Jump to content

Kylie's 11 album, out July


EricMontreal22

Recommended Posts

  • Members

Thanks! I think Canada actually got the International version....

Yep Help was SAW. French and Saunders of course did some wonderful SAW parodies anyway (there's a great Sonia one), but that was done for charity (Comic Relief maybe?) Lananeeneenoonoo, as they called themselves, shoulda done an album :D

Link to comment
Share on other sites

  • Replies 247
  • Created
  • Last Reply
  • Members

Was Donna'a "This Time I Know It's For Real" supposed to be a Bananarama song? That's the story I've heard...

As for Donna's SAW album, "Love's About To Change My Heart" should have been a bigger hit than it was...

I know Donna was supposed to do a second album with them, but reportedly, there was some type of falling out. I've heard Lonnie Gordon's "Happen' All Over Again" was originally meant for Donna's second SAW album...

<object width="480" height="385"><param name="movie" value="http://www.youtube.com/watch?v=SIhz7EoCZQQ&hl=en_US&fs=1&"></param><param'>http://www.youtube.com/watch?v=SIhz7EoCZQQ&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/watch?v=SIhz7EoCZQQ&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>

Link to comment
Share on other sites

  • Members

BTW Sonia's Never Stop Me From Loving You was actually a number one, one of the last SAW had.

The chorus of This Time I Know was written for Bananarama. The verses were all different and DOnna actually did the lyrics for them (hence the writing credit--if you know Donna too the mixed metaphors and visuals in the verses are *classic* examples, for good and bad, of her writing style). Donna did resent the second single being I Don't Wanna Get Hurt--which is why she's not in the video--she's gone on record saying she liked the song fine as an album song but felt it was written for Kylie or someone and that the lyrics were too young for her (she's probably right on both accounts...)

Love's About to Change is awesome, especially the much improved single remix (which is on Donna Summer Gold)--it's an example of Mike Stock doing a great SAW style take on the classic Donna disco song--slow intro, etc. The release was delayed, and I think that killed its momentum--the album had already gone platinum in the UK and there was no real interest in another single. It shoulda been the second single. (Incidentally the track If It Makes You Feel Good had been done by two previous SAW artists, including the huge non talent Mandy Smith--most famous for "dating" a 47 year old Rolling Stone, Bill Wyman, when he was 47)

http://www.youtube.com/watch?v=bMmMuM-j3Rw

There was never a falling out. Donna loved working at PWL (partly because, as she admitted, they'd lay one vocal down and then she could go off shopping lol), and Stock and Waterman both have said she was the best voice they worked with. It actually was Donna's husband's idea to work there--he heard Rick Astley on the radio and said Donna should work with them.

Anyway, Donna had absolutely shitty management at the time (as she has for big chunks of her career)--she wasn't even signed to a US label when the album came out (when it was a huge UK hit Atlantic bought it for US release, and This Time was one of the rare top 10 SAW singles in the US). PWL thought they would have a followup for sure, but Donna's management actually never contacted her with their requests (this has been confirmed by both Waterman and Donna) and after a shelved album with David Foster she released the worst album of her career with the lame New Jack Soul wannabe Mistaken Identity (as a massive Donna fan even I have trouble finding much to like on that record).

The irony is SAW had written three absolutely great songs for Donna, they wanted to take what her first album was but push it even more in a club direction (which was smart I think), and for the project wrote Happenin' All Over Again, If I Have to Stand Alone, and How Could He Do This to Me? for the followup. They also have the very trendy for 1991 house sound. They then needed a singer who could belt the songs out and found one in Lonnie Gordon who did a good job, I have to admit. Happenin All Over (after several rereleases) did very well, even a minor US hit but Lonnie's album was an example of how PWL were losing their touch at the time--it's a very strong album, prob the last strong album SAW did, but the followup single, a midtempo number, didn't chart and then the album wasn't even released in the UK--only in Japan (it was reissued this year with bonus tracks, and I admit when listening it I feel a bit sad that Donna didn't do it instead, LOL).

