Hello folks. I deeply apologize for how ridiculously late I’m submitting this list. I had

a lot of things going on, but it can mostly be boiled down to three things: I have a second job

now, I have a new laptop, and probably the biggest one, this list just wasn’t as fun to make

as the others. Chances are I won’t be doing another one of these anytime soon. It was

intended as something more ambitious, but it was just draining to work on. I’ll be returning

to my regular top 10 lists for the next one.

Anyway, since I’ve now gone into the worst songs to peak atop Billboard during the

1980s, I think it’s only fair to cover the other end of the spectrum: the best of the #1 hits of

the decade. As much trouble as I had with putting together the worst list, this one was

slightly harder because, where with the worst list I needed to stretch a bit to pick out

twenty songs, here I needed to make some painful cuts. Don’t think for a second though

that this means I won’t be embarrassing myself.

While I’m sticking to my usual criteria for this list, I want to make sure people

understand that this list is still partially based on my own opinion and isn’t meant to reflect

badly on anyone. If you don’t like the songs on this list, that doesn’t mean you have poor

taste. Everyone has differing opinions, and that’s what makes us human beings. With that

said, let’s dive into the list now, starting with our honorable mentions:

Shout (Tears for Fears) [3 weeks; August 3-17, 1985]

Here’s a bit of trivia about this song some of you probably didn’t realize: this is a

political protest song. It was released in 1984, a time when people were still nervous about

the aftermath of the Cold War. I guess what wins me here is the simplicity of it and how it’s

able to convey so much tangled emotion in just a few simple words and phrases. This won’t

be the only example of such to appear on this list.

Money for Nothing (Dire Straits) [3 weeks; September 21-October 5, 1985]

I realize most people who are fans of Dire Straits are probably sick to death of this

by now, but credit where it’s due. Yes, the “ground-breaking” music video looks terribly

dated nowadays, but the song itself has plenty of positive elements going for it. It featured

guest vocals from Sting and a rocking guitar line courtesy of Dire Straits front man Mark

Knopfler. Its lyrics also describe a working-class man’s perspective of the lives of rock stars

on MTV. I’m not sure if Dire Straits could get away with writing a song like this nowadays.

Livin’ on a Prayer (Bon Jovi) [4 weeks; February 14-March 7, 1987]

Yes, I admit that hair metal was a ridiculous trend. That said, considering the ‘80s

were still letting any metal appear on the pop charts, I’ll take what I can get. This is Bon

Jovi’s signature song, and it’s not hard to see why. As cheesy as hair metal tends to be, it’s

rare that you find a song this unabashedly sincere despite its ridiculousness. I can’t fault

the song for that.

Heaven Is a Place on Earth (Belinda Carlisle) [1 week; December 5, 1987]

Not much to say about this song. I just love a good power ballad I guess.

Tell Her About It (Billy Joel) [1 week; September 24, 1983]

I’m honestly of the opinion that Billy Joel’s #1 songs aren’t his best. That said I have

a weakness for ‘Tell Her About It’. Unlike ‘Blame It On the Rain’, it gives good advice

regarding confessing one’s feelings to that special someone. It’s kind of a cute song, and I

mean that in an endearing way.

With that, let me wake you up before I go-go, as we count down…

…THE TOP 20 BEST #1 HIT SONGS OF THE 1980S!

#20.

If I consider 1988 the worst year for ‘80s pop music, 1983 would probably be its

best. Between the phenomenal success of Michael Jackson’s ‘Thriller’ album and the

appearance of the first heavy metal album to reach #1 in America with Quiet Riot’s ‘Metal

Health’, 1983 was a magnificent time to be listening to pop music. Of course, even silly

dance pop had its shining moments this year.

#20. Maniac (Michael Sembello) [2 weeks; September 10-17, 1983]

Will to Power, take some notes: this is the kind of dance song you should be using

synthesizers on! While the film ‘Flashdance’ has largely fallen from public memory, the two

hit themes that were included in the film persist to this day. One of them is this song,

Michael Sembello’s ‘Maniac’. It’s worth noting that this song was included on a tape sent to

Paramount Pictures on accident by Sembello’s wife and was originally a horror theme. The

studio executives apparently took a liking to it and asked for it to be remade into a dance

song, and the result was this.

Let’s start by discussing the lyrics. The song describes a woman who is dancing

madly. Her dancing doesn’t seem to fulfill a primal need or relieve any tension; it just feels

like something she’s unable to control! It almost sounds like she’s possessed! Originally the

chorus was “He’s a maniac, maniac that’s for sure/And he’ll kill your cat and nail it to your

door” before it was changed to “She’s a maniac, maniac on the floor/And she’s dancing like

she’s never danced before”. Some of the horror elements of the original seem to still bleed

into this version though, such as the mention of cutting you like a knife.

