Hot 100 Peak: Number Seven
With help from producer Jon Astley, who'd worked on the Who's Who Are You (Pete Townshend was his brother-in-law at the time), Hart rode to short-lived stardom on a distinctively Eighties synth ostinato that was all nagging paranoia and Orwellian menace. He soon demonstrated a keen knack for dodging success, turning down Spielberg's offer to screen test for the role of Marty McFly and passing on an invite to record "Danger Zone" for the Top Gun soundtrack. Still, his career bounced back some in the Nineties, with Hart writing for and performing with fellow Canadian Celine Dion. K.H.
Hot 100 Peak: Number 39
With their very first single, glam-metal trailblazers Bon Jovi nailed the perfect combination of desperation and decadence that would define their career, thanks to "Runaway"'s slithery synths and suggestive lyrics. It came after years of woodshedding, since the band wrote the song in 1980 or '81. The tune only hinted at the unifying power of songs like "Livin' on a Prayer," "I'll Be There for You" and "Bed of Roses," but it showed that these New Jersey no-goodniks had found the nexus of heartfelt balladry and hard-rock guts that would define huge swaths of hard rock later in the Eighties. K.G.
Perfect Body With A Perfect Smile Mp3 Download Pagalworld Ringtone
DOWNLOAD 🔥 https://tinurll.com/2yGbD9 🔥
Hot 100 Peak: Number Three
Michael Jackson began 1984 at Number One: Thriller broke the all-time sales record, topping the month-end charts for January, February and March, and the Paul McCartney collab "Say Say Say" was the most popular single in the country for the first two weeks of the year. Sixth months later, he and his brothers scored their final group Top Five by recruiting none other than Mick Jagger to plead for a little "mouth-to-mouth re-susc-it-ation" on the arena funk "State of Shock." Appropriately, the tune was a live favorite, performed both by Jagger (with Tina Turner) at Live Aid and during the closing medley at the Jacksons' Victory Tour, one the highest-grossing shows of the decade. N.M.
Hot 100 Peak: Number 26
Perhaps the most unconvincing anti-drug song of all time, "White Horse" (slang for both heroin and cocaine) became an electro-funk standard by locating that unmistakable Eighties niche of playfully naughty garbaggio. With a wheezing, slide-whistle click-and-thud 808 beat, some proto-acid flickers and a comically ominous Euro voice intoning random claptrap like, "If you wanna be rich/Then you got to be a bitch," Danish duo Tim Stahl and John Guldberg created a time-capsule of borderless synth-and-drum-machine flukery (though you can certainly hear hints of Green Velvet's sly techno prankishness). The B-side of dubious European hit "Sunshine Reggae" (Jack Johnson's ballsy by comparison), "White Horse" was a Number One dance track in the U.S. (Number 26 pop), thanks in part to the help of Prince, who urged Warner Bros. to release a 12-inch single featuring "White Horse" on one side and "When Doves Cry" on the other. C.A.
Hot 100 Peak: Number Three
The Pointer Sisters may have dabbled successfully in Forties retro and M.O.R. previously, but pleasure-droid synthpop was just them. Their full-tilt conversion into glossy Eighties electronics was as exciting a makeover as the Bee Gees going disco. We had to wait till 1992 for Kris Kross and House of Pain to definitively prove the Jump Theorem (every hit single called "Jump" is awesome), but this gravity-defiant hit (released in close proximity to Van Halen's "Jump," it should be said) clued us in early on. K.H.
Hot 100 Peak: Number Eight
"Every Breath You Take" stole all the oxygen, but the moody keybs and tiny-cymbal crashes and Sting's 200-pound Greek mythology shout-outs ("You consider me a young apprentice/Caught between Scylla and Charybdis") all added up to "Wrapped Around Your Finger" being the powerful secret hero of the indomitable Synchronicity. It is for the best that 5 Seconds of Summer didn't actually attempt to cover it; and whoever lit all those candles in the video (it was most likely neither Godley nor Creme) hopefully got a raise. The one-two punch of this and "Tea in the Sahara" is the best surprise-bummer-ending album closer of the Eighties. R.H.
Hot 100 Peak: Number 85
Nameless when they played it in 1983 on Late Night With David Letterman (their TV debut), and later tagged "Southern Central Rain" before being abbreviated by singer Michael Stipe, this suggestive, ambling almost countryish song was quickly identified as R.E.M.'s obvious crossover shot (though it only got as far as Number 85 on Billboard). The band's label, I.R.S. urged a move to a bigger, pro-style studio to record second album Reckoning and Pete Buck even used the "Rockman" amp set-up (developed by Boston's Tom Scholz) for his 12-string Rickenbacker on the chiming, inviting intro. Stipe's lyrics were cryptic and doleful till toward the end, when the band locked into an insistent, would-be krautrock drone, with a plinking piano, pealing guitar and Stipe wailing "I'm sorry." This was R.E.M.'s commercial throat-lump moment, when their mystery became not just something to immerse yourself in, but a stance to adopt and buy into. Refusing to lip-sync for the video, Stipe sang live, while his bandmates were obscured by scrims, unwittingly setting in motion the cult of authenticity that would dominate the alt-rock Nineties. C.A.