Please register in order to view this content

As a postscript, in the mid 90s during one of a myriad of times Donna was recording stuff that never actually got released because of label issues, Donna returned to PWL to lay down some tracks (including the studio version of My Life which you can hear live on her Live and More Encore CD). She went there thinking she would reunite with her friend Mike Stock and could write some songs with him--she had been completely clueless that Stock had had such a big falling out with Waterman and long left...

Mike Stock had one last big album with PWL before he left--ironically it was a hit in the US and Canada, and a flop in the UK! That was BoyKrazy (it's actually a fun album all the way through) who had one huge smash here.

Link to comment
Share on other sites

  • Members

I LOVE that first BoyKrazy song (although the video makes me dizzy...and I want to rip that headband off, it's so Blossom). I guess I can see why it was a success in the US, not the UK -- the beat sounds much more flippant than a lot of UK hits from this era, as many of them are, not stodgy, but strangely sincere and not overly toyed with.

Thanks for all the background on Donna Summer. I can see why you enjoy the Change song so much. It's beautiful. I wonder if it was too confusing for people at the time, there are a lot of tempo changes.

What do you think was her best and her worst management?

What is the background of when she recorded "State of Independence"? That's my favorite, or one of my favorite, Donna songs, along with On the Radio, Heaven Knows, and Bad Girls.

What did you think of Finger on the Trigger, and Sunset People?

Link to comment
Share on other sites

  • Members

Ha I'll try not to rant so much this time. (BTW for once SAW didn't do the rip off, but were instead ripped off very soon after That's What Love Can Do--the German production house Berman Bros had a similar song called Breaking All The Rules for American group She Moves--Berman Bros later had some dance hits with Real McCoy and Amber)

Please register in order to view this content

As for Donna, undoubtedly her best representation was under Casablanca Records, when she was one of the top selling female artists. Casablanca was basically created for disco, and took off with the genre when themajor labels still had no clue what it was about or how to market it. They also spent TONS of money on marketing, photos, etc (Donna had a plane with her painted on it at one point). I believe Susan Mineo was her actual manager. The way they marketed her was brilliant--as well Giorgio Moroder (and his team) were very wise at both cranking out the hits, but having a progression in sound with each album--her flowery Euro Disco sound ended in the campy Disco Cinderalla concept double album Once Upon a Time that gave no big single hits but is a fan fave, was huge in clubs, and went double Gold. They realized they couldn't go further in that direction and that that kinda disco was on its way out, and incorporated the harder rock texture to her next double album, Bad Girls. So, while apparently she felt overwhelmed, had a small drug problem, etc, at the time and was overworked--so it wasn't the best time for her personally--as far as her career goes it was never equalled.

Then of course in 1980 she was the first to sign to David Geffen's label (he courted her with a then record sum). So she lost her management, and Geffen had no fricking idea what he wanted. She first did The Wanderer album with Moroder (which got her best reviews--Rolling Stone called it the album of the year and took her sound, smartly because of how the American market was going, away from disco into new wave, and was a minor hit though not the huge hit Bad Girls Was). Then Geffen infamously had her record a dancier double album with Moroder, I'm a Rainbow, and then had it shelved (it eventually was released in demo form in the 90s and has tons of potential) and basically told her under her contract she could only work with who he wanted.

This is when he put her with Quincy Jones (saying she needed to reach more of a "black audience") who was apparently really nasty to Donna (for the first time ever she had to do endless takes on songs--she was used to doing one or two, and she was severely pregnant at the time). That album, Donna Summer, actually is quite good (I always kinda forget about it), and was a minor hit as well. But it doesn't sound much like a Donna album (she wasn't allowed to do any major writing on it, and her only real choice was doing the cover of Lush Life at the end). Ironic that under Moroder, who many felt was a sort of all controlling "computer", she had tons of freedom to write and choose her material, and under Jones, who had a jazz background, she was given none. (My fave songs on it, Mystery of Love and Love's Just a Breath Away were both meant to be singles but due to bizarre legal dealings with their writers weren't allowed to be).