Of course, lyrics are one thing, but for a dance song what matters is the

instrumentation. Here, the beat is super fast, pounding out at a rapid pace that almost

seems too quick to dance to! Then there are the synthesizers, which all meld together to

form a grand, swelling sound that keeps the song in constant motion. The bridge includes

what sounds like a terror-inducing reimagining of ‘Chopsticks’, which is immediately

followed by Sembello tearing out a brief guitar solo that helps build up the momentum of

the final chorus!

I probably could’ve stood to place this song higher on the list, but ultimately I felt

like it was still a little too confused about what it was trying to accomplish. Considering it

was a horror theme that was changed into a dance movie theme, the song’s goal seems to

have been misplaced as a result. That said, I still enjoy it, even if I don’t really dance all that

much myself. You don’t need to be a maniac to jam to this one.

#19.

This might be sacrilege to admit, but Kenny Loggins doesn’t exactly have the best

track record in terms of his music. Most of the songs he released in his career are pretty

forgettable. One thing’s for sure though: he can write a hell of a movie theme. Maybe he

should just stick to doing that.

#19. Footloose (Kenny Loggins) [3 weeks; March 31-April 14, 1984]

Nowadays it’s hard to remember what it was like for a film to have a true theme

song tied into it. They thrived in the ‘80s though, to the point that the longevity of some

outlasted the movies they were connected to. This particular song is a classic song from an

equally classic film: ‘Footloose’.

Instrumentally, it’s very energetic and primarily guitar-driven. Of course,

considering it’s a dance song, those things work in its favor. On top of that, it’s incredibly

catchy; basically guaranteeing it would be a hit, and probably helping it peak atop the hot

100. Then there’s Kenny Loggins himself, whose authoritative tone demands that the

listener get on the floor and dance, while also being just loose enough to make it sound like

fun.

Lyrically, the song’s fairly straightforward. It’s a song from the perspective of a guy

who works hard and “cuts loose” after having worked eight hours and felt like his life was

being held down by his job. It’s not a song about giving up on one’s work; just about having

fun when you get the chance and living while you can. However, it’s the simplicity of the

message that works to its advantage. If it were trying to set up a more complicated scenario

or give more specific advice, then it’d run the risk of becoming something like ‘Blame It On

the Rain’, which tried too hard and whose message didn’t match up with the tone of the

song.

This might’ve placed higher on the list except that I felt like it’s a touch on the

generic side. That’s not to say I think the song is worse because of it, but I just personally

felt like a bit more could’ve been done to make it stand out. Besides that though, I have no

other complaints about this song. It certainly leaves me wanting to kick off my Sunday

shoes and lose my blues.

#18.

I think I’ve made it clear which style of music I kind of prefer from this particular

artist. That doesn’t necessarily mean I think all of her songs of this type are good, just that I

have a personal preference that doesn’t necessarily reflect what many would consider her

greatest strength. I might need to go back and reevaluate my opinion on this artist

someday, but for now I’ll settle with enjoying the songs of hers I know I enjoy for the time

being. In other words, Whitney Houston’s on this list.

#18. I Wanna Dance with Somebody (Who Loves Me) (Whitney Houston) [2 weeks;

June 27-July 4, 1987]

Ladies and gentlemen, I present to you my favorite Whitney Houston song. People

often point to her cover of ‘I Will Always Love You’ as her most iconic single, but as far as

I’m concerned, this was where she was at her best. I realize this list will likely get stale fast

if all I’m listing are upbeat dance songs, but there will be other genres to come folks.

In the meantime, let’s look at ‘I Wanna Dance with Somebody (Who Loves Me)’, the

lead and biggest single off of her second album. I suppose I enjoy it because it demonstrates

that Whitney can have energy and pizzazz while still utilizing a powerful voice. Most of her

ballads don’t generally win me over because they primarily rely on raw power and little

else.

That leaves us with the lyrics. The song is told from the perspective of someone who

wants to find that special someone, possibly on the dance floor. The narrator is a lonely

heart that wants a love of passion and longevity, not something fleeting or shallow. In

contrast, the first verse speaks of times of day, a descriptor that seems to reflect the

intensity of love, with the sun being something to keep her satisfied with her loneliness

while the cover of night leaves her feeling cold and longing.

This might’ve placed higher on the list, except that, as other critics have pointed out,

it sounds like a rehashed version of ‘How Will I Know’. I personally disagree due to the

differences in subject matters and overall energy, but I still see the similarities. It’s not a

bad song by any stretch; the two just sound similar and I wish the songwriters had utilized

a bit more creativity than that. Besides that though, I have no complaints. Keep on dancing,

Whitney; all eyes are on you!

#17.

