Ah, the days leading up to Christmas 1985. On the 16th, infamous organized crime figure John Gotti got an early present when he was promoted to boss of New York's Gambino crime family after the two men ahead of him were murdered. Just some good fortune on his part, I'm sure. Meanwhile, in another, less violent industry, these songs had made their way onto a Most Wanted list of their own.
40 - "Sex as a Weapon," Pat Benatar
39 - "One of the Living," Tina Turner
38 - "Sun City," Artists United Against Apartheid
37 - "I'm Your Man," Wham
36 - "You are My Lady," Freddie Jackson
35 - "Part-Time Lover," Stevie Wonder
34 - "Miami Vice Theme," Jan Hammer
33 - "Goodbye," Night Ranger
32 - "Go Home," Stevie Wonder
31 - "Spies Like Us," Paul McCartney
We begin with two solo women. Pat Benatar had her penultimate Top 40 hit of the decade with this song in which she begs a man to cease using his physical beauty to manipulate her. A cool little twist on the usual scenario. And Tina Turner returns again with this Mad Max rocker. Still liking it.
Three groups in this section. "Little Steven" Van Zandt, who had just left Bruce Springsteen's E. Street Band (he would later rejoin), wrote this song to protest South Africa's apartheid policies, and in the style of "We Are the World," he gathered a number of other artists to join him on the record, including Springsteen, U2's Bono, Pat Benatar, Bob Dylan, Hall and Oates, and Run-D.M.C. The "Sun City" that the song's participants pledge they "ain't gonna play" was/is a gambling resort that was then located in a black "homeland," yet was mainly frequented by white people and attracted major international musical acts as entertainment. The song's overtly political nature and explicit crticism of the Reagan administration's South Africa policy limited its Stateside success, but it was better received in many other countries and did raise awareness of the apartheid issue. And it stands out enough in this week's chart crowd to be the Uneasy Rider. British duo Wham had their fourth and final American Top 5 with this Motownish number in which George Michael offers to "be your sexual inspiration." And I'm sure his offer was accepted by many. He was a good-looking guy. And Night Ranger had their last Top 40 hit with this limp power ballad about not being adept at farewells. Really, the only song you need by these guys is "Sister Christian."
We'll close with the five songs by solo men. Freddie Jackson is back, still declaring that the woman he's singing about is "all I'm living for." Good for you, Fred. Stevie Wonder shows up twice in this group; first with the mediocre #1 about cheating that we've come across before, then with his latest, a much better song about a woman who leaves her life and family to be with him, only to have him send her home. Then he finds himself regretting the decision. Like the lyrics, and the music's solid. Very worthy of being his final Top 10 to date. Jan Hammer's cop show theme is back, still evoking images of pastel suits and cigarette boats. And Paul McCartney had his 100th U.S. Top 40 hit (comibining Beatles, Wings, solo, duets, etc.) with this title song from a Chevy Chase/Dan Aykroyd comedy about espionage in the Soviet Union. Not one of Sir Paul's finer moments, to be sure, but it has its dumb fun, singalong charms.
30 - "Everybody Dance," Ta Mara and the Seen
29 - "Do it for Love," Sheena Easton
28 - "It's Only Love," Bryan Adams and Tina Turner
27 - "You're a Friend of Mine," Clarence Clemons and Jackson Browne
26 - "Conga," Miami Sound Machine
25 - "Object of My Desire," Starpoint
24 - "Sisters are Doing it for Themselves," Eurythmics and Aretha Franklin
23 - "Love is the Seventh Wave," Sting
22 - "Burning Heart," Survivor
21 - "Emergency," Kool and the Gang
We begin this section with female-fronted dance tunes. Minneapolis' Ta Mara and the Seen had their only pop hit with this call to booty-shaking that has a similar sound to productions by fellow Twin Cityites Prince and Jimmy Jam/Terry Lewis. It was, in fact, produced by Jam and Lewis' ex-The Time bandmate Jesse Johnson. It's not quite a standout, but it's nice enough. Sheena Easton followed up her nasty, Prince-influenced singles of 1984 by turning to Nile Rodgers and dialing down the sexy a bit on this unremarkable lite-funk track. She wouldn't be heard from on the Top 40 again until she reteamed with Prince on the libidinous "U Got the Look." There's a lesson in there somewhere. Miami Sound Machine had their first American hit with this Latin boogie about the hands-on-someone-else's-hips line dance that, like the band's singer Gloria Estefan, originated in Cuba. It's cheesy but infectious, so if it's stuck in your head now, go on, shake your body. I know you can't control yourself any longer. And Starpoint are back from last time, and they still want you. Good to know.
There are three duets/collaborations in this bunch. Bryan Adams is joined by Tina Turner on the sixth hit from his Reckless LP, an energetic-but-meh rocker about getting over heartbreak. Tina, you could do much better. E. Street Band saxman Clarence Clemons teamed up with Jackson Browne on this sprightly pop-rocker. It's not much more than an update of that old "friendship, that's the perfect blendship" song, but the spirited vocals of both men create a charming sense of bonhomie that's hard not to like. And Eurythmics and Aretha return with their stab at a female-empowerment anthem. I still find it lacking somewhat.
I'm closing the first half with songs 23-21. Gordon Sumner had his third solo hit with this gentle bit of reggae about a figurative wave that will end all the bloodshed and greed and despair in the world. A good thing, I suppose, but we're still waiting for it, Sting. Nice song, though. Survivor scored their second Rocky smash with this blast of bombast from the series' fourth installment. You know, the Ivan Drago one. It's the only one of those films I saw in a theater, I must admit. Anyway, the song pretty much sums up the Cold War-tinged plot, with lyrics that mention "rival nations" and how "our freedom's up against the ropes." Both the song and the film are fun Reagan-era relics. And Kool and the Gang have another one, but I happen to enjoy this funky workout about an urgent need for...well, I think you can guess. Anyway, one of their better 80s efforts.
Tomorrow: A lot of stuff we've already covered, plus a kinder, gentler song with a cause.
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