Anyway, State of Independance and Finger on the Trigger are from that album (Trigger was the lead single, Indepnedance the second). I think Trigger is a fine song (Sheena Easton later covered it on her shameless cash grab for the pink pound album of dance covers from 10 or so years back). But it's so over produced (again ironic that Quincy overproduced Donna more than Moroder--known for over producing ever did) that it sounds like Donna is a guest vocalist--half the song is just that HUGE chorus singing!

I like State of Independance a lot more, especially in its full album mix. It's a gorgeous song and I prefer it to the Vangelis original--her vocals are great (the music video is hysterical as they try to hide how pregnant she is). It also used an all star choir (including Michael Jackson), apparently Donna's idea (all involved were friends of hers) and there was some animosity when Quincy reused the idea for We Are the World and didn't invite Donna.

I adore Sunset People. It's classic Moroder in his sorta cold, electornic style (actually all of Side Four of Bad Girls uses his electornic style and is one big medley ending in Sunset People which sums up the theme of the album perfectly--my fave though is the first track in the medley, Our Love). The detached vocals of Donna add to the coldness of the lyric, and I love the gimmick Moroder does in the second half where the synths sound like cars zooming closer and then further away, from speaker to speaker. (Harold Faltermeyer co wrote and arranged the song, he co produced too actually but uncredited as he did the whole album, and he later produced a version for EG Daily on her 1986 underated album Wild Child).

Here's Our Love which coulda been a single I think (the repeated drum bit actually was reused, and they've admitted this, by New Order for their famous drum bit in Blue Monday).

Link to comment
Share on other sites

  • Members

And as another postscript, Geffen never did figure out how to really market Donna. He actually didn't have major success till he focused instead on cast albums and producing musicals (Cats, Dreamgirls) and on Heavy Metal--and Donna got further lost in the shuffle, despite how much he paid for her. And she still owed Polygram, who had bought Casablanca after it folded due to its owner, Neil Bogart's huge excess with drugs basically (there are amazing stories about life at work at the Casablanca studios in the late 70s--it sounds more like a party than anything else--a party of excess, apparently his story is being made into a movie).

Bogart died soon after that, but Donna still owed them an album it turned out, so she gave them She Works Hard for the Money. It's not a great album (it's almost all shamelessly Christian, it was her last album before she stopped being so Born Again, but every track except the great title song, and the gorgeous ballad I Do Believe is a coded Christian message--so overall it's actually my least fave Donna album next to Mistaken Identity), but the title song was such a hit, *and* gave Donna's fans what they wanted, basically an update on her classic disco sound, that I think Geffen must have been fuming.

http://www.youtube.com/watch?v=uuqhOMir5BA

(Of course that same year Giorgio Moroder wrote Flashdance- What a Feelin with her in mind but Geffen wouldn't lease her to the film's label to sing it! And he used an exact update on Donna's classic sound with him, including the technique they were the first to do, and had a near trademark on, of having the first minute or so be slow, before the beats kick in.)

Just for kicks, here's the original 12" of What a Feelin which has an extra verse in the opening that makes the lyrics make a *bit* more sense than in the radio edit.

http://www.youtube.com/watch?v=xUs8B8RGE1Y

Link to comment
Share on other sites

  • Members

That's fascinating stuff. I had no idea that the We are the World stuff started with State of Independence. Or that she was supposed to sing What a Feeling. I can see her doing a great job with that song, although I love Irene Cara's version (I guess in the long run Donna had the last laugh compared to Irene -- the last time I saw poor Irene looking a bit bloated and nervous, was on that Hit Me Baby One More Time show in summer 2005...although she won, so I guess that's...something).