This next entry will likely lose me whatever respect as a critic I might’ve earned

from people. I’ve been dreading the day I’ll be getting to the year this song came out, not

because the year was bad though. No, it’s entirely because I know I’ll have to talk about

why I like this. Let’s just get this over with…

#17. We Built This City (Starship) [2 weeks; November 16-23, 1985]

Let me start by saying that I get why people don’t like this song. It’s transparently

commercial while pretending to speak out against commercialism. It has lyrics in it that

make no sense whatsoever. It’s clearly not a rock song but pretends to speak on behalf of

rock and roll. These elements alone would be enough for anyone to justify putting it on the

worst list, and yet I enjoy listening to it. I can’t say I can offer any kind of groundbreaking

defense for this song, but I can at least make my own observations about the things I enjoy

about it.

First of all, I think people are putting way too much thought into this song. It’s not

trying to be anything life changing or impactful. It’s just stupid, goofy and upbeat and that’s

all it wants to be. There are plenty of lines to indicate this, like “We just want to dance

here”, or “Don’t tell us you need us/’Cause we’re just simple fools”. As for the line everyone

picks on the song for, “Marconi plays the mamba”, I’m not sure I have a justification for it,

but I enjoy the alliteration used there. It’s certainly not the worst, or even the stupidest line

I’ve seen in a song, even from the ‘80s.

Then there’s the instrumentation. While I did point out that it’s clearly more of a pop

song than a rock song, I don’t feel like that alone is enough to call it the worst song ever.

Maybe I’m just buying into the energetic synthesizers and the guitar stabs, but I honestly

found myself rocking out more to this than some of the actual ‘80s rock songs. Besides, it

was the ‘80s; almost everything had synthesizers in it. If you’re going to say this was one of

the worst uses of them during this decade, you obviously haven’t read my previous list.

I’m not going to say this is a great song; in fact, I’ll willingly admit that it’s probably

not that good and there are better ones out there. There were better songs that came out

the same decade, and even the same year. At the same time though, there have certainly

been much worse; 1985 also gave us ‘We Are the World’ after all. Between that and this, I’ll

take the fun song thank you. It may not be built on rock and roll, but it’s certainly built on

passion and enthusiasm, and that’s something I can’t fault it for.

#16.

Speaking of songs that came out in the same year…

#16. Take On Me (a-ha) [1 week; October 19; 1985]

This is kind of a tricky song for me to discuss. I don’t say that because I don’t like the

song, but because I’m not sure if my reason for liking it stems from the nostalgia associated

with it or from the merits of the song itself. I will at least go over what I know about the

song and see what I can assess.

For starters, the melody is just magnificent. That synth riff before the first and final

verses is iconic for good reason; it’s catchy, fun, and easy to groove to. The drums are

bouncy and enjoyable, providing just the right tempo to make the song danceable. Kudos go

to Alan Tarney for taking the original version of the song and remixing it into the version

most are familiar with.

That leaves us with the band’s front man, Morten Harket. Vocally, he manages to

balance gentleness and firmness in his voice. This is especially true with his falsetto on the

chorus, particularly those high notes at the end. Lyrically there’s not much to this song, and

this might’ve charted higher if not for the lackluster wordplay. Granted, A-ha are a

Norwegian band, so English was likely not their first language, so that’s hardly a major

issue.

More than anything though, I think I like this song because of its timelessness. Yes it

was clearly made in the ‘80s, but unlike a lot of cheesy songs from this time, ‘Take On Me’

endures and remains a staple in the public consciousness of the pop music of the time. Bit

of a shame the rest of A-ha’s discography didn’t take off as well as this one did. Still, now

that they’ve recently reformed and started touring again, I don’t think we’ll need to worry

about them being gone in a day or two.

#15.

I’ve already mentioned a number of songs that were included on the soundtracks to

films. Here’s a song I bet you didn’t know was a movie theme.

#15. Call Me (Blondie) [6 weeks; April 19-May 24, 1980]

‘Call Me’ wasn’t originally from a Blondie album, but the soundtrack to the 1980

American romantic crime film ‘American Gigolo’. Of course, this being the ‘80s, the song

wound up more engrained in the public consciousness than the movie it originated from. I

can’t think of anyone who’s seen the film; I certainly haven’t, but this gives me a good

reason to consider doing so.

The first thing that jumps out about ‘Call Me’ is the flow. Each segment connects to

the next seamlessly. That can mainly be attributed to its use of the gallop riff. That might

not seem like much of a compliment considering music is supposed to flow together well,

but when you have some of the songs from the worst list in comparison, it makes this a

breath of fresh air.

Furthermore, there’s the tone of Blondie lead singer Debbie Harry. She presents a

love swept, romantic air that hides a sense of desperation. She invites the listener to call

her anytime, any place, anywhere, any day, but with how many times and ways she tries to

convince them to call, it sounds less like flirting and more like pleading.

