My Personal Chart Blog, August 1980
**Bolded and Underlined songs were on my top 100 this month in 1980 & the number in parentheses is its position on the chart.
Part 2, Section 1 – The UK and the Many Faces of New Wave
Squeeze/Pulling Mussels From The Shell (2)
Though the movement had begun a few years earlier in the UK, 1980 was the watershed year for its ascent in the States. By the time the album “Argybargy” (a British expression for a lively discussion or argument) came out in early 1980, the band lead by Chris Difford and Glenn Tilbrook, already had 2 albums, 1978’s “Squeeze” and 1979’s “Cool For Cats” and a series of hit singles. I did not know those previous albums and singles until after this album blew up on Boston radio. “Argybary” was the first of their albums to chart in the U.S., reaching #71.
The week of May 17 was when I first bought the album. In the late ‘70s into the early ‘80s, I did a regular airplay chart in addition to my weekly personal chart. I was that geeky music kid that always wanted to discover new music and, of course, I was also extremely interested in stats. Part of it was to see a comparison between what I heard and what the official charts said. The airplay chart started with me spinning the radio dial and keeping a tally of the songs I heard. I still have a lot of those paper charts saved in folders, along with detailed release information. I can’t even fathom how much time I devoted to this stuff.
At some point, I must have started including the spins of the music I owned as well. That week 3 of the songs from the album, ‘Mussels”, “Another Nail In My Heart” (35), and “If I Didn’t Love You” (49) all debuted. Since they were 3 of the 4 singles released in the UK I may have heard any number of them on the radio but it’s likely that ‘Mussels’ was the one getting radio exposure at the time as it was the highest debut at #48. From what I can tell though ‘Nail’ was the first single when the album was released and ‘Didn’t Love” You” the second (at least in the States). That song was featured in an episode of “Breaking Bad”.
‘Mussels’ which went to #1 on my chart only reached #44 in the UK. Even ‘Nail” only peaked at #17 there. Despite the surprising singles chart performance, the album is considered a classic. Along with these 3 songs. 2 other songs from the album were on my chart the week of August 3, “Separate Beds” (56) and “Misadventure” (143). Supposedly “Mussels” was inspired by a”holiday’ lyricist Difford went on. The line “behind the chalet, a holiday’s complete” has led to some feeling there is a double entendre in play. One of my favorite parts is the piano bridge.
Their manager in the early years was Miles Copeland III, brother of Stewart Copeland, the drummer of the Police. In late 1979 that band put out their second album “Reggatta de Blanc” which spawned the UK #1 “Message In A Bottle” and 4 other songs that made my top 100, “Bring On The Night”, “The Bed’s Too Big Without You”, “Walking On the Moon” and “It’s Alright For You” plus a song re-released from their first album “So Lonely”. Miles Copeland was also the Police’s manager and in 1979 formed I.R.S. Records that became responsible for the rise of artists like R.E.M., The Go-Go’s. Fine Young Cannibals and The Bangles.
While the early Police albums were a Reggae-Rock hybrid, another Jamaican music style called Ska was having a huge revival in the UK in 1979 and 80. The style was actually called Two-tone as it was a mix of Ska and Punk. The original Ska music was a precursor to Reggae, born in the late ’50s, and was a popular style in the UK in the early ‘60s. The Two-tone revival was exemplified by bands such as The Specials, Madness, The Selecter, Bad Manners, and The English Beat. These bands amassed over 25 top 10 hits over a 2 to 3 year period between 79-81. At the time they had minimal impact on my personal chart with only The English Beat’s remake of ‘Tears of A Clown” making my top 100, peaking at #26 in April 1980.
Madness was certainly the most prolific of this group of artists, clocking in 17 UK top 10’s (9 in a row over 2 years) and 31 songs making the top 40. Their only #1 on the UK chart, “House of Fun” from 1982, came after that with a #14 in between. They certainly employed a more pop bent to the style overall, certainly evidenced on their one Stateside top 10, “Our House”. A snippet of their 1st UK top 10 “One Step Beyond” is used in 2019’s fantastic cover of Billie Eilish’s “Bad Guy” by the L.A. band The Interrupters. That Ska-Punk version went to #2 on my chart (and should have hit #1). We discuss that song and Ska in general on the “Beyond Radio Presents” Podcast (Castlist #5, Episode 1) released on April 7, 2020.
The Motors/Love And Loneliness (4)
One of the many facets of the New Wave movement came from a subset called Pub Rock. The scene drew from early Rock & Roll and R&B. It was a response against the Progressive Rock and Glam of the early ‘70s. It had a back to basics approach and was fueled mostly by indie record labels. The original scene was supposedly short-lived and was usurped by the Punk scene. The scene did not generate much in the way of radio hits in the UK. The Motors “Airport” was one of them in 1978, reaching #4, though being synth-driven I feel the song was veering more into New Wave territory.
The swirling synth line of “Love And Loneliness” hooked me in. It only peaked at #58 in the UK but would go all the way to #1 on my chart. The album it came from, their 3rd and last, “Tenement Steps” did not even crack the UK album chart. The song was remade by Chris Thompson in 1986 with a more guitar-based approach, with the replete sax solo so prevalent at the time and returned to #1 on my chart. That was featured on the soundtrack of “American Anthem”, a highly derided movie, which starred gymnast Mitch Gaylord who was nominated for a Razzie for his performance. Thompson’s voice would be recognizable from 2 ‘70s hits, Manfred Mann’s 1977 “Blinded By The Light” and his solo ballad “If You Remember Me” from the movie “The Champ” in 1979.
The Motors followed ‘Loneliness” with “Time For Makeup” (68) a bouncy, carnivalesque ditty, that would make my top 10 in the fall of 1980. 2 earlier singles were also covered by other artists. 1977’s “Dancing The Night Away” was done by Cheap Trick and “Forget About You” by teen heartthrob Leif Garrett. That song is extremely reminiscent of the Grass Roots “Sooner Or Later”. One of the members of the band, Bram Tchaikovsky, turned solo in 1979 and scored a top 40 hit in the States, “Girl Of My Dreams”, which did not chart in the UK.
Graham Parker was another artist who came out of the Pub Rock scene. His band The Rumour was formed from the ashes of 3 bands from the scene. One of those, Ducks Deluxe, included 2 future members of the Motors. One of Parker’s earliest songs, the Reggae influenced “Don’t Ask Me Questions” has become one of his more well-known songs but it was his remake of the Trammps 1975 R&B hit “Hold Back The Night” that put him on the charts on both sides of the Atlantic. It was really the band’s 1979 album “Squeezing Out Sparks” that solidified his status. It included “Local Girls” (89), “Discovering Japan” and “Protection”.