I was reading about that Cats Without Claws album at Allmusic and how it is now seen as a flop but actually wasn't at the time. Two of the only Donna videos I've seen on VH1 Classic, when they used to show older videos, were from that album. There Goes My Baby (where she plays a 40s-era housewife whose husband is leaving for war -- it's not a bad video or song), and Supernatural something, which seemed to be set in a jungle shopping mall? I don't know. I didn't care for it.

Link to comment
Share on other sites

  • Members

Yeah and Flashdance led to one of Moroder's best, post Donna albums, the What a Feelin album (which had a few minor hits--The Dream written for DC Cab, and one of my faves Why Me). It really sounds like the album Moroder woulda done for Donna in 1984 if she were younger (the lyrics largely are aimed more at Irene's age), and is a fave of mine. And yeah Irene apparently got really into cocaine which she only fell out of fairly recently. She did a lot to screw up her career too--apparently made a lot of enemies with her (drug fueled) attitude.

Cats Without Claws was done with the same producer as She Works Hard (Michael Omartian--who has done a lot of stuff but is connected with Christian music which is why she used him in the early 80s I think) but wasn't the hit that She Works Hard was--again musta made Geffen mad when he agreed to use the same producer lol. Anyway, it's by far the better album with a ton of potential singles. Her cover of There Goes My Baby is great I think, with one of her few decent videos (the soldier is played by her husband, Bruce who was pretty handsome back then). The second single (which also has Bruce) was a bad choice though, not a strong track--Supernatural Love. The video is something of a camp classic among Donna fans though--it shows a doomed romance form the cavemen times to the present day and just has so muich weirdness going on.

A fave from Cats Without Claws (make sure you click on the 480p version which sounds way better)

http://www.youtube.com/watch?v=g2KCEuF2GM4

Oh and while we're at it here's the song she wrote and recorded a demo of, that Quincy Jones refused to put on their album--Dusty Springfield later covered it--another fan fave. Another reason fans hate Quincy, lol.

Please register in order to view this content

Now don't get me started about her biggest 80s flop, 1987's underated All Systems Go which was a return with Faltermeyer (but not Moroder, sadly...)

Link to comment
Share on other sites

  • Members

It was recorded (as you prob know) with Moroder for the shelved I'm a Rainbow album. Apparently Moroder owned a certain (small) percentage of that album and was allowed to use one or two tracks legally on his own projects. He was of course score composer and music supervisor for Flashdance (I think he produced about half the songs--like Lady Lady Lady, etc--I do wish they had a cd with his full, moody score--the soundtrack has one brief excerpt). Anyway, so he decided to use it. I think it's a really fun, if slight, song--there are some great clips of Donna performing it live around the time (though for legal reasons, sigh again, she wasn't allowed to be in the video...)

I should rename this thread the "Eric rants uselessly about music he likes" thread. :)

Link to comment
Share on other sites

  • Members

That Oh Billy Please single cover is hilarious, they seem to be dressing/styling her a bit young, although she almost pulls it off.

I've heard Dusty's version of that Butterflies song, it's very beautiful.

It sounds like Donna had a horrible time with so many problems during the 80s, at least professionally. Almost like some sort of payback for her managing to be one of the only disco artists to thrive after disco "died." It's a shame. I wish she could have the kind of big comeback Cher did.

What do you think of that song she did with Musical Youth? I remember the video where she was their teacher. I have to admit I really don't like them.

Link to comment
Share on other sites

  • Members

Oh I was intending on mentioning how laughable the front and back cover of Cats is--the runners, etc. She was mid 30s I think by then. Her All Systems Go cover is better but an obvious rip off of Janet's Control cover.

I hate it. It's from She Works Hard and is one of the tracks on there I always ignore. The video's KINDA cute in a corny way, but the song does nothing for me. I'm not a big fan of that sorta raggae-lite anyway (though Donna pulled it off much better with the title song she did with Ziggy Marland on Crayons, which gave it a dance beat).

