By the time Lionel Richie released Dancing On The Ceiling in 1986, the '80s pop machine was in full swing, as was Richie’s solo career. Hot on the heels of the blockbuster Can’t Slow Down, this third solo outing didn’t quite replicate the chart-topping dominance of its predecessor. Still, it delivered a polished, versatile, and emotionally rich collection of songs that showcases Richie’s genre-blending skill, vocal charisma, and his uncanny ability to write songs that transcend time.
Crafted with care and delivered from the heart, Richie takes listeners on a musical journey with Dancing On The Ceiling. From the dancefloor to reflective ballads, to a touch of reggae and a dollop of R&B, there’s never a dull moment as Dancing On The Ceiling is one of the very best albums from the era. The only distracting element appears with the inclusion of Night Train (Smooth Alligator) on most releases. Initially, this atrocious bonus track was only available via the CD release; however, it has also been included on vinyl reissues in recent years. The problem is that it takes you out of the album experience and is completely foreign to the rest of the music found on the album. This is, therefore, one of the core reasons why I am smitten with digital/streaming options, as I can easily omit this bonus track, permanently, from my Apple Music/iTunes Music library.
Speaking of Apple Music and the Lossless Apple Digital Master, it’s absolutely stunning. The sound is warm, full-bodied, yet detailed. It has the vibe of the 80s, and whoever undertook the Apple Digital Master process to get this sonic presentation out of the record should be commended, for I doubt you’d find a better mastering of the album. Yes, dear reader, it really is that good. But don’t take my word for it, hit play and let’s take a look at the songs that make up this landmark release.
Dancing On The Ceiling is a pure joy to listen to as its synth-driven, uptempo rhythm is impossible to sit still to. Sure, the spoken-word introduction feels a little unnecessary, especially if listening to the song on repeat, but the song’s so irresistibly pleasing that that aspect quickly fades away as the dance floor awaits, and this song gets the party started.
Released as the first single from the album, Dancing On The Ceiling performed well in the charts, reaching the Top 10 in most regions. The music video is delivered in a classic cringeworthy 80s-style, but there’s something strangely compelling about it that makes you want to watch it over and over again.
Se La is steeped in swaying reggae rhythms. The production is light and clean, with layered musical elements and backing vocals that instantly remind me of Bob Marley & The Wailers. While there’s a natural correlation, that is as far as it extends, for Richie has recorded the tune in his style, thereby making it truly his own. Se La may not be the best-known song from the record, but it’s one of the most musically satisfying Richie has ever recorded.
Ballerina Girl is one of Richie’s most stunning songs. Penned by himself, for his adopted daughter Nicole, it’s Richie at his most heartfelt. As a ballad delivered via a delicate piano with tender vocal phrasing and a tad of 80s musical styling, this is one song that will likely pull at the heartstrings of even the most hardened individual. It also happens to be one song that I’d love to see Richie perform in front of a symphony orchestra, for I dare say it would be a stunning performance.
Don’t Stop has a great rhythm, once you get over the shock from the smooth and relaxing Ballerina Girl, of course. Seriously, it’s one of the worst cases of bad tracking I’ve ever come across. Especially considering it’s the last song on Side A of the vinyl release. All I can think is that the next song, Deep River Woman, would have been the perfect closer for the first side and would have flowed far better from Ballerina Girl than Don’t Stop does. Don’t Stop isn’t a bad tune, not by any means; it just doesn’t sit well within the album’s linear structure and, due to its extended length, overstays its welcome slightly. Don’t Stop would have, however, been an ideal B-side to one of the album’s singles, but at the same time, Dancing On The Ceiling wouldn’t be the same without it.
Deep River Woman is a gorgeous tune that strips everything back to its essentials: harmony, melody, and soul, thereby allowing Richie’s extraordinary vocal presentation to become the focal point. Featuring the country group Alabama on backing vocals, the song blends gospel, country, and southern soul, with their inclusion perfectly complementing Richie’s overall style. While the song failed to set the charts on fire, it’s a creative high point on the album. Richie would later re-record the song with Little Big Town on his reimagined country-styled compilation album Tuskegee, but nothing quite touches the magic of the original.
Love Will Conquer All is another gem and is mid-‘80s R&B at its finest. From the layered vocals in the chorus to the mellow yet propulsive beat, it’s an uplifting love song that’s easy to fall into. Marva King’s backing vocals add an extra layer of richness and emotional urgency, enhancing the song’s power and overall message.
Tonight Will Be Alright is the quintessential album-only tune that, despite not hitting the emotional highs of its predecessors, is a lovely song with a pleasant melody and breezy vibe. I could easily imagine someone like Neil Diamond, or Bruce Springsteen, giving it a grittier, more impassioned rock edge. Still, it’s thoroughly enjoyable and is a reason why Dancing On The Ceiling is a fulfilling album experience.
Say You, Say Me is the song. It needs no introduction, and nothing really needs to be said about it other than it’s utterly perfect. The reimagined version, as found on Tuskegee, doesn’t have the vocal or musical prowess of the original, and while it’s good, the original is beyond reproach and ensures that Dancing On The Ceiling closes memorably, thereby encouraging you to play the album again.
Dancing On The Ceiling is, without a doubt, one of the greatest R&B/Soul albums of the 80s. Richie shows he can master the dancefloor, deliver tender lullabies, explore southern and reggae influences, and still deliver massive pop ballads that withstand the test of time. A true gem, in every sense of the word, that sounds just as good today as it did upon release.