I guess I’m just a sucker for love songs where the singer feels frantic about getting

with the person they love. Something about it feels more honest than when the singer is the

one in control of the situation. Sadly, Blondie didn’t have much control over their careers

after this point, as they disbanded two years later and didn’t reform until the rest of the

‘80s and most of the ‘90s had passed by. Still, this is a blast of a song that I wouldn’t object

to anytime, any place, anywhere, any day.

#14.

2016 saw quite a few musical artists passing away. A number of them were artists

that saw their greatest successes during the ‘80s, including David Bowie, Prince, and our

next artist: George Michael. Much like how my inclusion of ‘Under Pressure’ on a previous

list was partially a show of remembrance for Bowie, this next entry is such for Michael, but

which of his many #1 hits could I select?

#14. Careless Whisper (Wham! ft. George Michael) [3 weeks; February 16-March 2,

1985]

This song represents a major development in George Michael’s growth as an artist,

since it was his first single to be released as part of his solo career, though he was still in

Wham! at the time. It’s credited to Wham! featuring George Michael sometimes in Japan,

Canada and the United States, and it’s even included on the duo’s second album, but it is

starkly different from the material he released with Andrew Ridgeley. How so?

Well, let’s begin with the subject matter. The specifics of the song are more

complicated than I’d like to go into detail with here, but the gist of it is it’s a song about

cheating. However, the narrator isn’t just being immature and trying to make excuses to

justify it. If anything, the act of cheating has been his undoing; he seriously hurt someone

after they found out he was seeing someone else at the same time, and now as he puts it,

he’s “never gonna dance again”. This isn’t just something that’s easily gotten over either;

this decision is going to haunt him.

As far as the instrumentation goes, there’s one thing everyone remembers about

this song: that saxophone riff, courtesy of English jazz saxophonist and composer Steve

Gregory. To be fair, that line seems to overshadow the rest of the song; it’s the most iconic

part. That’s not to say George Michael doesn’t hold his own; his singing contains a lot of

pain and emptiness to it, matching the feeling of loss he’s trying to convey.

It’s interesting that this song was released right after ‘Wake Me Up Before You

Go-Go’, which is the song everyone remembers from when George Michael was in Wham!.

Keep in mind these two songs were mainstream America’s first impressions of the man;

one being the most iconic tune of the duo he was with and the other being the first song he

released solo. There are many differences between the material he released solo and as

part of Wham!, but his work on his own established that he was able to write more mature,

adult material that didn’t just pander to young teenage girls. Never stop dancing George, for

we never will again the way we danced with you.

#13.

I’m not trying to make any kind of political or religious statement by including this

song on one of my lists again. I just happen to seriously like this song.

#13. Papa Don’t Preach (Madonna) [2 weeks; August 16-23, 1986]

Where Madonna’s ‘Like a Virgin’ album made her one of the biggest pop stars in the

world, ‘True Blue’ was the follow-up to that. When I see people discussing her career, I’m

surprised that this album often gets skimmed over, considering it was her first to feature

multiple number one hits on it and all its singles peaked in the top 5. It also marked the

transition in her image, from being a thrift store shopper to a mainstream pop star.

‘Papa Don’t Preach’ was probably the first truly ambitious song Madonna released,

in that it was about a more serious subject matter and tried to be a bit deeper than her

prior material. Of course, I’ve already discussed this song on a previous list, so if you want

my full opinion on the song I’ll include a link below. In summary, I think it’s an awesome

song and probably one of the better ones in her discography, easily leagues ahead of the

crap she makes nowadays. I stand by my statement that nothing she released after ‘Ray of

Light’ was good enough to justify her later career output, but I also still believe her work in

the ‘80s was her best.

http://flashback-music-madness.blogspot.com/2015/12/top-10-best-hit-songs-of-

1986.html

#12.

My long-time readers should already be familiar with my love for ‘60s music, 1962

notwithstanding. It was such a significant period for music, and it’s a shame to see us

drifting further away from that level of influence and innovation. However, in 1987, a little

bit of that magic came back.

#12. (I’ve Had) The Time of My Life (Bill Medley and Jennifer Warnes) [1 week;

November 28, 1987]

While the Righteous Brothers were a ‘60s act I wasn’t exposed to growing up, I have

come to appreciate their work now that I’ve listened to them. With songs like ‘You’ve Lost

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That Lovin’ Feelin’’ and ‘(You’re My) Soul and Inspiration’, they coined the term “blue-eyed

soul”, and proved that not all white artists ruin black music. Of course, the breakout star of

the pair ended up being Bill Medley, who sings on this song with Jennifer Warnes, and the

result is a breathtaking performance that, while still dated, has aged remarkably well.