Yeah signing to Geffen who told her to break up with Moroder, and didn't know what to do with her, was the start of it all, really. I think the probs in the 80s are partly what got her to semi retire in the 90s, aside form the odd one off club hit (like the lovely Melody of Love done with C+C Music Factory right before Cole died of AIDS). She had had enough, ahd a huge family, was making lots on royalties, and was happy to stay at her farm and do the ocasional small tour.

When Sony signed her back in 1999 things seemed to be ideal. They did the big Live and More Encore VH1 concert and album which for a while was one of VH1's most played specials. The two dance singles she recorded for it (one with Hex Hector, one with Thunderpuss--both of course THE top club remixers and producers of the time) were massive in clubs and even had some crossover success, and Cher had JUST hit with Believe which seemed like an ideal window for Donna. She even did one of the songs, and had an interview on Oprah.

She recorded a dance album, Angel with such people as Tony Moran, Linda Perry, and Metro (Metro of course were the producer/writer group that did most of Cher's Believe album and its followup, and for a while had a stirng of hits with divas doing updated disco/pop stuff--I Will Love Again for Lara Fabian, When the Heartache is Over for Tina Turner, etc as well as the arly hit singles for Enrique Iglesias which also had a disco feel). Anyway it seemed like the perfect moment for Donna, and Metro in particular seemed a perfect fit. Then Sony restructured and her album was pulled (which I think makes it Donna's fourth album to never be released? She once said the feeling of co writing and working on an album and having it not released was like a miscarriage). Us fans were pretty devestated, lol.

She did learn her lesson from I'm a Rainbow and now owns all her recordings--so she owns the Angel album and has said she'd like to release it online to fans, but something seems to be holding it up. And her label, Burgundy (a tiny subleabel of, ironically Sony) who had their biggest hit with her last album which charted at 17, as I said, just folded this Dec when she was about to do a new album. So I can see why she's discouraged.

I still love those two 1999 dance singles, they're kinda dated now (funny how music from then sounds almost more dated than the disco) and cheezy, but still... One reason is they came out when I was 18 and just becoming obsessed with her--and both were heavily played at the gay bars I went to, just when I became legal (and came out).

Here's her dance cover of Conte Partiro done with Hex Hector (with Leo from AMC in the video! ;) ) Love the weird dancing...

Please register in order to view this content

And here she is on the Queen Latifah Show (I didn't know she ever had one) looking kinda awful, in an awful outfit and wig, but singing the followup (and even bigger club hit) Love is the Healer, produced with Thunderpuss. (and an odd interview lol)

Link to comment
Share on other sites

  • Members

Thanks for posting all this. That must be a record for unreleased albums? It's odd that someone with such a proven track record of hits keeps having labels who won't release her stuff.

That interview was a bit odd...usually when someone wears sunglasses that means they don't feel like talking to you. Or she may have been put off by Queen's outfit, which seems to resemble a beige grape. I don't know what was going on there.

I think her show ran for two years. She was a good host, from what I remember.

Link to comment
Share on other sites

  • Members

Donna is one of those aging celebs who now wears sunglasses indoors in interviews (like Jack Nicholson lol). Thank God she didn't when I saw her in concert.

Latifah would make a natural, good host I'd think. I guess no stations here picked it up (or if it was exclusive to the WB that would make sense--we had no WB, just a UPN).

Link to comment
Share on other sites

Archived

This topic is now archived and is closed to further replies.

  • Recently Browsing   0 members

    • No registered users viewing this page.