The 1980 follow-up album, “The Up Escalator” generated 3 Rock radio hits in Boston with “Stupefaction” (84), “The Endless Night” (87)” and “No Holding Back”. None of those songs charted in the UK but all did moderately well for me. This album was the last with The Rumour, though it was credited as a solo album. The Rumour’s Brinsley Schwarz had his own pub band in the early ‘70s (named after him) that featured vocalist, Nick Lowe. Their 1974 song “(What’s So Funny About) “Peace, Love And Understanding” was made famous later in the decade by Elvis Costello. Lowe, best known for 1979’s “Cruel To Be Kind” was also in the band Rockpile in 1980. He teamed with Dave Edmunds and Billy Bremmer for one album, highly influenced by the music of the late ‘50s and early ‘60s. They would reach my top 75 in 1981 with “Teacher, Teacher” and “Heart”. Another alumnus of Brinsley Schwarz, Ian Gomm had a U.S. hit in 1979 with the #18 “Hold On”. It did not chart in his homeland. He co-wrote “Cruel To Be Kind” with Lowe.
Dave Edmunds had a strong showing in the UK the previous year with his album “Repeat When Necessary”. That album spawned 3 UK hits, “Crawling From The Wreckage”, “Queen Of Hearts” (made famous in the States in 1981 by Juice Newton), and the top 5 “Girls Talk”. That song showed up on 1980 albums by Linda Ronstadt and again, Elvis Costello. Both Costello songs are found on the 1980 album ‘Taking Liberties”.
Costello was prolific during this period though I can say I was not a big fan. It was only in late 1980 that he would reach my weekly top 100 for the 1st time with “Getting’ Mighty Crowded. The following year he made my top 100 of the year with “From A Whisper To A Scream”, a duet with Glenn Tilbrook of Squeeze. All the Costello albums from 1997-1981 were produced by Nick Lowe.
The Vapors/Turning Japanese (14)
Anyone who knows this song thinks it’s a euphemism for masturbation though the songwriter and lead singer David Fenton claims otherwise. He says the song is about someone losing their girlfriend and slowly going crazy. “No sex, no drugs, no wine, no women, no fun, no sin, no you, no wonder it’s dark”, yeah that makes sense. Regardless I love this iconic song. The classic guitar riff, the gongs, the chorus, as you might suspect this went to #1 on my chart a few weeks later.
Considered Power Pop, the Vapors started out in the Pub Rock scene and were discovered by Bruce Foxton of The Jam, one of the most successful bands in the UK coming out of the Punk/New Wave realm. Foxton co-managed the group with John Weller, the father of The Jam’s central figure Paul Weller. Ironically, even with the stature of The Jam, The Vapors eclipsed them in the States by reaching the Top 40 in Billboard, reaching #36 (#3 in the UK and #1 in Australia), though they are truly a one-hit-wonder. 2 subsequent singles, “News At Ten” and “Jimmie Jones” (a song about cult leader Jim Jones) both peaked at #44 in the UK.
The Vapors supported The Jam on their 1979 “Setting Sons” tour. It was the song “Strange Town” (50) from that album they introduced me to the pleasures of the band. The song had peaked at #7 on my chart in June and #15 in the UK in the spring of 1979. From their debut single “In The City”, #40 in May of 1977 to 1982’s final single “Beat Surrender” they had 18 consecutive top 40 singles on the UK chart, and their swan song was 1 of 4 #1’s.
They were a dichotomy in a way because the early songs were rooted in Punk, but their fashion style was very mod, wearing suits and emulating the aesthetic of ‘60s bands like the Kinks. As their sound evolved, they incorporated more R&B and Pop elements (‘Surrender’ is an up-tempo, horn-laden jam-haha). Weller, who started performing in pubs with the band when he was 14, went on to create the successful Jazz/Soul influenced ‘80s band Style Council. Their song “The Paris Match” a smoky piano ballad, perfect for a French café, remains an all-time favorite of mine.
Between the fashion and the move towards the Style Council, the intersection with Roxy Music begins. Bryan Ferry certainly had a similar fashion style and this band’s music veered towards the smooth and stylish side of New Wave. Like The Jam, they had an impressive string of UK top 40 hits, 16 between 1972’s “Virginia Plain” and 1982’s “Take A Chance With Me”. The 1980 album “Flesh And Blood” was the pinnacle for me. This week in 1980 4 songs from the album appeared on my chart. “Same Old Scene (13) and future #1, “In The Midnight Hour” (34) a cover of the 1965 Wilson Pickett tune, “Over You” (63) and “Oh Yeah! (On The Radio)” (66) which follows ‘Scene’ to #1 on my chart.
To my surprise, the original ‘Midnight Hour’ only reached #21 on the Billboard Hot 100. Its stature has certainly elevated over time. Rolling Stone magazine places that song as the #134 greatest song of all time and it has been widely covered. A rollicking version of the song actually appears as the closing track of The Jam’s 2nd album “This Is The Modern World”.
“Same Old Scene” has a great combination of clippy guitar, smooth synth, dreamy vocal, and a subtle groove that really ushered in the New Romantic movement that was spearheaded by bands like Duran Duran and Spandau Ballet in the early ‘80s. ‘Oh Yeah’ evokes romantic imagery, wistfully seeping into our memory of being a teenager in love and connecting to the song on the car radio. Just beautiful.
Roxy Music was inducted to the Rock & Roll Hall of Fame in 2019 finally. Before Roxy Music, Bryan Ferry auditioned to replace Greg lake in the Prog band King Crimson. The band was co-founded by Ferry and Brian Eno, a legend in the music industry, producing albums for Talking Heads, U2, and Coldplay among many others. Eno has teamed with the founder of King Crimson Robert Fripp on 4 instrumental albums as Fripp & Eno and co-produced the 1st Ultravox album with another legendary producer Steve Lillywhite.
Ultravox produced 3 albums with founder and lead singer John Foxx between 1977-79 with commercially disappointing results. It wasn’t until Midge Ure replaced him in 1979 that the band took off. 1980’s album “Vienna”, another New Wave masterpiece. The lush title song is the 1 that solidified their presence on UK radio but the propulsive “Sleepwalk” (116) was their 1st chart hit. As a solo artist Ure has over time had 8 songs make my top 50 of year, 3 of those in the top 10 including my #1 song of 1989 “Just For You” a soaring slice of joy.
Visage was another group that Midge Ure was a member of at the time and co-wrote their debut and biggest hit “Fade To Grey”. He co-founded it with Rusty Egan who was Dj’ing and hosting Roxy Music/David Bowie nights along with the band’s eventual lead singer Steve Strange. What’s funny about this song is that as I was listening to it and doing research my husband said it sounded like Kelly Osbourne’s 2005 single “One Word”, which he loves. Clearly, he was not the only one as there was an out of court settlement to pay royalties to the band. Kudos John.