Let’s start by comparing their vocal performances. Bill Medley’s deeper, richer

baritone does a great job complimenting Jennifer Warnes’s higher register. It’s worth

noting that Franke Previte of Franke and the Knockouts wrote this song for the movie

‘Dirty Dancing’. When he did, he recorded a demo with singer Rachele Cappelli to showcase

how the harmonies were supposed to be used. That demo wasn't ultimately used for the

film, obviously. After hearing both versions, it’s clear why; Bill Medley and Jennifer

Warnes’s performances had better chemistry and achieved what the demo was attempting

a billion times better.

That leaves the lyrics, which are pretty straightforward. It describes a couple in love.

However, the choices of words make it seem like a groundbreaking realization, like the two

have known each other for a while but didn’t realize they loved each other until just now.

Furthermore, the line, “I’ve had the time of my life” suggests appreciation for the time it

took for them to fall in love.

I’ve never seen ‘Dirty Dancing’, mostly because I haven’t heard it described as a

particularly good movie, but I might check it out anyway at some point. If I did, it would

mostly be because of ‘The Time of My Life’. It is a beautiful song, and even if the rest of the

movie sucked, I’d be willing to endure it just to listen to it. Some of you probably disagree,

in which case I offer this defense: at least it’s not that horrendous desecration the Black

Eyed Peas released twenty-three years later, but that’s for another list. Moving on!

#11.

Believe it or not, I’ve come to enjoy country music to a certain degree. Most

mainstream pop country nowadays is still garbage, but I can get into the older performers.

As it happens, one such performer managed a #1 hit early in the decade, and yes, that hit

made it on this list.

#11. 9 to 5 (Dolly Parton) [2 weeks, nonconsecutive; February 21 & March 14, 1981]

Dolly Parton might not be the best country musician out there, but she knows how

to sell a song. Her music might not be the most meaningful, or even the most well thought

out, but she makes it fun despite that. Even when singing about something as dour as a

soul-crushing dead-end job she’s able to turn it into an enjoyable experience.

Speaking of which, let’s start by looking at the subject matter and lyrics. The song

describes a person working a daytime job that they feel is going nowhere. It seems like the

boss only cares about keeping them in an endless cycle of soul-crushing work without any

chance of a promotion or any signs of moving forward. That’s something I think a lot of

people can relate to; jobs suck sometimes and it can wear away at one’s mental health just

thinking about it.

Of course, that leaves the instrumentation and production, which is a serious

contrast from the lyrics. Where they’re all doom and gloom, the melodies and vocals are all

bouncy and upbeat. I’ve covered contrasts between music and lyrics before, but this is an

example where it works together. Where one half covers the country aspect with its mild

touches of social commentary, the pop elements present it in a fun, energetic manner that

makes it go down more easily.

Sadly, this was Dolly Parton’s only #1 solo hit song, and her last to chart in the top

40. She’d have other songs chart on Billboard after this, but no solo singles charting higher

than 41. Even so, she still saw success on the country charts, and even had a few duets peak

in the top 40. Regardless, this made it to #1 because it’s one of her best. Dolly Parton: a

down-to-earth country singer with a mild flirtation with pop music.

#10.

Hah! A penis!

#10. Sledgehammer (Peter Gabriel) [1 week; July 26, 1986]

If there’s anything ‘Sledgehammer’ confirms, it’s that Peter Gabriel is insane and

talented. The man has a penchant for putting on very showy performances, and while I

spoke a lot about the song on my ‘best of ‘86’ list, I didn’t even touch the bizarreness of the

music video. It’s one of the most technically impressive and craziest things he has created.

Between the sequences involving Peter Gabriel’s head being surrounded by and interacting

with random stuff that has no connection to sledgehammers and the claymation portion

during the bridge, it is confusing as hell.

I can’t help but feel that the video has eclipsed the song in terms of memorability

and success, which is a shame because the song is amazing. Of course, Peter Gabriel getting

a #1 hit at all is itself a bit surprising just considering how obtuse his music tends to be

compared to the pop music of the time. That’s not a criticism, by the way; we need more

artists like him in the world.

#9.

Where do we go? Where do we go now? …It’s ‘Sweet Child o’ Mine’.

#9. Sweet Child o’ Mine (Guns N’ Roses) [2 weeks; September 10-17, 1988]

Let me start by saying yes, I think front man Axl Rose is a bit of, in a friend’s words, a

“fuck face”. He’s not exactly in the running for “Frontman of the Year” is all I’m saying. That

said, ‘Guns N’ Roses’ are regarded as one of the big names in hard rock music for a reason.

While they haven’t had more than one #1 song, their music is regarded as some of the best

in its genre, and ‘Sweet Child o’ Mine’ is no exception.