Hot 100 Peak: Number 37
The blue-eyed-soul Bee Gee made his New Wave move late, with stuttering, silly synth-pop that somehow echoed the then-emergent evolution of both Italodisco (the song went Top 10 in Italy) and Latin freestyle (it was shaped by a team of producers who'd just kicked off the genre with Shannon's "Let the Music Play"). Chirpingly cheerful about boys getting love on a Saturday night, yet sheltering a secret sadness that slips out whenever Gibb grabs angelic high notes, "Boys Do Fall in Love" can also be heard as a male mirroring of Cyndi Lauper's "Girls Just Want to Have Fun." And in its sci-fi video, set in A.D. 2184, people do futuristic things: wearing Devo glasses, for instance, and sliding CDs into a player. C.E.
Hot 100 Peak: Number 6
A simple piano-driven tune written in homage to the Beatles, "That's All" marked the tipping point of Genesis' transformation from prog pomp-masters to pop hitmakers. It was the band's first Top 10 hit in the U.S., as well as the first for Phil Collins as a songwriter (his cover of "You Can't Hurry Love" grazed the top echelon a couple of years earlier). A few months later, Collins would top the chart as a solo artist with "Against All Odds (Take a Look at Me Now)," and remain a ubiquitous presence for the rest of the decade. A.S.
Hot 100 Peak: Number One
"AOR is starting to go more in our direction, which is black-white crossover," Daryl Hall told Billboard in a 1984 story on their Big Bam Boom LP. "Radio is heading more in that direction now than at any time in the past 15 years." He and Oates responded to these shifts with "Out of Touch," the rare tune that becomes a hit on the pop, R&B, dance and adult contemporary charts. With two thick bass lines and drum machine percussion, "Out of Touch" was even a favorite of New York mix-show DJs like Red Alert and the Latin Rascals, who would occasionally play it (or Arthur Baker's dub remix) alongside electro by Hashim and Man Parrish. N.M.
Hot 100 Peak: Number 27
After the English Beat dissolved in 1983, vocalists Dave Wakeling and Ranking Roger formed General Public alongside other refugees from New Wave-era acts like the Clash, Dexys Midnight Runners and the Specials. The Clash's Mick Jones departed the group midway through the recording of their first album, but not before adding guitars to a few tracks, including the deceptively world-weary "Tenderness." Blending sparkling keyboards with Wakeling and Roger's pumped-up melancholia, the track not only laid out the funny-cry-happy appeal of early modern rock, it set the table for similarly quasi-triumphant tracks like Robyn's "Dancing on My Own." M.J.
Hot 100 Peak: Number Three
Billy Joel wrote "Uptown Girl" about his girlfriend at the time, model Elle Macpherson. But the song (released in 1983) came to be more popularly associated with his co-star in the video, Christie Brinkley, who Joel married in 1985. Evidently this Frankie Valli-inspired piece of vocal-group revisionism reminded him of Brinkley as well: The song was dropped from Joel's concert set lists in the mid-Nineties when the couple was splitting up. A.S.
Hot 100 Peak: Number 61
Def Leppard gave their 1981 single "Bringin' on the Heartbreak" a second chance in 1984, capitalizing on their "Photograph" ubiquity by reissuing their second full-length, High 'n' Dry, with a synthesizer-imbued remix. The effect turned a fragile hard-rock power ballad into something huge, and previewed their late-Eighties reign: bombastic production, multi-tracked harmonies and a pop malleability that transcended hard rock. Mariah Carey took it one step further in 2002 when she turned it into a full-on, symphonically orchestrated R&B song. K.G.
Hot 100 Peak: Number 21
A visually striking band, a chorus that's fun to shout, a video with a parents-versus-kids storyline (in the clip, "I wanna rock!" is the headbanger equivalent of clicking your ruby slippers): How could this fail in the MTV era? "We're Not Gonna Take It" was (and remains) an anthem, through and through, with a simplistic, catchy, knuckle-headed melody so primal that the guitar solo just repeats it. Joan Jett and Green Day have riffed on it, "Weird Al" has turned it into a polka and the Broadway musical Rock of Ages made it a staple of the Great White Way. K.G. 152ee80cbc
mario superstar baseball rom download