gibson album _Body Mind Soul_ that is examined. I shall split the review into a section for each song and make comments which are hopefully insightful for each song. 1. "Love Or Money" This is a song which is positioned precisely where it should be, at the start of the album. I say this because although it is a strong song to start on, it doesn't overshadow the strengths of later pieces on the album. The melody has a pleasing jazz-like quality about it, particularly on the line "didn't mean that much to me," and the verses floating around the bassline and timebeat adds to that effect. The chorus is also very nicely tight, and the echo lines achieve the "fun" they wanted to achieve. It is also on the echoes that one can hear a new feature to Deb's singing; she's toning down her natural Long Island accent and making the sounds of the words fit the song. It's most noticeable and very enjoyable on the echo of "nothing in the world honey" during the section where much of the backup has dropped out to let the vocals shine. -Scale of 1 to 10: 8 2. "Do You Have It In Your Heart?" One of my least favorite tracks on the album, mainly due to its length. This is a song which is not terrible, and not what I would call a clunker, but it could be better than it is. There doesn't seem to be a real fire in this otherwise O.K. song. The arrangement is what needed the most work because the song doesn't sound interesting enough. No hook, in other words, or if there is one, it's being diffused by the rest of the song. Throw in a few more twists and perhaps change the entire synth backup to a more ethereal or New Age tuning, and perhaps then it would grab me more than it does. -Scale of 1 to 10: 6 3. "Free Me" This is one of the most innovative choruses I've heard anywhere in a long while, which more than makes up for the somewhat disappointing verses. Singing the words on just the same few notes quite a bit higher than the rest of the song was a stroke of genius by someone on the writing team for this one. Since it's again the melody which has the twist in it, I think that's Deb's touch. Very strong. -Scale of 1 to 10: 8 4. "Shock Your Mama" The most surprising song for me. I quaked in fear of this song until I heard it for the second time and realized what had been done. What has been done is Carl Sturken and Evan Rogers have softened their usual style and bent it to fit around Deb's strengths. Ironically, this shows the most on the song that is probably most theirs because Deb really pulls this off. Forget mama, the actually-good rap from Deb shocked me! Something else that surprised me about this and a couple of the later tunes was the strength of the lyrics, the area where Deb needed the most improvement, in my own opinion. The stuff about the menus and "show you when you" is well brill and cutely clever. Something that didn't surprise me but certainly isn't despised for that is the wickedly catchy chorus line. I had been expecting some kind of shrill shriek of the title, but instead we got a few limited notes that aren't extremely high and play off the beat perfectly. This is my favorite of the dance/fast songs. -Scale of 1 to 10: 10 5. "Losin' Myself" This song has two major things going for it. One is the surprisingly original lyrics ("you're my celebration boy" for example), and number two is something I've been waiting for a very long time: Deb singing in her lower registers. There is a very definite sexual tension inherent in her performance counterpointed well by the slow arrangement. Someone has also been doing some clever engineering with the mix because I can swear I can hear an almost Q-soundlike effect when the low synth bass joins in during that dramatic part. I KNOW that the sounds are coming from my sides, not the stereo in front of me. This didn't occur on any other track, and still doesn't. Anyone else pick this up? -Scale of 1 to 10: 9 6. "How Can This Be?" Oh, glorious joy!! Here's the classic ballad everyone was waiting for, with everything one could want; great lyrics ("and kisses lingered like forever"), a soaring-over-the-setting-sun chorus, an arrangement that deserves some sort of award (the popping drumbeats and the rich string synths that sound more like summer sunshine), a gentle sax solo, one of Deb's all-time-best vocal performances that makes "One Hand, One Heart" sound like a clumsy kid's junior high school choral solo, and the best ending to any song I've heard for probably a decade. Slowly (but not too slowly) bringing the song back down to the level where it started, then repeating(!) the opening line, a metzo-piano