There isn’t a lot for me to say about this song that hasn’t already been said, but I’ll at

least try to describe it for all…two of you who’ve never heard people discuss this song. The

guitar riff used at the beginning was originally a fret exercise done by Slash that the rest of

the band heard and decided to try and jam to. Axl heard them and wrote lyrics to go along

with it. Slash’s guitar part is what truly elevates this song, especially during the solo, which

radio stations foolishly chose to cut short to make the song more marketable.

Going back to the lyrics, Axl based them off of then girlfriend Erin Everly. They’re

incredibly heartfelt and sincere, and the descriptions they use paint a beautiful picture of

his “sweet child”. That leaves the outro, where he repeats the statement, “Where do we go?

Where do we go now?” The reason for this was that producer Spencer Proffer suggested a

breakdown at the end of the song, and while the band agreed they didn’t know how it

should be done. Axl listened to the demo in a loop and kept saying those phrases to himself

until Proffer suggested he sing those lines.

Guns N’ Roses performed regularly with the classic lineup until around the ‘90s,

when band members left or were fired for various reasons. After a very shaky period

between the mid-‘90s and the mid-2010s, former members Slash and Duff McKagan

rejoined the band, and they’ve been seeing newfound success since then. So if you’re new to

Guns ‘N Roses and want to get into them, I’d still suggest checking out their early work, but

their current lineup isn’t a bad place to start either, and where they go from here is

anyone’s guess.

#8.

On the subject of rock music…

#8. I Love Rock ‘n’ Roll (Joan Jett and the Blackhearts) [7 weeks; March 20-May 1,

1982]

I already thoroughly discussed this song on my best of ’82 list, so if you want a full

review, I’d recommend you check that. However, I will note that, while an amazing song, it’s

a shame that it didn’t leave a bigger impact on the musical direction of the ‘80s. By this

point, most rock and metal acts were diverging from hard rock and moving more towards

pop or soft rock. However, I can respect that Joan Jett chose not to follow the trends of the

time and just made the music she liked. Everyone else was moving on, but she was still

singing that same old song, and I have no complaints about that.

http://flashback-music-madness.blogspot.com/2016/06/top-10-best-hit-songs-of-

1982.html

#7.

1983 was certainly a great year for pop music, but it likely wouldn’t have been as

significant if not for 1982. Yes, the year was uninteresting for the most part, but the good

music was still quite important towards the shaping of the trends between the early and

mid ‘80s. Of course, if you want my opinion of the song that represented the most extensive

influence on the trends of the time…

#7. Africa (Toto) [1 week; February 5, 1983]

Like with ‘I Love Rock ‘n’ Roll’, I already discussed this song at length on my best of

’82 list. I even discussed how it might have influenced the sound of music at the time. That

said, I don’t think I’ve quite examined the bigger picture yet. As far as soft rock was

concerned, ‘Africa’ wasn’t the biggest hit of the genre, but it was proof that it could produce

good or possibly even great music. Yes, Chicago were still around and did everything they

could to contradict this, and even Toto themselves would reach a serious drop in quality

soon after, but for a brief instant, there was something truly special produced from it. It’s

going to take a lot to drag me away from this song; it is magnificent.

#6.

There are plenty of cases where an artist makes a song. What we’re about to discuss

next is when the song makes the artist.

#6. Billie Jean (Michael Jackson) [7 weeks; March 5-April 16, 1983]

Michael Jackson was already successful before this. Between his time with the

Jackson 5 and the hits he produced after he went solo, he was shaping up to be a good pop

star. With the release of ‘Billie Jean’, however, he went from being passable to the pinnacle

of pop perfection. This can mainly be attributed to his performance on the TV special

Motown 25, but that doesn’t mean the song being amazing in its own right didn’t help.

To begin with, the production is fantastic. MJ’s performances tend to be very tight

and controlled, and this is no exception. Every element of the song, from the horn stab in

the first prechorus, to the bassline lifted from Hall and Oates’s ‘I Can’t Go For That (No Can

Do)’, to the guitar solo after the second chorus, plays a role. I especially enjoy how it builds

itself up with the 29-second intro. Most artists couldn't get away with their song taking that

long to finally start, but this was Michael Jackson; he was not just any artist.

As for the lyrics, they present a more paranoid lyrical style for Jackson. Most of his

singles up until this point were cookie-cutter dance pop that, while well done, weren’t

exactly delving into any serious material. ‘Billie Jean’, however, presents him in a

vulnerable position, giving probably one of his most compelling performances. The content

is almost an afterthought given everything else, but the story Michael conveys of being

approached by a fan claiming to be his baby mama sounds like something out of a

celebrity’s worst nightmares. It doesn’t necessarily paint him as likeable or relatable,

though, considering the music being released nowadays, it almost seems like he was

offering a warning to other celebrities senselessly screwing around in their songs.