  • Recent Posts

    • Download isn't working for me either.  With that said, thank you for all the work you have done!
    • @P.J. Well, it wasn't her first award. I am sure she has written books, and spoken at colleges, and gotten some notoriety from it. Most importantly, she is fulfilled. Something Dani is not.  @Paul Raven Exactly, it does not ring true to me. Dani has that big personality because she is masking pain. And she probably clung to Bill because he made her feel smart and important (at one point). There are ways to add more layers to her.
    • Absolutely. And IIRC Rose Alaio has mentioned production having it out for her.
    • That goes back to Chance/Abby-there was way more to explore with their marriage but the first problem that pops up that's pretty much it-moving on. And Kyle/Lola, years worth of story dropped so he can fall back in love with Summer. Sharon/Rey married off with no plans for their future so they kill him off. And so on...
    • All of that would be interesting. Why would JG ever do that?
    • GH 1976 Pt 2 Medical student Bobby Chandler’s bone-marrow test results are in, and Steve Hardy has the difficult task of telling him he has Malenkov’s Disease, a rare and fatal blood disease. Bobby, newly married Samantha, hears his one-year-maximum prognosis and insists that Steve not tell anyone, as he has to have time to work out his own feelings. To cover up the treatments he’ll be starting immediately, Bobby, with Steve, decides to tell his family he has mononucleosis. His wife and his mother, Caroline, accept this story, but attorney Lee Baldwin senses it’s much more and presses Bobby for the truth, then promising to keep Bobby’s secret. Even though Bobby moves into a state of remission, Lee realizes the gravity of the problem and moves his wedding to Caroline forward, assuring Bobby that he will always be there for both Caroline and Sammi. But Bobby’s remission is short-lived, and his symptoms are now more severe, requiring frequent whole-blood transfusions. And a new experimental drug he is taking holds the threat of serious side effects. Sammi learns that Bobby’s attempt to buy life insurance was turned down and, herself a nurse, realizes that his symptoms are more severe than mono. She tries to press Leslie for the truth, but Leslie can’t violate a patient’s confidence. She does, however, pressure Bobby to let Sammi share is with him. Bobby insists that he can’t; he won’t send her into mourning while he’s still there to watch. But Sammi, angry at being treated like a child, presses the issue and manages to find out the truth. She then asks Lee to convince Bobby that his mother must be told so they can all show him the love they have for him before it’s too late and they have only  regrets for what went unsaid. Lee agrees, and after the wedding he protectively tells Caroline the truth. Sammi then tells Bobby that she is pregnant, news that he receives with very mixed emotions. Steve hits an optimistic note when he tells Bobby that a new breakthrough in leukemia chemotherapy may help him in his fight for life. This new treatment calls for more extensive testing, and Steve is overjoyed to find that there has been a variation in Bobby’s condition which indicates that he -doesn’t have Malenkov’s Disease after all. His condition, while serious, can be successfully treated  extensive drug therapy in New York, and Lee quickly arranges for all of them to move there so they can support Bobby during the extensive treatment and long recovery.  Dr. Jim Hobart and his wife, Audrey, are continuing their therapy sessions, trying to decide if they have a future together. Audrey admits she has stayed with Jim only because he needed her while he was drinking, and he in turn admits that he knows Audrey married him not out of love but out of gratitude for saving her son Tommy’s life in surgery. When Jim finally tells Audrey that he created his own alcoholic abyss and blamed her only because she was conveniently close, she wonders what will happen to: her when he recovers. If he doesn’t need her, can she go on? Does she need so much to be needed? When Jim, improving, starts teaching at the local college, he finds his self-image improving. But Audrey, worn out from therapy, suggests that she take a short vacation alone. Jim sees this as a way of undermining his recent strides and is angry. He relates this situation to his recent impotence, caused by his emotional problems. Jim reacts to his own feelings of inadequacy by withdrawing from