A New Zealand band, Mi-Sex took their name from the Ultravox song “My Sex”. Their one international success was the song “Computer Games” (41) which topped the charts in Australia. The lead singer Steve Gilpin won a New Zealand talent contest in 1972 called “New Faces” and then went on to perform on the local cabaret circuit. When the band first formed in 1978 as Fragments Of Time the disparate influences came from heavy metal, the progressive sound of Yes, and the Post-Punk sound of early Ultravox. In the end, their rise to fame was steeped in New Wave. In 1992 Gilpin died from complications from a car accident.
The song “Computer Games” also reminds me of the song “The Plastic Age” by The Buggles. As many people know, their hit “Video Killed The Radio Star” was the 1st video played on MTV. That song peaked on my chart at #41 in March 1980. The Buggles was a duo consisting of Trevor Horn and Geoffrey Downes. The interesting progression here is that both became members of Yes soon after for the recording of the album “Drama” that was released in mid-August. Horn took over lead vocals from Jon Anderson. I charted 2 songs, “Tempis Fugit” and “Into The Lens”, reaching #26. Another song, “Man In a White Car” was written about seeing Gary Numan in his Stingray. Numan was on my chart this week with “Are Friends Electric?” (85). Numan said that it’s a song about a robot prostitute and the BBC would not have played it if they had known. His 1st chart single, it reached #1 in the UK before his Stateside hit “Cars” (another UK #1). After Yes, Geoffrey Downes went on to the supergroup Asia with John Wetton who had spent time with the aforementioned groups Roxy Music and King Crimson.
The video for “Video Killed The Radio Star” was directed by Australian Russell Mulcahy, a famed director. A funny aside about him is that this past weekend we had our friend Chris over to celebrate his and John’s birthdays (8 days apart) and he talked about the cult movie Highlander. We did not remember the movie and he spoke of what a great soundtrack it had. Of course, once I decided to dig into Mulcahy’s history I discovered he directed that movie. He also directed a cornucopia of music videos; many of the iconic Duran Duran videos, a ton for Elton john including “I’m Still Standing”, one of the 1st videos to be considered a mini-movie (“Vienna” by Ultravox), and “Turning Japanese”. Go figure.
Part 1, Section 3, Big Albums continued, more Background Cross-Pollination and the Party Record of the Year
Boz Scaggs got his start in the mid-60s with a failed solo album before teaming up with childhood and college friend Steve Miller as part of his band on their 1st2 records in 1968 and 1969. The early Steve Miller Band albums were vastly different than the hit-making machine of the ’70s, steeped in Psychedelic Blues instead of heartland Classic Rock. Scaggs wrote and sang lead on a couple of tracks from each album, including “Steppin’ Stone”. Going solo again in the late 60s my introduction to him was the song “Dinah Flo” from 1972. This song indicated a direction change, one to a more soulful Pop stance. It only reached #86 on the Hot 100 but certainly received its share of airplay on NYC rock station WNEW, as did 1974’s ‘You Make It So Hard (To Say No”).
His true breakthrough came in 1976 with the album “Silk Degrees” that spawned 5 hit songs. His original version of “We’re All Alone” was not released as a single but received substantial airplay and is my preferred version, though I do like the Rita Coolidge hit version as well. 5 of the songs from the album and all 4 single releases were co-written by David Paich who would go on to form Toto the following year. 1980 became another big year for Scaggs with the release of the album “Middle Man” and a contribution to the “Urban Cowboy” Soundtrack. 2 of those songs, the rocker “Breakdown Dead Ahead” (45) and the movie ballad “Look What You’ve Done To Me” (6), both reached #1 on my personal chart and made my top 10 of the year. The entire album, along with the soundtrack single, was co-written by Scaggs and David Foster while members of Toto also contributed as musicians, most notably Steve Lukather. He also helped write 1 song from the album. All 9 songs from the album placed on my personal chart with this week boasting 5 of them (‘Breakdown’, “Jojo” (48), a song about a pimp on Broadway, “Middle Man” (91), “Isn’t It Time” (111), and ”You Got Some Imagination” (141) ).
Scaggs received other star assists as well from Carlos Santana, Ray Parker Jr., and members of the Eagles (backing vocals on ‘Look’). That song was written and recorded in 1 night. The studio had requested the song for the shooting of the scene the next day. Later in the year, he released “Hits”, a greatest hits package with the new song “Miss Sun”. After that, it wasn’t until 1988 that he released new music again. His 1st name is an abbreviated version of a nickname he got as a child, Bosley.
Quite a few of the performers on the Boz Scaggs songs showed up on the album “21 At 33” by Elton John. The title meaning he had 21 album/EP releases by the age of 33. Lukather and Paich from Toto, David Foster, members of the Eagles, Bill Champlin of Chicago, and a regular Elton contributor James Newton Howard all appeared. This was an underrated album of his in my opinion. It only generated 1 true hit with the easy-going “Little Jeannie” (36). That was only his 2nd top 10 on the Hot 100 since 1976, a period where he dabbled in Disco and wrote with songwriters other than Bernie Taupin. ‘Jeannie’ was co-written with Gary Osborne, whom he had collaborated with on the 1978 album “A Single Man”. His 1979 disco album “Victim Of Love” actually had no songs written by John on it and none have ever been performed live.
The 2nd single from “21 at 33” was “Sartorial Eloquence (Don’t Ya Wanna Play This Game No More?)” (3), which would go to #1 on my chart the following week. It has stood up as one of my favorite songs by him, but barely made the Hot 100 top 40 at #39 and missed the top 40 in the UK at #44. It does have an interesting history though, becoming the theme to the BBC’s annual coverage of the World Snooker Championship. Snooker is a cue sport like pool, with the added level of impeccably dressed participants. Sartorial means “of or related to a tailor or tailored clothing”. So, it makes total sense that one of my favorite songs of 1975 was a song called “Snookeroo” by Ringo Starr, another song relating to the game AND written by Elton John and Bernie Taupin. It was coupled with “No-No Song” and a double-sided single in the States, reaching #3 on the Hot 100. It did not chart in the UK and surprisingly through his solo career, Starr did much better on the charts overall in the U.S.
The lyrics to ‘Eloquence’ were written by Tom Robinson. His band had a handful of UK top 40 hits, their debut single “2-4-6-8 Motorway” reaching #5 in 1977. I must remember this song from airplay on WBCN and WFNX in Boston as I know it well, but I never charted it back during my college days. Robinson, who is gay, attempted suicide at the age of 16 when homosexual activity was a crime in the UK. In ‘Motorway’ he references a gay truck driver and 1 of his most popular songs is “Glad To Be Gay”.
Another favorite from “21 at 33” is “Two Rooms At The End Of The World” (10), 1 of 3 songs on the album reuniting John with Bernie Taupin. The other 2, “White Lady White Powder” and “Chasing The Crown” which would debut the following week, would make 5 top 20s on my chart in 1980, 4 of which would make the top 10. These 3 are all upbeat Pop-Rockers. I can’t decide if I like ‘Rooms’ (horn-laden with a Phil Collins vibe) or ‘Crown’ (rollicking with urgent female background vocals) better.
