Top 20 Best #1 Hit Songs of the 1980s

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 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.





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#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.


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