Audrey, treating her impersonally and coldly. She takes this as an indication of her own failure. But when Jim reacts enthusiastically to one of his students, lovely young Sally Grimes, Audrey questions her own responsibility for the situation and accepts a dinner invitation with Steve Hardy, her first husband. Steve’s reassurance that she’s been a paragon of tolerance is negated when Jim walks in late and showing signs of drinking. When she asks how he could do it, he bitterly replies, “It’s a way to help me escape from you,” and turns and leaves. He goes to Sally’s, where they make love. When Sally later expresses regret at interfering in his marriage, Jim assures her there was nothing left to spoil—his wife is frigid but has blamed their sexual failure on him; thanks to Sally, he now knows he’s not inadequate. Since Sally won’t have an affair with a married man, Jim decides to make the break with Audrey. He bit- _ terly tells her Sally proved to him that he never had a problem—all he needed was a real woman, not one who was all burned out. He scathingly says that she takes men and castrates them; cases in point, her three husbands: Steve Hardy, Tom Baldwin, and himself. Shocked and horribly hurt by his accusations, Audrey swallows sleeping pills but immediately realizes the folly of her actions and tries to get help. Steve, meanwhile, senses something wrong and on a hunch goes to her apartment, where he finds her unconscious. He rushes her to the hospital for treatment, and after sixteen hours she begins to come around. She tearfully repeats Jim’s accusations while still groggy, and Steve reassures her that nothing Jim said was in any way true. As she dozes in the security of his presence, he whispers to her, “There’s a lot of woman in you, there was and there is, my sweet, lovely Audrey.”  Nurse Beth Maynard, despite her frequent pronouncements that she’s immune to emotional involvement, has fallen in love with resident Kyle Bradley. Beth’s sister, Nurse Diana Taylor, feels that Kyle treats Beth as if she were a casual conquest, however, rather than a woman he loves. Kyle’s life is now complicated by the arrival of Nurse Kate Marshall in town. She is staying with her godmother, Jessie Brewer, R.N., while. she recovers from a painful divorce. She and Kyle had an affair a few years ago, and she knows he’s married but keeps his wife “under wraps.” Kyle, in turn, knows that the discovery of Kate’s affair with Dr. John McAllister drove his wife to suicide. Kyle and Kate resume their affair. Despite the fact that Kyle is now living with Beth, Diana has seen enough to convince her that Kyle is deceiving her sister. But Beth won’t believe this, until she sees them embracing herself. When she confronts Kate, Kate bitterly tells Beth everything past and present about herself and Kyle, including the interesting fact that he’s married. Beth, shocked and hurt, throws Kyle out, and Jessie, who overheard Kate’s vindictive diatribe to Beth, arranges her transfer to another hospital.     
    • This is so true - the instant love is annoying. Adam/Sally/Billy/Chelsea are the best evidence of why this rings hollow. While I can see Adam/Chelsea reuniting based on a long history and Connor, there's no way Sally would instantly declare love. While Billy is just a desperate soul, Sally would be far more cautious after what happened with Adam. The *real* Sally would not only scheme to get Adam back, but make Chelsea's life difficult. She just got over it and gave up. Please. Instead of insta-love why can't some of these characters more casual? I hope Claire flings with Holden after Kyle falls into Audra's trap. Abby turns to Nate when Devon obsesses over Amanda - even if she's not in town. Lauren turns to Jack during this Michael stress, who in turn lands in Diane's web. We need messy triangles/quads and more.
    • Literally looks like a damn VFA or bingo hall. But we’re supposed to believe high rollers go there.