Another album that had all of its songs reach my personal chart (and all 7 made the top 15) is “Hold Out” by Jackson Browne. I can’t say that would be the case this time around. It is already showing signs of weakness with “Boulevard” (52) which originally peaked at #5 and “Hold Out” (100)that made it all the way to the top. That song will at least make it to the top 25, I suspect. The song that will probably perform the best is “Disco Apocalypse” which was the last song I charted from the album. That could probably return to the top 10. Browne has connections to Linda Ronstadt, The Eagles, and a myriad of other artists, being a prolific songwriter. In 1966 he was a member of the Nitty Gritty Dirt Band. In the summer of 1980, they had a top 25 hit “Make A Little Magic” with the aforementioned Nicolette Larson. This was the last week that the Eagles “In The City” (126) was in my top 150, after peaking at #2 in June. That was my last charted song from their swan song album “The Long Run”. Joe Walsh was featured on lead vocal and he is represented on the chart this week as well with his solo song “All Night Long” (73).
Bob Seger was a co-writer on the Eagles 1979 hit “Heartache Tonight”. The Detroit rocker’s album “Against The Wind” was a major player for me back then with 9 songs charting; the best showing the title track (117) that peaked at #5. This week 4 others are on the chart “You’ll Accomp’ny Me” (123), “No Man’s Land” (108), “Long Twin Silver Line” (77) and “Betty Lou’s Gettin’ Out Tonight” (47). Like Browne, he suffers in the present day, I imagine from Classic Rock burnout. “Fire Lake” has seen the biggest erosion, down from #8 in 1980 to a #58 peak now.
These major players on my 1980 personal chart (Billy Joel, Hall & Oates, Boz Scaggs, Elton John, Jackson Browne, and Bob Seger) all got their starts in the late 60s and early 70s, spending the better part of a decade honing their craft before reaching their peak. I can’t say this is as true nowadays. Likewise, the J. Geils Band got their start in the mid-60s. The band started as an acoustic blues trio called Snoopy and the Sopwith Camels. I love this, being a big Peanuts fan. By the end of the decade they had moved towards electric blues and through the 70s solidified their stance a bar band with a number of well-known party songs starting with 1971’s “Looking For A Love” and continuing with 1973’s “(Ain’t Nothin’ But) a House Party”. They really came into their own commercially with the album “Love Stinks”. This was the biggest album for me that year, perhaps because I was a newcomer to Massachusetts, their home base. They clocked 3 #1’s and a #2 on my chart and placed 5 songs in my year-end top 100. “Come Back” had the right ingredients (dance pulse and rock swagger) to become my #1 song of the year. I love it when those 2 elements come together exactly right. Seth Justman’s keyboard is just killer in this gem.
Lead singer Peter Wolf started out as a late-night DJ on Boston’s WBCN in the late 60s and was married to Faye Dunaway from 1974-1979. Perhaps the song “Love Stinks” was written in response to that break-up. This was another #1 on my chart for the band and just missed the top 10 this time around. Both of these songs had minor national top 40 impact, reaching #32 and #38 but they were ubiquitous in Boston. There have been comparisons made to the Kingsmen “Louie Louie” and Nirvana’s “Smells Like Teen Spirit” but to me, either is a stretch. The song has been used in a number of movies, most notably “The Wedding Singer”.
The album is a true party record. The guitar/keyboard/harmonica combo is a winner. The hand-clappy “Just Can’t Wait” (19) was the 3rdsingle release and another #1 for me. “Till The Walls Come Tumblin’ Down” (28) and “Takin’ You Down” (a #2 peak on my chart) both feature response backing vocals (ooh yeah) and feel like good time drinking songs. “No Anchovies Please” is a great unexpected comedy piece (“that bowling ball, it’s my wife!”). “Night Time” (90), coming off a #19 peak in June is a sped-up remake of the Strangeloves 1966 top 30 hit. 1 of the Strangloves was Richard Gottehrer, who if you remember was Blondie’s original producer and co-founded Sire Records. Another unexpected connection that makes my life so great.
Part 1, Section 2, Big albums, Dabbling in Alternate Styles and Six Degrees of Toto and Paul Shaffer (and a Country gets some Shout Outs)
One final note on Blondie (maybe), “Dreaming” was supposedly inspired by Abba. In late 1979 the biggest band in the world released their 2nd Greatest Hits package which featured the song “Gimme Gimme Gimme (A Man After Midnight)” which surprisingly did not make an appearance on the Billboard Hot 100, though in the UK it made it to #3. It is one of 3 songs to reach my chart in 1980. “Chiquitita” rose to #17, ‘Gimme’ #19, and “The Winner Takes It All” debuted on Aug. 10 and undoubtedly would do better now. I’ve always been an Abba fan (my husband was obsessed with them when he was younger) but seeing the Boston production of “Mamma Mia” took things to a different level. It was very emotional and of course, lead to the trend of Broadway shows based on a catalog of music.
‘Gimme’ was covered by Cher in 2018 on her Abba tribute album “Dancing Queen” and brought the song back onto the Dance chart, peaking at #4. In early 1979 Cher went down the disco path with her album and hit title track ‘Take Me Home” (a comeback for her). The album also produced a minor hit with “Wasn’t It Good”. It was said that she was pressured into recording this one. 9 months later she released a second album, “Prisoner” that was promoted by another Disco song (but with a rock edge), “Hell On Wheels”. Though another non-starter for her, only reaching #59 on the Hot 100, it was featured in the movie “Roller Boogie” and I really enjoyed this one and still do (#31 in February 1980). Funny this album did not chart at all and there was a tug of war between Disco and a New Wave edge on this one. The title song was written by David Paich of Toto. Cher would not chart again until 1987 with “I Found Someone” (comeback #2 of 3?).
Joan Armatrading has a connection Blondie in that her 1980 album and song “Me, Myself, I” (60) were produced by Richard Gottehrer who produced their 1st2 albums. He also formed Sire Records with Seymour Stein in 1966, which would go on to become one of the most influential labels in the burgeoning New Wave and Punk scene with artists like The Ramones and Talking Heads. Armatrading took on a different approach from her earlier Folk driven music on this release, opting for a Rock driven Pop style and this became her most successful album. ‘Myself’ became her 2nd hit in the UK, after 1976’s “Love And Affection” reached #10. In 1983 she would almost make the top 10 again with “Drop The Pilot”, a song that went to #1 in South Africa. That was also her only song to reach the Hot 100 in the States. She had a bigger presence in the UK, as did the Ramones.