The argument could be made that one of the other #1 singles Michael released in the

‘80s was better than this one, but I don’t think any of them left the same impact. With the

other ones, Michael had already established himself as the king of pop, so he could’ve sung

about just about anything and gotten a hit out of it. Even if ‘Billie Jean’ wasn’t the one with

the best quality, it was the one that made the biggest impression, the song representing his

departure from the bubblegum and dance pop he made with his siblings and his first steps

into serious songwriting. The kid may not be your son, MJ, but this song is most definitely

yours, and we wouldn’t have it any other way.

#5.

To think I considered the last song a display of vulnerability…

#5. When Doves Cry (Prince) [5 weeks; July 7-August 4, 1984]

It’s a bit embarrassing for me to admit this, but Prince was one of the artists from

the ‘80s that I ended up missing out on when I started listening to the music of the decade. I

guess it’s only fitting that this would be the first song of his that I ever heard. It could be

argued that this set my standards for the guy pretty high, considering how awesome this is.

Going into the song itself, Prince was asked by the director of the film ‘Purple Rain’

to write a song that matched the tone of one specific part of the film, involving intermingled

parental issues and a love affair. This was one of two songs he wrote, purportedly inspired

by a relationship with Vanity 6 member Susan Moonsie. The song details a failed

relationship where the narrator doesn’t place blame on either party but instead uses it to

examine himself, including comparing himself to each of his parents.

Instrumentally, this song stands out compared to other songs of the ‘80s in a few

ways. For example, it has a starker texture and no bass line. In addition, it features two

guitar solos, a synthesizer solo, and a classical music-inspired keyboard segment right at

the end of the song. The radio edits either faded out at the longer guitar and synthesizer

solos or cut them out entirely, which I think is a shame. Yes, they lengthen the song

unnecessarily, but they’re still very impressive solos.

It’s interesting that Prince is mostly recognized as a funk performer, yet his most

famous hit isn’t from that genre. Instead, ‘When Doves Cry’ delves into experimental pop,

synthpop, and soul, made especially impressive when you consider Prince plays all the

instruments on the song and sings all the vocals. In addition to being the #1 song of 1984, it

was also the last song by a solo artist to be certified platinum before the certification

requirements were lowered in 1989. That alone should be enough proof of what an impact

this song’s had on the popular consciousness.

#4.

I don’t think I realized it until I started doing these lists, but I greatly enjoy Jim

Steinman’s work. In a world so focused on being sarcastic and “ironic”, it’s nice to hear

someone put forth something as simultaneously straightforward, complicated, honest,

cheesy and over-the-top as he can. I’ve touched on some of his work with Meat Loaf, but

he’s written and produced for other artists too.

#4. Total Eclipse of the Heart (Bonnie Tyler) [4 weeks; October 1-22, 1983]

In true Jim Steinman fashion, I’m now completely unironically stating my enjoyment

of this song, which everyone and their mother has made fun of, mostly through the literal

music video. I honestly never understood the appeal of those. However, I can definitely find

such in ‘Total Eclipse of the Heart’.

Going into the lyrics, Tyler sings of being in love with someone, but with the

descriptions it sounds unrequited, as reflected in the darkness imagery, especially the title.

Of course, this could also be a reflection of the song’s original theme and title, ‘Vampires in

Love’. I’ll at least say this much: it certainly sounds like a better vampire love story than

‘Twilight’.

Of course, what really wins me over is Bonnie Tyler herself. Her singing is what

makes this work. What her voice lacks in smoothness it makes up for in intensity and

emotional range. She goes from loss to fear to desperation and, finally, resignation. When

she says she’s falling apart, I completely believe it.

Most of Jim Steinman’s work was performed by Meat Loaf, but I’m not sure he

would’ve been the right choice for this song. He might be a powerhouse of a singer, but he’s

also kind of onenote. Bonnie Tyler singing this had more of an impact; prior to this her

songs were fairly light and samey-sounding, and going from those to this is like going from

a ‘60s sitcom to a rock opera. Way to shatter our expectations, Bonnie Tyler; you may be

falling apart, but I’m still falling in love with this one.

#3.

The top three songs for this list will probably be the most predictable songs I

could’ve picked. What can I say? I’m easy to read sometimes.

#3. Another Brick in the Wall, Part II (Pink Floyd) [4 weeks; March 22-April 12, 1980]

If you didn’t grow up in the 1970s, chances are this was your introduction to Pink

Floyd. Admittedly, this isn’t a bad place to start. It was certainly a song that could only have

been made by the band, even if most of the rest of their material was more experimental

and delved into deeper subjects.

The song contains only one verse and one chorus, which are repeated once.

Originally the band was only going to have the single verse and chorus, with the song

barely being over a minute long. Instead, producer Bob Ezrin copied the song’s original

structure and connected the original lyrical structure via a brief drum fill.