delivery from her and the back-ups on "How Can This Be" and then letting the synths fade into the twilight sky weren't good enough. Here, at the very end when you think it's going to fade away into eternity, an echo-like little twiddle on the saxophone pleasantly surprises you... ..................only one word for that brilliant stroke................. ....................................ACE................................... -Scale of 1 to 10: 10 e + 35 7. "When I Say No" More lyrical and melodic surprises in the same vein as I found them back on "Shock Your Mama." Again, I expected a preachy shouting tune that yells at someone "WHEN I SAY NO!" What I really didn't expect was the line formed on one hell of a catchy melody, and followed up by some lyrics that make you smile at the clever rhymes. "or what's in between" comes to mind when I think of those smiles. Very nice as a song by itself, and it should be a single, because although it's yet-another-message-song, it's a message that hasn't yet been heard (at least by me) in a Top 40 tune. Assuming success from "Losin' Myself," I would next choose this as Single D4. -Scale of 1 to 10: 9.5 8. "Little Birdie" An interesting combination of sounds from the band eras of the 30's with good old-fashioned "Out of the Blue" playfulness, or at least it would be if it were a little higher. Start the song in the key it finishes in and still go up at that point to an even higher key and then you've got a cracking good time. Not a clunker, but could be better. -Scale of 1 to 10: 6.5 9. "Kisses 4 One" The title makes it look like she's been reading Prince word-sheets. She's definitely been reading someone's word sheets other than her own because again the lyrics are clever and original, and again that's very refreshing. I still can't quite get what she means by "little baby grownups in rehearsal." Something to do with pre-teens or early teens dating I think... That's the strength. The weakness is the less successful melody. The jazzy slides on the word "only" are the only hooks I can remember off the top of my head. I do like the message a lot, i.e. monogamy, but I think it could have been told a little more entertainingly than it was. Again, not a clunker, but could be better. -Scale of 1 to 10: 6 10. "Tear Down These Walls" Yet another song where I expected screaming and shouting and some sort of military march-beat. I didn't expect a very fluid melody and bass-line being driven as if urgently by the high-pulse bassline as though we were hearing someone's heart beat faster in his or her bloodstream as adrenalin kicks in, as though urgent news were being relayed via the blood straight to the heart, which in a way it is, I suppose. The lyrics were clever but not really outstanding when placed against other songs like this from other artists, so to perhaps compensate, the voice is placed somewhat in background with an echo as if the message the singer is singing is something that is being said all the time but not always being paid attention to because it is in the distance. Despite all that, I think this is the one song which must never see the light of singledom for Deb's own sake, because however well she diffuses the squeaky-clean image, this song released to the radio will make her look like Nancy Reagan telling everyone to "Just Say No." It's perfect where it is, on the album, but to release it would be a mistake. -Scale of 1 to 10: 8.5 11. "Goodbye" According to D.G.I.F. 5.1, this song was originally started by Carol Bayer Sager and Narada Michael Walden and then finished by Deb. Interesting that I can tell this too. That's not all bad. It's quite fascinating to hear how Deb fills in the blanks (I'm certain that the line, "I never wanted for goodbye" was her touch). And yet I can't hear the Gibson magic in this one, probably due to its origins, and it just doesn't seem to be *hers* even though superficially it sounds like it would be. Perhaps Deb knew this too and is the reason she didn't use an acoustic piano on this. Perhaps if she had recorded this in her mid-30's I would like this a lot better than I do. Not a real clunker, and the one song I don't think could be made better because it's based on something of a flawed premise. In all the other co-writes I could tell Deb was in on it from the beginning and I loved that. In this song, whilst I can hear her influence, the first sparks were not hers, and it suffers for it. -Scale of 1 to 10: 5 Average: 10 e + 35, thanks to "How Can This Be?" Make that a normal ten and the rating is 7.9. By comparison: _Anything Is Possible_: 6.8 _Electric Youth_: 6.4 _Out of the Blue_: 5.7 Improvement each time, with this one being the best to date. Recall also that a Gibson 6 is a 9 from anyone else.... =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= THOUGHTS ABOUT _BODY MIND SOUL_ =- Jeff Tharp - Indianapolis, Indiana January 26, 1993 Finally the album is here! I wanted to talk to everyone but since I do not have access to a computer, I'll have to talk to you by letter. I wanted to voice my opinions on Debbie's new album, _Body Mind Soul_. I had to listen to it about fives times to make my decision. This album is really great but to me it doesn't surpass the _Electric Youth_ album. To me, EY is the best material Debbie has presented. I loved every song off the bat. But with the last two albums, I had to listen to them several times to enjoy them. BMS is an album that has to grow on you. But "Losin' Myself" - I loved it right off the bat. Each time I hear it, the song becomes better. I know a lot of you won't agree with me, but to me, it's the second-best song Debbie has released. "Lost In Your Eyes" is my all-time favorite. There will probably never be a Gibson song that will beat it. Going back to the album. "Love Or Money" is a favorite. It's a song that I can't get out of my mind. "Do You Have It In Your Heart?" - I seriously think Debbie should release this for a future single. "Free Me" is my third favorite which has a shot at being a hit. "Shock Your Mama" - I was somewhat dissappointed with what I heard compared to Debbie's description of the song from the last issue of D.G.I.F. 5.1. If Debbie releases this, please, please a more "dancy" version of this song. I suspect the album version will do poorly since I had to play it several times in order to like it. "How Can This Be?" is a very nice tune and "Goodbye" leaves me very sad when the album is over. Somehow this leaves a sad message across my mind as if I didn't like the album. Debbie may switch careers. "Kisses 4 One" is another catchy tune to me. "Tear Down These Walls" is a great song but sounds like "Electric Youth II." "When I Say No" has a catchy tune but seems like it would fit for a commercial for those ads for when a date ends here. "Little Birdie," I love how she remixed this song. This is another song I feel should be released as a single. Debbie, if you ask me, I think you should release "Do You Have It In Your Heart?," "Little Birdie," and a different dance version of "Free Me." "Shock Your Mama" is a real iffy song. I just don't think the album version would make a hit. Finally, I recap that I like _Body Mind Soul_. It is definitely an improvement over AIP. However, I believe AIP was made especially for Debbie Gibson fans than it was for the world. Some of us - the fans - got and understood Debbie's message since we all know her and her music. AIP wasn't for the world, just us. The only dissapointment I had about the album is that after witnessing Debbie sing in Les Miz live and Debbie wanting to get more adult fans, why is the whole album fit for R&B dance music? This type of music is for the younger audience. Why can't you stick with the type of music you have been doing like EY? That was your style, Debbie. That's why I said I had to listen to the album several times more in order to enjoy it. Debbie, please create your music the way you want it to be, not the same type of music everyone is copying off of. EY's sound stood out all on its own. Don't think different of me, I enjoy BMS. I just can't understand why you are being like everyone else. I guess it's just that Rhythm Syndicate was picked to help out on the album. I really can't complain. Without them, there wouldn't be this huge hit "Losin' Myself" that I love so much to hear. Anyhow, BMS is my second favorite album. It can't push over EY. By the way, I had no problem getting my copy of the album. But when I went shopping all over Indianapolis, on Saturday and to Richmond, Indiana on Sunday, the album was no where to be found. All the Musicland stores had sold out of all their copies, just leaving the posters behind that stated, "Debbie Gibson is back, and is a hot item, at least here in Indiana." I would like to hear from you all especially the big Debbie fans from Japan. So come on, I want your response. Cheer up, at least Debbie didn't take her clothes off for Playboy. Just don't let the video bother you and please let Debbie grow up. I will. I no longer see her as the girl from the merry-go-round. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= COMMERCIAL 12" OF "LOSIN' MYSELF" =- Brett McLean - Windsor, Ontario, Canada (mclean@server.uwindsor.ca) February 2, 1993 I just went to my local record store to see if any new Deb stuff had arrived. I found a 12" not mentioned in the latest edition of Between the Lines. Songs: Side A: Losin' Myself (12" Masters At Work) 5:47 Losin' Myself (Masters At Work Dub) 7:30 Losin' Myself (G-Man/Marz "Hot" Mix) 5:14 Side B: Losin' Myself (T-Ray's Hip Hop) 5:56 Losin' Myself (T-Ray's Acoustic) 4:47 Losin' Myself (Bass Hit Dub) 7:30 It's in a black sleeve, with a hole for the labels to show through, with a blue sticker. The sticker reads: DeBBIE GIBSoN "LOSIN' MYSELF" Featuring Remixes by MASTERS AT WORK "LITTLE" LOUIE VEGA & KENNY "DOPE" GONZALEZ & T-RAY 0-85785 =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= JAPANESE BMS WITH "EYES OF THE CHILD" =- Shaun Stuart - Fullerton, California (xsstuart@fullerton.edu) February 3, 1993 I recently got the Japanese version of _Body Mind Soul_. The bonus track is called "Eyes Of The Child," an acappella song about growing up. The song is really great! It kind of sounds like the Manhattan Transfer. I think some of the background lyrics are a bit too prominent, but other than that, I love it! It's 2:20 long. The CD packaging is very similar. The CD booklet is the same as the U.S. version - with one exception: it lists the credits for EOTC right before the "thank you" section. It does not contain the lyrics though. The back cover simply adds EOTC between Deb's arms as track 12. There is an extra sheet that looks like a survey for something - it has an address and space for postage on one side and what looks like multiple choice questions on the other. The third insert is a bunch of Japanese writing - probably the credits. The other side contains the lyrics in Japanese. Interestingly, the lyrics to all the songs are in Japanese, except EOTC's which are in English. Figure that one out. Here they are: Eyes Of The Child ----------------- Gone are the days of Ponytails and bobby socks Lost are those childhood memories Now I must deal in a world that is real real cold I used to play dress up in my mother's clothes now they are just my style Can I find comfort looking through the eyes of a child Eyes of a Child - innocent smile are those days gone forever? Eyes of a Child - innocent smile are they lost for good? Whisper to me in hushed tones of love unconditionally let me know let your words linger for mile upon mile love me through the eyes of a child The following are the credits for EOTC from the CD booklet: Eyes Of The Child (Bonus Track) Written by Deborah Gibson Produced and Arranged by Tatsuro Yamashita Co-produced by Deborah Gibson Lead Vocal by Deborah Gibson Acapella Chorus by Tatsuro Yamashita Note that Tatsuro Yamashita also worked with Debbie on her other Japanese-only song, "Without You." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= _BODY MIND SOUL_ REVIEW AND COMMENTS =- Michael DiBiasio - Amherst, Massachusetts (mdibiasi@ecs.umass.edu) January 30th, 1993 While Debbie Gibson's "squeaky-clean" teenage image may be fading quickly, her presence on Top 40 radio may not be going with it. THIS ALBUM IS HOT! Deb easily rekindles the flair and energy from her debut album _Out of the Blue_, in a style that's ready for today's listeners. With eleven new songs, Deb's latest release comes in offering five fewer songs and somewhat less variety than her previous _Anything Is Possible_. But brevity can be the key to success, as each song Ms. Gibson delivers packs its own punch: "Love Or Money" --------------- For the critics who laud originality, Gibson won't get much credit at all for this one. This seems to be a hodge-podge of Top 40 samplings: Janet Jackson's pre-song banter, Paula Abdul's theme ("Forever Your Girl"), and a musical backing of keyboards and bass that can be attributed to the 90's in general. While this recipe for a song does not always guarantee success, Gibson has her own special ingredient: determination. We don't just hear her emphatically state her position on the matter at hand, we feel it. The song has aggression and drive that turn the passive activity of listening into an active one. I can't sit still during this one, as my body yearns to show its support. Rating: 4.5 / 5 Single potential: Extremely high. This song should fit in well with listeners' expectations. "Do You Have It In Your Heart?" ------------------------------- This melodic tune covers yet another aspect of love and relationships, something she will perhaps always write about. Her ballad-style lyrics haven't changed too much in style from earlier albums, allowing her voice to