The NYC band who were inducted into the Rock & Roll Hall of Fame in 2002, had their most commercially successful album in 1980 with ‘End Of The Century”. The album produced their biggest UK hit, a remake of the Ronettes “Baby I Love You” (the album was produced by the infamous Phil Spector who wrote the song and had been married to Ronnie Spector of the Ronnettes) . More importantly, it featured “Do You Remember Rock & Roll Radio?” and included their song “Rock & Roll High School” from the movie of the same name. Another movie from 1980, “Times Square” (more on that in another post), featured one of their signature songs, “I Wanna Be Sedated”. The Talking Heads reached #70 on my chart in February 1980 with “I Zimbra”. From the 1979 album “Fear Of Music” that also sported the songs “Life During Wartime” and “Cities” (when I re-do my 1979 charts these will do quite well).
I had no idea Linda Ronstadt would lead me down this path. Another album that shaped much of late ’79 into 1980 was “X-Static” by Hall & Oates. This was considered the blue-eyed soul duo’s foray into Disco territory. After their initial success in the mid-70s’, they were languishing a bit towards the end of the decade, placing a couple of songs in the lower reaches of the Pop top 20, “Wait For Me” the 1st single from X-Static hit #18. It would place at #10 on my 1980 year-end chart. I was certainly a fan, but this album started a path to the duo becoming my favorite artist of the early ’80s. While ‘Wait’ was the most straight-forward Pop-Rock song, the dance element of the other big 3 songs from the album to chart was quite enjoyable. The mix of melody, guitar, dance beat, and Pop sensibility struck a chord. “Who Said The World Was Fair” (#15), “Portable Radio” (39) which peaked at #5 and “Running From Paradise (#2) made it a big year for the boys.
Another version of “Portable Radio” (72) was starting to move up my chart this week, by the female-fronted South African (twice in 1 post) band Clout. The band had a major international song in 1978 with the song “Substitute”, a UK #2 and the #2 song of the year in their homeland. Of course, it had much less success in the States, only reaching #67. That song is actually a remake of a Righteous Brothers song from 1975. That duo also falls under the blue-eyed soul umbrella. Clout’s 1st single was “Since You’ve Been Gone”, a song made most famous by the Hard Rock band Rainbow in 1979 (though the Missouri band Head East had the best chart position in the States). Rainbow had just fallen off my chart in mid-July with “All Night Long” after a #51 peak. Members of the band have at times been part of Deep Purple and Black Sabbath and are a who’s who of classic rock giants (Richie Blackmore, Ronnie James Dio, Roger Glover, Cozy Powell, and Joe Lynn Turner). Turner did a lot of backing vocal work in the mid-80s to early 90s, appearing on Cher’s 1987 comeback album.
“X-Static” was the 1st Hall & Oates album to feature G.E Smith as their lead guitarist. He was part of their band through 1985 when he became the music director for SNL and the leader of the Saturday Night Live Band. That lasted for a decade until 1995. His connection to SNL started way before when he became the guitarist for Gilda Radner’s Broadway show, “Gilda Live”. They married in 1980 and divorced in 1982.
Another person who was heavily involved in the Radner’s Broadway show was Paul Shaffer, he himself a member of the Saturday Night Live Band between 1975 and 1980. His relationship with Radner began in 1972 when he was chosen to be the music director of the Toronto production of Godspell. That production featured Victor Garber (before he assumed the Jesus role in the movie), Radner and a quartet of SCTV performers, Martin Short, Eugene Levy, Andrea Martin, and Dave Thomas. It also featured Howard Shore on saxophone who was the SNL music director in the late 70’s. What 1 little production can lead to! If you’ve read other blog posts of mine then you know how Garber has popped up before, in the Canadian trio the Sugar Shoppe. Shaffer was also heavily involved in the Blues Brothers albums and movie. The John Belushi/Dan Akroyd band born out of SNL managed 4 charting songs on the Hot 100 including “Soul Man” (#14 in 1979) and “Gimme Some Lovin’” (133)(#39 in 1980).
Cindy Bullens was a female Pop-Rocker and background vocalist that had some success in the late 70s’-early 80s that Shaffer worked with on her 1978 album “Desire Wire”. That spawned the single “Survivor”, a song that made my top 40 of the year in 1979. 3 songs from her 2nd album “Steal The Night” made my chart in 1980. ‘Too Close To Home” (#10 peak) and “Trust Me” (#29 peak) were in the Benatar realm, and “Raincheck On Romance” (146) had an early 60’s girl group vibe. In 2012 Bullens came out as a transgender man, changing his name to Cidny. A few more interesting things about Bullens. He/she was 1 of the Sex-O-Lettes, who were featured on the Disco Tex song “Get Dancin’” my #13 song of 1975, provided backing vocals on Elton John and Kiki Dee’s “Don’t Go Breaking My Heart” and sang on a number of songs from the Grease soundtrack, most notably “It’s Raining On Prom Night”.
In the early 80s,’ Shaffer became the leader of the World’s Most Dangerous Band, the house band for the David Letterman show. His second-in-command, starting in 1986, is drummer Anton Fig. Fig was born in Cape Town, South Africa (a hat trick!), and went to the New England Conservatory of Music in Boston before moving to New York. There he became part of the band Spider, fronted by another South African, Amanda Blue. They scored a few minor hits in ’80 and ’81. “New Romance (It’s A Mystery)” had just fallen off my chart the previous week after a #46 peak. Fig also played drums on most of the tracks on Kiss’ 1979 and 1980 albums “Dynasty” and “Unmasked” including “Shandi” (144) because of Peter Criss’ drug issues. I can’t finish this thread without mentioning that Anton Fig and Paul Shaffer met during 1980 recording sessions for Joan Armatrading.
Another member of Spider, Holly Knight became a well-known songwriter and was inducted in the Songwriters Hall of Fame in 2013. 2 of her songs from the 2ndSpider album became hits by other people. “Change” by John Waite is 1 of my sister’s favorite songs of all-time. “Better Be Good To Me” would help solidify Tina Turner’s mid-80s comeback. That song was co-written by Mike Chapman which brings us back to Blondie (you can never get away from anyone in the music business). Chapman, who was a force in the Glam Rock era in the ’70s with his songwriting partner Nicky Chinn, continued his success solo as a producer and songwriting partner. He produced Blondie’s breakthrough album ‘Parallel Lines” as well as “Eat To The Beat” and subsequent releases. Harry referred to him as a dictator.