    • More 1976 LOL Carrie is very afraid that Ian’s paying her bills will force Arlene into a relationship with him she doesn’t want. She asks Joe if there’s some way to give Ian  back the money. Joe tells Arlene that her mother’s afraid of the situation, but Arlene assures him that the only thing she fears is that Tom will find out and think she’s more than a friend to Ian. Betsy, understandably resentful of Arlene, can’t see what her brother sees in her and is upset to see Arlene with Ian, as she’s sure Tom will be hurt. Tom is initially quite angry when he happens to learn that Ian paid Carrie’s hospital bills in full but believes Arlene when she assures him Ian’s just a friend. Ian, meanwhile, after Arlene admits she has strong feelings for a young doctor and can therefore regard Ian only as a friend, puts the pieces together and makes an appointment to see Tom for a cardiac examination. Tom realizes why Ian has chosen him and refuses a considerable fee to become Ian’s personal physician. . Betsy has suggested that Tom not ask Arlene to Meg’s formal New Year’s Eve party for the sake of all concerned. Meg, while having Carrie alter her party dress, mentions she’s being escorted by a wealthy man but doesn’t mention Ian by name. Ian had asked  Arlene to fly to Mexico with him for the New Year, but she declined, explaining she had another date. Tom, seeing how left out she feels, tells Arlene they are going to Meg’s party after all, and she begins looking for a dress, unable to afford the type of smashing creation she really wants. Ian, learning that Arlene’s  looking for a dress suitable for Meg’s party, arranges to have a designer creation sent in place of the off the rack dress she selected. When it arrives, Arlene and Carrie immediately plan to return it, but, on second thought, Arlene decides it wouldn’t hurt if she wore it just this once.  Ben Harper is released from prison, and Betsy tries - to show him they have nothing left between them by dating Jamie. However, her feelings for Ben get in the way of her enjoying Jamie’s company. Jamie has decided to accept an out-of-town law firm’s offer and, before leaving, helps Diana arrange the passport requirements for her newly arranged missionary trainee post in Peru. Diana tells Jamie she’s finally found peace except for her sadness at having to leave Johnny  behind. Beaver Ridge has continued to deteriorate since Rick left Meg in control, and Jamie warns Rick that since he owns fifty-one percent of the club, he’ll have to come up with fifty-one percent of the money needed to put the place back on its feet. Cal has mentioned to Rick that she would rather have a smaller, more informal home than his imposing house, and when she learns he’s put the house on the market she assumes he’s considering her desire for an easier home to run. Rick is determined that Cal not know the full extent of his financial problems. Since she wants it so badly, Rick promises Cal he’ll buy the mill house as their home, but he refuses adamantly to accept money from her trust fund toward the purchase, recalling the trouble resulting from the last time he borrowed  money from a woman—her mother, Meg.  Ian informs Ray that he'll get his cut of Beaver Ridge only when he, Ian, has the controlling interest.  When Rick can’t raise his share of the Beaver Ridge capital, he approaches Ray for help. Ray sends him to Ian, who refusés to make a loan, explaining it’s his firm policy, but suggests he pay one hundred thousand ~ dollars for two percent of Rick’s holdings in Beaver Ridge, thus transferring majority ownership to himself. Rick thinks it over and realizes he has no choice but to accept. He hates losing control of Beaver Ridge but  feels his first responsibility is Cal and he must protect her from his financial worries. Ben has moved in with Van and Bruce, explaining to Meg that he wants no help and no coddling, he has to make it on his own. He manages to find a job as a salesman in a sporting-goods shop, despite his parole. Betsy hires Carrie as Suzanne’s baby sitter in order to be absent when Ben visits his daughter. Ben finally tells Betsy he’d hoped there was still a chance for them despite everything but her dating Jamie and avoiding him seems to mean he was mistaken. Betsy admits she’s no longer seeing Jamie and agrees to be home when Ben visits. They then call a truce and decide to attend Meg’s party together.  
    • A few years after my grandfather and great aunt passed away, my grandmother married her widowed brother-in-law. You could have knocked us all over with a feather when they told us. My point is: it happens in RL, a lot more often than people think. In the Jack/Siobhan case, it would have been super messy, which is exactly what you want on a soap. Putting Siobhan with Joe forced them to write her as very naive and gullible, which seemed totally wrong for the character they initially introduced. I liked Rose, too, but that story also got derailed by the stupid mob stuff.
×
×
  • Create New...

Important Information

By using this site, you agree to our Terms of Use and Privacy Policy