carry most of the song. The music is agreeable but not striking. Rating: 3 / 5 Single potential: Unlikely. (good background music) "Free Me" --------- This frenzied song rushes over it's lyrics in a quick tempo, probably for the best. While the writing is not spectacular, it is not necessarily annoying. The beat keeps it going, but is not particularly striking either. This song seems like it would fit in with the NRG^ songs on _Anything Is Possible_. Rating 3.5 / 5 Single potential: Doubtful. (good as background music) "Shock Your Mama" ----------------- It's back to the trendy Top 40 market with this song. The major selling point of this song seems to be the "shock value" of what is implied in the song -- namely, that Ms. Debbie Gibson may have more to her than one might expect. The hip, matter-of-fact type voice she uses when hinting at her true intentions is believable, but by comparison with songs by other artists, nothing she says would shock most people. Only the fact that the now 22-year old Deborah Gibson is part of such is novel here. The rapping Deb and heavy bass sounds are a little aggressive, but are sounding much better than similar attempts from the _Anything Is Possible_ album. The title of this song and repetitious chorus might remind one of "Shake Your Love," but the similarities end there. Rating: 4 / 5 Single Potential: Possible. While this song sounds Top 40-ish, it isn't quite as catchy as any of Deborah's earlier dance hits, and the "shock" attraction may not be so strong if earlier releases from this album successfully change her image to that of a still-positive-and-now-sometimes-sexy-too performer. "Losin' Myself" --------------- Undoubtedly the best song on the album. It's sultry. It's sizzling. And it's Debbie Gibson. By releasing this song first, she is definitely putting her best new foot forward. The slow groove of this song is addictive, and her lower-register singing is capable of releasing the tension built up in body by "Shock Your Mama" and then some. If "Lost In Your Eyes" was Deb's big crossover hit to the Adult Contemporary market, this could be the song that gets her back on the pop charts with a passion. Rating: 37 / 5 Single potential: Extremely high. Deborah has already released the song as a single and a video. The question is, how high will it go? The 84% approval rating on "Open House Party" indicates the public is capable of judging the song on its own merits, and not just their past opinions of the performer and whether liking Debbie Gibson is still the "uncool" thing to do. The video, which is appropriate for this type of song, should do well in light of the expectations of the MTV market. Even if people just tune in to see parts of Deborah they thought they'd never see, this airplay will help overcome some of the bias by programming directors to put a currently "risky" artist into heavier rotation. "How Can This Be?" ----------------- If you're unlucky enough not to own a CD player with a repeat feature, the next song on the album will most likely be "How Can This Be?" So as not to jar the soul, this song continues the mellow feelings induced by "Losin' Myself." It overflows with melodic lyrics, oohs and aahs, and soft saxophone solos that are oh-so pleasing to the ear. Certain parts of it bear a striking similarity to Paula Abdul's "Will You Marry Me?" and should achieve equal liking. Rating: 4 / 5 Single potential: Doubtful. This song almost has the strength of "No More Rhyme," but not the current market for it. It definitely deserved its spot on the album, however. "When I Say No" --------------- Gibson deviates off of her proven topic strength (love and relationships), but finds that such a risk can be rewarding in this song. "When I Say No" relates the attitudes necessary in preventing date rape from a female's point of view. While the message is simple, the music makes it stick. The addition of background vocals during the chorus and drum beats throughout turn this from a public service announcement into a very likeable song. Its dual purpose of entertainment and education may well be served, as it is listenable without sounding too preachy. The alterations in production and arrangement of this song by Elliot Wolff over Deborah's concert previews of this song have definitely helped. Rating: 4.5 / 5 Single potential: Unlikely. While this song is very likeable, the general public might not find it quite to their taste. Still, a 12" of this would be worthwhile to produce. "Little Birdie" --------------- I can't (tweet) get (tweet) this song (tweet) out of (tweet) my head (tweet)! This cheerful Broadway style tune could not get any catchier. The busy arrangement works extremely well for this song, from Deb's repetitious "Birdie!" "Birdie!" in the background and subtle "tweet"'s before each chorus to the crisp saxophone and percussion later in the song. This version sounds much fuller than her concert previews, and the addition of these sounds add to the cheerfulness of the song. Written entirely by Deborah, this song is perhaps the perfect mix between her career as a pop artist and Broadway performer. You can just hear the smile on her face as she sings this one! Rating: 5 / 5 Single potential: Possible. As much as it does not sound geared towards the radio, the thought of denying the general public of this song could be considered criminal. Perhaps it will serve as an incentive for people to buy the album if it is not released as a single. "Kisses 4 One" -------------- Again Gibson combines a fairly serious message with a harmless sounding pop song. The lyrics flow smoothly here, with no signs of writer's block in this song. The musical backing is enjoyable to listen to, but seems to be similar in style to many of the songs earlier in the album. Rating: 4 / 5 Single potential: Possible. This song seems to be on the level of "Shock Your Mama" as far as radio readiness. "Tear Down These Walls" ----------------------- Rounding out the social issues forum, this song serves as an emotional vehicle towards combating racism. For those looking for proposed legislation here, you might be disappointed in the lack of substance. Instead, the substance Gibson offers is more of an emotional appeal. The power and drive of this song attempt to instill a sense of optimism into the situation. As feelings of hate and negativity are often at the root of prejudice, she seems to be approaching the situation in a way that she does best. The style of the song is similar to that of "We Could Be Together." You can't be full of hate after listening to music like this. One additional similarity between these songs is the use of a real-sounding prop: the symbolic jack- hammer sound for "tear(ing) down these walls" and the closing door in "We Could Be Together". Rating: 4.5 / 5 Single potential: Uncertain. "We Could Be Together" achieved regional but not national success. This song also would be worthwhile for her to offer remixes. "Goodbye" --------- The last track of this album offers what most listeners have come to expect from Debbie Gibson - a syrupy ballad with vocals and keyboard leading the way. This one does not disappoint, as Gibson's voice still sounds as sincere and pleasant to the ear as it ever has. Add this one to the likes of "Lost In Your Eyes" and "One Hand, One Heart." Does this final "Goodbye" mean the end of Gibson's career as seen by some in the industry? With an album like this, I hardly think that is the case. Rating: 4 / 5 Single potential: Doubtful. While a beautiful ballad, this mood swing may be a little too slow for the public. But with Whitney Houston's "I Will Always Love You" hitting #1 for so long, this could be a possible release if Gibson's earlier ones are successes. Well, there they are. It appears that the singles here are not nearly as clear cut as they were in _Out of the Blue_. Still, the overall album boasts of the "new", adult sounding Debbie Gibson. Simply put, she's bolder, she's sexier, but most of all, she's back! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DEBWATCH =- "The Mickey Mouse Club" did not show the segment of Debbie and Ansley Hamrick on the February 2nd episode as reported in D.G.I.F. According to Ansley, the segment with Deb will be shown on April 20th on the Disney Channel. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= CLOSING REMARKS =- For the week ending February 6, _Body Mind Soul_ debuted on the Billboard 200 album chart at No. 109. For the following week ending February 13, "Losin' Myself" jumps up 10 spots to No. 86 on Billboard's Hot 100. This is a crucial week for this single and BtL encourages everyone to buy the single and request it on MTV and radio. Rob Polinsky suggests utilizing the list of radio stations' request lines that was included with D.G.I.F. 3.3 when "One Step Ahead" was released. Votes for the song poll (BtL 5.2) will be accepted until the end of February. During a phone call with Jonathan Bradshaw, Deb herself asked if BtL was conducting a poll and expressed interest in the results. Please e-mail Myra Wong (mkwong@sdcc13.ucsd.edu) with your three favorite songs from _Body Mind Soul_. Results will appear in a March issue of BtL.