On both those albums, the legendary Robert Fripp contributed. Fripp was the founder of the Progressive Rock pioneering band King Crimson. Through the years he has worked with a lot of artists on the edge of Pop like David Bowie Peter Gabriel, and the Talking Heads. In 1980 Daryl Hall released his solo debut, “Sacred Songs” (59) which was produced by Fripp. It had been recorded in 1977 but was shelved because the record company said it was not commercial. Fripp and Hall were not happy and circulated tapes of the album to music journalists and DJs. For Fripp, it was loosely intended as part of a trilogy with Peter Gabriel’s 1978 album and Fripp’s solo debut in 1979 “Exposure”. Hall contributed vocals on 2 tracks from the Fripp album though it was supposed to be on most tracks, but Hall’s record company RCA put pressure on them. “You Burn Me Up I’m A Cigarette” is a rollicking rave-up. Hall’s album did not produce any singles though it was well-received. I charted another song, “Something In 4/4 Time” and from my perspective, both that and “Sacred Songs” have commercial appeal, even if a bit of a departure.
Toto factors into the Hall & Oates album with an assist from Steve Porcaro, 1 of the 3 brothers who founded the band. Late 1979 saw the release of the band’s 2ndalbum “Hydra” which did not match the success of their debut and only produced 1 charting single, the jazzy “99”. On the Hot 100 it peaked at #26, on my chart #25. The song was a tribute to an obscure 1971 movie from George Lucas, “THX 1138”. I guess the 1st single was “St. George and the Dragon” which followed more in line with previous hits but garnered no action. Another flop album in 1981 could have spoiled the party but everyone knows they came back in 1982 with “Toto IV”.
There was an obscure band that had 1 album in 1980, falling somewhat in line with Toto but alluding to a prevailing Pop influence over the next 2 decades called Airplay. 1 of the members of this band was David Foster, who would become a premier producer over the next 40 years and eventually marry Katherine McPhee of American Idol fame last June, his 5th wife. Oh and he produced Hall & Oates album “X-Static”. His 1st brush with success was part of the band Skylark who had a top 10 song in 1973 with “Wildflower”, not a fav of mine. The 1st 2 songs on the Airplay album, “Stranded” and “Cryin’ All Night” were totally Toto-esque but the 2 singles that didn’t chart (“Should We Carry On” and “Nothin’ You Can Do About It”) speak to the sound of Chicago, Kenny Loggins, and countless other artists through the ’80s and beyond. He factors into the next artist in a big way, as do members of Toto. Before this break, Foster teamed up with Bill Champlin of Chicago and his Airplay co-founder Jay Graydon to write the Earth, Wind & Fire song “After the Love Has Gone”, which also appears on the Airplay album. Like the Toronto production of “Godspell”, from seemingly small beginnings….
Part 1, Big albums, Dabbling in Alternate Styles and Six Degrees of Toto and Paul Shaffer
Billy Joel/Sometimes A Fantasy (1)
This was the summer between my freshman and sophomore years of college and the music landscape was changing. Having moved from New Jersey to Boston in the fall of ’79 I discovered 3 essential things in my music life. Used record stores, small local clubs with live music in a thriving music town, and a different kind of radio palette than I was used to from NYC radio. Of course, the Pop, Dance, and late 70’s AOR bands were all part of it but 3 radio stations were offering a wider mix of rock music; WBCN, WCOZ, and the very local WLYN which would morph into the influential 80s’/90s’ station WFNX.
My personal chart was becoming more diverse because of this and expanded to 200 songs per week on the week of Oct. 21, 1979 (my #1 song that week was “The Main Event” by Barbra Streisand). With so many songs my chart was becoming slower moving so by the beginning of 1980 it might take a song 5 months to reach the top of my chart. In the years since my chart has become much faster paced. To illustrate the point, the top 10 from my original chart for the week of Aug. 3 had 7 songs that had peaked at radio in March, April, and May. Here they are:
2 DAN FOGELBERG Heart Hotels my
3 BOZ SCAGGS Breakdown Dead Ahead my
4 BILLY JOEL You May Be Right ap
5 J. GEILS BAND Come Back mr
6 THE CLASH Train In Vain (Stand By Me) my
8 CHRISTOPHER CROSS Ride Like The Wind ap
9 J. GEILS BAND Love Stinks my
I started creating an updated chart for each week from that period last fall when I began working on the retro personal charts for the website. These move more like my current charts do so the music is much timelier to the date. And certainly, my view of songs has changed with quite a number of songs that never charted for me back then that have become favorites making impact, and conversely, some songs that did well with my 19-year-old self have fallen out of favor.
There were quite a few huge albums that generated 6 or more songs on my chart back then. Ones like “The Wall” and “Against The Wind” I will cover in other posts. The above list features 4 artists whose albums were huge for me at the time. Billy Joel’s “Glass Houses” was one where all 10 songs from it charted for me. Clearly, Joel was a holdover of my NYC radio days. Being a Long Island guy, he was ubiquitous.
Even with that, he had become an international superstar and this album was a departure in style for him. He incorporated a rockier New Wave edge to a bulk of the album, definitely a thing at that moment in time. New Wave and Punk had been slowly rising in popularity in the late 70s’ (much quicker in the UK than the States). The #1 song of 1979 was “My Sharona” by The Knack and M’s “Pop Musik” was another Pop #1. It was typical for artists to jump on stylistic bandwagons as their careers progressed with varying results. ’79 was still early in the process as the next closest songs with that influence on Billboard’s Hot 100 were ‘Let’s Go” by the Cars which peaked at #14 and “Driver’s Seat” by Sniff ‘N The Tears, reaching #15.
It was perfect timing for Joel because he achieved his 1st Hot 100 #1 with “It’s Still Rock ‘N Roll To Me”. It spent 2 weeks at the top and fell to #2 this week in 1980. This is one that did not hold up for me. It reached #9 on my chart 40 years ago but couldn’t rise above #70 this time around. This was true of the 1st single as well but to a lesser extent. “You May Be Right” reached #17 on the 2020 version of my chart, while it spent 3 weeks at #1 back then.
“Sometimes A Fantasy”, the 4th single from the album is one of the most New-Wavey of the songs on the album and it holds up nicely for me, reaching the summit in both 1980 and now. The song about phone sex actually hit #1 on Feb. 8, 1981, on the old charts but struggled to reach the Hot 100 top 40, finally topping out at #36. The actual #1 on the original Aug. 3 chart was another from the album, “Close To The Borderline” (20), and still made it into my top 5 now. It has a nice staccato guitar lick and a somewhat affected vocal by Joel. He received the Grammy for Male Rock Vocal Performance for the album.
The ballad “Through The Long Night” (148) is a stunning example of a fall from grace. It was #2 on my chart at the beginning of October that year and is struggling to stay in the top 150 right now. The Latin-tinged “Don’t Ask Me Why” became a #1 Adult Contemporary song in the fall and was released as the 3rd single at the end of July. It too may have a hard time making inroads now.
A song that should do equally as well as the 1st time around is “All For Leyna” (debut-81) which made it to #9. Another more up-tempo tune. plus more piano-driven, this was released as a single in Europe and hit #40 in the UK and #16 in Spain. Here it was the B-side of ‘Fantasy’.
