I’m So Excited/See How The Love Goes/All Of You/Heart Beat/If You Wanna Get Back Your Lady/I Feel For You/Heart To Heart/American Music
This was a pleasant, but unremarkable 1982 album from The Pointer Sisters. As it was the early eighties, synthesisers dominate the punchy, programmed sound. The vocals are, as always, top notch, however.
The highlights are the obvious ones in the two hit singles - the irresistible and extremely catchy, radio-friendly fun of I’m So Excited and the Prince cover of I Feel For You (which was actually done subsequently, and better, for me, by Chaka Khan).
Also notable is the simmering, passionate groove of See How The Love Goes, where a girl wonders whether she should do the business with her best friend’s man. Probably best not to, eh? American Music is poppy and singalong. All Of You is powerfully soulful, with a nice beat underpinning it and If You Wanna Get Back Your Lady is a serving of funk-soul in The Commodores style.
Heart Beat sort of sounds like Hall & Oates with a piano part that reminds me of The Doobie Brothers’ What A Fool Believes and Heart To Heart once again utilises that synth pop sound on an upbeat, enjoyable number.
Jump (For My Love)/Automatic/I’m So Excited/I Need You/Dance Electric/Neutron Dance/Easy Persuasion/Baby Come And Get It/Telegraph Your Love/Operator
This was The Pointer Sisters’ most successful album, and it is so very 1983, overflowing with synths and electro pop grooves.
Jump (For My Love) is a synthy disco classic, bursting with sheer joie de vivre and killer hooks. Similarly successful and catchy was Automatic. Then we get the 12” version of I’m So Excited from the previous album, cashing in on its success, no doubt.
I Need You is a brooding, soulful Tina Turner-esque song featuring some great vocals. Dance Electric is punchy, deep, synth-dance fare and the frantic, synth-driven Neutron Dance, which I remember from the chase at the beginning of Beverley Hills Cop, is energetically wonderful.
Easy Persuasion sees the girls finally slowing down the pace on a late night smoocher while Baby Come And Get It is a muscular piece of funky, soulful pop with a bit of a Michael Jackson feel to its hiccupy vocal. of the final two tracks, Telegraph Your Love and Operator, it is the bassier groove of the latter that does it more for me.
Look, neither of these typically eighties dance pop albums are ones to get me playing them over and over - they don’t have any moments when I think “my God, that’s got soul” - but if one of their energetic tracks turns up in a random playlist, that’s fine.