Based on what I’ve read about the song, the addition of the choir of children on the

second verse was less an artistic decision and more of a marketing choice. However, it fits

with the song’s theme of students rebelling against their schoolmasters, and adds a

creepier edge to the song that the original version was lacking. If the song had been kept as

the band had originally recorded it, its tone likely wouldn’t have been as powerful.

It’s surprising to me that this song was the #2 song of 1980, behind Blondie’s ‘Call

Me’. I don’t say that as a knock against the song’s quality; it certainly deserves the position.

I’m merely commenting on how unexpected it was that a song this dark managed to

achieve this level of success on the pop charts, especially considering the other songs that

were popular at the time.

#2.

Of course, Pink Floyd weren’t the only band in the 1980s to have a hit song that was

sparse with its lyrics.

#2. Sweet Dreams (Are Made of This) (The Eurythmics) [1 week; September 3, 1983]

The Second British Invasion was the name given to the influx of UK and other

European acts that became hits in the US between 1982 and 1986. While many different

genres crossed over to American shores during this time, the main ones seeing success

were synthpop and new wave, with such bands as Duran Duran, A Flock of Seagulls, and

The Human League all gaining chart success during this period. Of course, one of the best

acts to see their success during this period would have to be the Eurythmics.

‘Sweet Dreams (Are Made of This)’ is considered the band’s signature song, and for

good reason. That minimalist synth line is iconic; it sticks in the brain, and it’s supported

with just the right touches of production to keep it from growing stale. Of course, the true

star of the show is frontwoman Annie Lennox, who has a level of control over her vocals

that Mariah Carey wishes she could maintain.

That, of course, leaves the lyrics. The choices of words would initially suggest that

the song’s about sex or S&M, especially during the second half of the refrain:

Some of them want to use you

Some of them want to be used by you

Some of them want to abuse you

Some of them want to be abused

According to Lennox, however, the lyrics are about the unhappy state that she and

Dave Stewart, the band’s producer, were in after their original band, The Tourists, broke

up. “Sweet dreams are made of this” was her way of saying, “Look at the state we’re in. How

can it get much worse?”. Stewart, thinking the lyrics were too depressing, included the

“Hold your head up, moving on” bridge to make it sound more uplifting.

Normally I’m not one for nihilism, and I’m still hesitant to call this a perfect song

despite it being pretty much that. That said, I still consider it one of the best of the decade

because it doesn’t make a fuss over it. If anything, the control in this song is what wins me

over; it exercises just enough that it stays focused and doesn’t overblow itself while also

still making the listener want to dance. Of course, this wasn’t the only song to exercise such

control during this decade, and on that note...

#1.

I think it’s kind of funny that, despite this list focusing on the #1 ‘80s hits in the US,

the top four artists were from the UK. That said, I’m not complaining, considering this was a

time when British music was, for the most part, better than American music. So, of the

many, many acts from overseas that were exported here during this time, which would be

the most suitable to claim the top spot on this list? Do I even have to ask?

#1. Another One Bites the Dust (Queen) [3 weeks; October 4-18, 1980]

I won’t pretend I’m more of a fan of Queen’s work in the ‘80s than that of the ‘70s.

That said, I don’t think it’s any surprise that this was their biggest hit on Billboard. It was

their second #1 hit song, and the more famous of the two, going four times platinum, and

charting for fifteen weeks in the top ten and thirty-one weeks on the hot 100.

Achievements are one thing, but what about the song?

First, there’s the production. Much like ‘Sweet Dreams (Are Made of This)’, this

song’s instrumentation is tight and focused. Not a single element in the song is pointless.

What’s especially impressive is that none of the effects used in this song were done with

synthesizers; just piano, electric guitar, and drums. Furthermore, the song was written by

John Deacon, who plays almost all of the instruments, save Roger Taylor’s drum loop and

Brian May’s contributions via his guitar and an Eventide Harmonizer.

That just leaves Freddie Mercury. He is the factor that pushes this song over the top.

Where Annie Lennox’s performance was ethereal and subtle, Freddie’s is full of bombast

and oozing with charisma. My favorite part of the song has to be the second verse and

chorus, where the former features a slow build-up into his octave shift before leading into

the hook, which features harmonized vocals. Interestingly, Taylor originally sang the lead

vocals in early live performances while Freddie did all the vocals in the studio version.

Eventually, after the song got more well-known, the band was able to rely on the audience

to sing the chorus themselves.

Some of you might argue that other songs on this list were better. Even so, I still

place this at the #1 spot because it makes the most out of the few elements that were

incorporated into it. Also, unlike most of the other songs on this list, it didn’t have to rely on

the traditional ‘80s sounds created by synthesizers. It was the final hurrah that transitioned

pop music from the ‘70s to the ‘80s, and it’s for this reason that it is my choice for the best

#1 hit song of the 1980s.