Another major artist who took the New Wave direction on her 1980 album “Mad Love” was Linda Ronstadt. She was nominated for Best Female Rock Vocal Performance at the Grammys in 1981 for the 1st single “How Do I Make You”, a Hot 100 #10 that, according to the songwriter Billy Steinberg, was influenced by “My Sharona”. She lost to Pat Benatar (who won the award 4 years in a row between ’81- ‘84. Both ladies had a hard time recreating their original luster on my chart. ‘Make You’ and Benatar’s “You Better Run” (122) made my top 10 last time out. Neither made the top 30 this time. I did not know that this song was a remake, done by the Garfield, NJ (right across the river from my hometown of Passaic) band the Rascals. It was the follow-up to their #1 song “Good Lovin’” and reached #20 in 1966. It fared better than Benatar’s version which only reached #42.
Ronstadt often turned cover versions of older songs into bigger hits. This was no exception on “Mad Love”. The other 2 single releases were remakes. “Hurts So Bad”, originally by Little Anthony and the Imperials, beat the peak of the original on the Hot 100 by 2 points (#8 vs. #10) and “I Can’t Let Go” (32)made the top 40 at #31, while the 1966 version by the Hollies just missed it at #42. That song was co-written by Chip Taylor who also wrote the hits “Wild Thing” by the Troggs and “Angel of The Morning” by Merilee Rush (and subsequently Juice Newton). Taylor is the brother of actor Jon Voight and uncle to Angelina Jolie. The Hollies former lead singer Allan Clarke is moving up my Aug. 3 chart with “Slipstream” (54) that did not make my chart back in the day.
The Ronstadt album at the time had the distinction of having the highest debut on the Billboard album chart for a female artist at #5. Other cover tunes on the album include 3 from Elvis Costello (including “Girls Talk”-both had minor chart success for me), 3 from the new wave band the Cretones (their “Real Love” made it to #79 on the Hot 100 earlier in the year ), and 1 from Neil Young (never been a fan).
An oft collaborator with Ronstadt was Andrew Gold. He was an instrumentalist and arranger on a number of her big 70s albums. He and singer Nicolette Larson both provided backing vocals on “Mad Love”. Larson had a top 10 Pop hit in 1979 with “Lotta Love” and a handful of AC and Country hits over the course of the 80s’. Her “Dancing Jones” could chart for me now. Gold and Larson were briefly engaged in the early 80s’ and unfortunately, both died at young ages. Gold died in his sleep at age 59 after being diagnosed with kidney cancer in 2011 and Larson in 1997 at 45 from liver failure.
On this week’s chart, Gold was represented by the Pop-Rocker “Kiss This Thing Goodbye” (18), a former #1 on my chart. His greatest success would come when his 1978 moderate hit “Thank You For Being A Friend” was chosen as the theme to the hugely popular sitcom “The Golden Girls”. He also wrote and recorded the theme to the show “Mad About You” (“Final Frontier”). In the 80s’ he was in a duo called Wax, with Graham Gouldman on 10cc. In 1987 they scored a UK #1 and on my personal chart as well, with “Bridge To Your Heart”. This remains a big personal fav of mine as well as 1986’s “Ball And Chain”. Gold’s mother was Marni Nixon who provided the singing voice for Natalie Wood, Deborah Kerr, and Audrey Hepburn in “West Side Story”, “The King And I” and “My Fair Lady” respectively.
It has been said that Ronstadt’s vocal on “How Do I Make You” was fashioned after Deborah Harry of Blondie. In 1980 the New York band was in the middle of their career peak that spanned ’79-’81. Unlike Ronstadt and Benatar, Blondie has fared better on the modern-day take on my 1980 charts. “Atomic” (69) was coming off its #18 peak from a month earlier and was their 3rd UK #1. Earlier in the year, they went to #7 with “The Hardest Part” and “#32 with “Call Me”, their Disco-fied Hot 100 #1 from “American Gigilo”. ‘Part’, a song about an armored car robbery, is definitely my favorite Blondie track. It was the 2nd single from their album “Eat To The Beat” in the States (“Dreaming” was the 1st).
In the UK they went with “Union City Blue” as the 2nd single, making it to #13. The B-side was a cover of Donna Summer’s “I Feel Love”. Summer’s version was co-written and produced by Giorgio Moroder. He also performed those tasks on “Call Me” which spent 6 weeks at #1 on the Hot 100 and ended up as the #8 song of the decade. Before Moroder collaborated with Harry on the movie theme the offer had been given to Stevie Nicks, though she turned it down. The following #1 on the Hot 100, Lipps Inc. “Funky Town”, did much better with me this time around, rising to #14. In 1980 it only managed to peak at #128.
My Personal Chart, New Version
August 3, 1980
2 1 BILLY JOEL Sometimes A Fantasy 8
1 2 SQUEEZE Pulling Mussels From The Shell 12
5 3 ELTON JOHN Sartorial Eloquence (Don’t You Wanna Play This Game No More) 6
3 4 THE MOTORS Love And Loneliness 12
6 5 IRENE CARA Fame 10
7 6 BOZ SCAGGS Look What You’ve Done To Me 8
4 7 GENESIS Misunderstanding 14
10 8 AIR SUPPLY All Out Of Love 8
11 9 BENNY MARDONES Into The Night 8
12 10 ELTON JOHN Two Rooms At The End Of The World 8
16 11 IRENE CARA Hot Lunch Jam 6
8 12 ELECTRIC LIGHT ORCHESTRA I’m Alive 13
19 13 ROXY MUSIC Same Old Scene 6
20 14 VAPORS Turning Japanese 5
17 15 GENESIS Turn It On Again 11
18 16 DEVO Whip It 10
24 17 KENNY LOGGINS I’m Alright 5
14 18 ANDREW GOLD Kiss This One Goodbye 12
25 19 J. GEILS BAND Just Can’t Wait 5
9 20 BILLY JOEL Close To The Borderline 17
22 21 LINDA CLIFFORD Red Light 6
21 22 TOMMY TUTONE Angel Say No 10
32 23 VARIOUS ARTISTS I Sing The Body Electric 3
13 24 B-52’s Dance This Mess Around 12
26 25 PRETENDERS Cuban Slide 14
29 26 EDDIE RABBITT Drivin’ My Life Away 8
43 27 FLASH & THE PAN Welcome To The Universe 5
27 28 J. GEILS BAND Till The Walls Come Tumblin’ Down 11
15 29 B-52’s Rock Lobster 15
31 30 JERMAINE JACKSON Let’s Get Serious 10
40 31 DAN FOGELBERG Beggar’s Game 9
33 32 LINDA RONSTADT I Can’t Let Go 7
41 33 QUEEN Play The Game 7
34 34 ROXY MUSIC In The Midnight Hour 9
38 35 SQUEEZE Another Nail In My Heart 9
23 36 ELTON JOHN Little Jeannie 14
64 37 QUEEN Another One Bites The Dust 3
46 38 OLIVIA NEWTON-JOHN Magic 10
28 39 HALL & OATES Portable Radio 16
48 40 BILLY SQUIER Who’s Your Boyfriend Now 9
50 41 MI-SEX Computer Games 12
44 42 DAN FOGELBERG Times Like These 11
37 43 THE BABYS Midnight Rendezvous 14
30 44 SOS BAND Take Your Time (Do It Right) 12
36 45 BOZ SCAGGS Breakdown Dead Ahead 19
52 46 DIANA ROSS Upside Down 6
47 47 BOB SEGER Betty Lou’s Gettin’ Out Tonight 8
51 48 BOZ SCAGGS JoJo 11
57 49 SQUEEZE If I Didn’t Love You 6
39 50 THE JAM Strange Town 15
42 51 STEVE FORBERT The Sweet Love That You Give 12
60 52 JACKSON BROWNE Boulevard 6
96 53 PAUL SIMON Late In The Evening 2
66 54 ALLAN CLARKE Slipstream 11
62 55 ELECTRIC LIGHT ORCHESTRA On The Run 8
70 56 SQUEEZE Separate Beds 5
72 57 JOY DIVISION Love Will Tear Us Apart 5
77 58 TUBES & OLIVIA NEWTON-JOHN Dancin’ 3
56 59 DARYL HALL Sacred Songs 8
63 60 JOAN ARMATRADIING Me Myself I 9
67 61 ROBIN LANE & THE CHARTBUSTERS When Things Go Wrong 9
69 62 B-52’s Planet Claire 7
58 63 ROXY MUSIC Over You 12
new 64 ELECTRIC LIGHT ORCHESTRA All Over The World 1
35 65 FLASH & THE PAN Media Man 14
86 66 ROXY MUSIC Oh Yeah (On The Radio) 3
68 67 TOUCH (Call Me) When The Spirit Moves You 9
89 68 THE MOTORS Time For Make Up 4
45 69 BLONDIE Atomic 12
74 70 IAN HUNTER & ELLEN FOLEY We Gotta Get Out Of Here 11
57 71 OZARK MOUNTAIN DAREDEVILS Take You Tonight 14
87 72 CLOUT Portable Radio 3
61 73 JOE WALSH All Night Long 11
49 74 BOB SEGER Nine Tonight 13
71 75 BLUE OYSTER CULT Here’s Johnny (The Marshall Plan) 6
90 76 JOHNNY LEE Lookin’ For Love 4
75 77 BOB SEGER Long Twin Silver Line 11
80 78 NEW MUSIK Straight Lines 4
54 79 PINK FLOYD One Of My Turns 14
91 80 JIM CARROL BAND People Who Died 5
new 81 BILLY JOEL All For Leyna 1
84 82 DEVO Girl U Want 4
93 83 AMBROSIA You’re The Only Woman 4
76 84 GRAHAM PARKER Stupefaction 7
79 85 GARY NUMAN Are Friends Electric 7
55 86 LITTLE RIVER BAND It’s Not A Wonder 14
73 87 GRAHAM PARKER The Endless Night 9
59 89 GRAHAM PARKER Local Girls 15
53 90 J. GEILS BAND Night Time 19
104 88 GENESIS Behind The Lines 6
103 91 BOZ SCAGGS Middle Man 6
102 92 ROBBIE DUPREE Hot Rod Hearts 3
129 93 ELECTRIC LIGHT ORCHESTRA The Fall 2
88 94 KENNY ROGERS Love The World Away 7
92 95 KENNY LOGGINS Mr. Night 7
74 96 KENNY ROGERS & KIM CARNES Don’t Fall In Love With A Dreamer 21
118 97 RED RIDER Avenue A 3
108 98 THE CLASH London Calling 4
98 99 CHEAP TRICK Everything Works If You Let It 10
114 100 JACKSON BROWNE Hold Out 3
110 101 BENNY MARDONES Hometown Girls 4
new 102 KINGS This Beat Goes On/Switchin’ To Glide 1
94 103 PRETENDERS Tattooed Love Boys 10
99 104 PAUL DAVIS Cry Just A Little 4
113 105 QUEEN Rock It (Prime Jive) 5
109 106 THE JAGS Back Of My Hand 8
122 107 BLOTTO I Wanna Be A Lifeguard 2
106 108 BOB SEGER No Man’s Land 6
83 109 THE FOOLS I Won’t Grow Up 9
107 110 ERIC CARMEN It Hurts Too Much 6
116 111 BOZ SCAGGS Isn’t It Time 5
125 112 HALL & OATES How Does It Feel To Be Back 2
144 113 POINTER SISTERS He’s So Shy 2
78 114 PURE PRARIE LEAGUE Let Me Love You Tonight 12
133 115 B-52’s 52 Girls 2
new 116 ULTRAVOX Sleepwalk 1
81 117 BOB SEGER Against The Wind 14
119 118 RAY GOMEZ Summer In The City 3
101 119 GLEN CAMPBELL & RITA COOLIDGE Somethin’ Bout You Baby I Like 11
128 120 TOMMY TUTONE The Blame 3
136 121 GENESIS Man Of Our Times 2
97 122 PAT BENATAR You Better Run 10
124 123 BOB SEGER You’ll Accompany Me 2
137 124 POCO Under The Gun 3
135 125 PRETENDERS Kid 4
85 126 EAGLES In The City 18
95 127 AMBROSIA Biggest Part Of Me 18
146 128 POCO While We’re Still Young 2
155 129 DIONNE WARWICK No Night So Long 1
132 130 KIM CARNES More Love 5
143 131 SOUTHSIDE JOHNNY & THE ASBURY JUKES On The Beach 3
123 132 THE KORGIS Everybody’s Got To Learn Sometime 7
115 133 BLUES BROTHERS Gimme Some Lovin’ 9
100 134 JOE JACKSON On Your Radio 13
147 135 ROSSINGTON COLLINS BAND Don’t Misunderstand Me 2
148 136 BILLY SQUIER You Should Be High Love 4
117 137 JUDAS PRIEST Breaking The Law 7
158 138 CARLY SIMON Jesse 1
new 139 MARTHA AND THE MUFFINS Echo Beach 1
134 140 ECHO & THE BUNNYMEN Rescue 9
149 141 BOZ SCAGGS You Got Some Imagination 2
141 142 ROLLING STONES Emotional Rescue 5
152 143 SQUEEZE Misadventure 1
142 144 KISS Shandi 5
154 145 MOLLY HATCHET It’s All Over Now 11
121 146 CINDY BULLENS Raincheck On Romance 10
127 147 CAROLE KING One Fine Day 8
151 149 LINDA RONSTADT Mad Love 1
145 148 BILLY JOEL Through The Long Night 2
new 150 HALL & OATES Diddy Doo Wop (I Hear The Voices) 1