This week we're going back to a time when I had just a few days left before I finished Grade 8. High school awaited. I looked forward to it. Was I justified in doing so? Well...sort of. Anyway, here's the popular music of the time.
40 - "Just as I Am," Air Supply
39 - "Cannonball," Supertramp
38 - "Lucky in Love," Mick Jagger
37 - "Glory Days," Bruce Springsteen
36 - "Crazy in the Night (Barking at Airplanes)," Kim Carnes,
35 - "Invisible," Alison Moyet
34 - "Getcha Back," The Beach Boys
33 - "Sentimental Street," Night Ranger
32 - "Rhythm of the Night," DeBarge
31 - "Everytime You Go Away," Paul Young
We'll start with bands from outside the United States. Australian softies Air Supply are here with what would be their final significant American hit, a power ballad that hearkened back to their '80-'82 commercial heyday. Had it come out then, it would have surely cracked the Top 5, but at this time, it could only barely eke into the Top Twenty. Maybe they should have hooked up with Jim Steinman again. And progsters Supertramp had their last Top 40 hit, and only one without original member Roger Hodgson, with this synth-and-horn-laded pop song in which Rick Davies snarls about how stupid he was to be betrayed by someone. Who that was, one can only speculate.
Now we go to the male solo singers. Mick Jagger had his second hit on his own with an okay rock tune about how he has terrible luck at gambling, but when it comes to the ladies, he's golden. That's nice. The Boss is here with the fifth hit single from Born in the U.S.A., a singalong pub-rocker about people who aren't happy with their current lives, so all they want to talk about are the triumphs and happy memories of their youths. Yet another well-realized portrait of working-class existence from the master. And Paul Young comes back around from our first '85 visit with his smash Hall & Oates-penned breakup lament. It has never taken a piece of me with it.
Two female soloists are in this mix. Kim Carnes had what would be her final Top 40 hit (I'm sensing a theme here) with this synth-pop number about being gripped by fear and paranoia in the late evening hours. There's something kind of cheesy about having a group of male singers repeat what she sang in the opening verse as the song's chorus, but it somehow works. It's probably her best non-"Bette Davis Eyes" hit. And Alison Moyet returns from last time with her lone American hit. It remains a classy bit of Brit blue-eyed soul, and just might make my Top 100 of the decade. I keep mentioning that, don't I? Will I ever come through and present you with such a list? Stay tuned...
This section closes with American groups. The Beach Boys are here with one of their rare 80s hits. This one actually isn't too bad. It's nothing special, but it has a nice retro feel that makes it somewhat pleasant. Honestly, I wish I could say that it was the band's last Top 40 hit, but unfortunately, "Kokomo" exists. Good lord, that song is awful. But I've heard good things about the new record they just put out. Brian Wilson's on it, so that's encouraging. I may have to check it out. Night Ranger had their second and last Top Ten with this ballad in which Jack Blades worries about a woman going through a wild period in her life. So basically, it's "Sister Christian 2," complete with the usual diminshing returns most sequels bring. And DeBarge are back and feeling the beat and such. I have no more to say about that.
30 - "Tough All Over," John Cafferty and the Beaver Brown Band
29 - "We are the World," USA for Africa
28 - "The Goonies "R" Good Enough," Cyndi Lauper
27 - "Some Like it Hot," The Power Station
26 - "You Give Good Love," Whitney Houston
25 - "Voices Carry," 'Til Tuesday
24 - "One Lonely Night," REO Speedwagon
23 - "One Night in Bangkok," Murray Head
22 - "Crazy for You," Madonna
21 - "Say You're Wrong," Julian Lennon
Half of this bunch is occupied by groups. John Cafferty and the band he named after a paint shade had their first non-Eddie and the Cruisers-related hit with this song about working-class struggles. Yes, the lyrics reflect Cafferty's ambitions to be the next Springsteen, but for some reason, his vocals and the song's sound seem to ape Jackson Browne. The song is much less than the sum of its stolen parts. The music industry All-Stars of USA for Aftica return, on their way down with their charity smash. It's still better as a concept than a recording. The Power Station are back again asking you how you're going to multiply. Um, I have a calculator, duh. Unless you mean something completely different, in which case, I don't know. Boston's 'Til Tuesday had their first and biggest hit with this atmospheric synth-rocker about being in a relationship where your partner wants to control you and prevent you from speaking your mind. "He wants me," singer Aimee Mann says, "if he can keep me in line." Dark, evocative, and catchy. Terrific 80s pop. Mann has gone on to have a distinguished and acclaimed solo career, but this still might be her best moment. And REO Speedwagon are back with a song that shines mainly in comparison to "Can't Fight This Feeling." But really, they are one of the most mediocre popular bands ever.
Then we have the female solo singers. Cyndi Lauper had her fifth Top Ten hit with this bouncy pop number about learning to be satisified. The title comes from its inclusion in the now classic kiddie adventure film The Goonies. I'm probably one of the few people from my generation who hasn't seen that movie. However, I have seen the video, which was the last gasp of Cyndi's connection with the WWF, featuring as it did several wrestlers, including Roddy Piper, Andre the Giant, and the Iron Sheik. Before introducing the song, Casey even talked about how Cyndi's adventures in the grappling game had helped forge what came to be known as "The Rock n' Wrestling Connection." That was a strange time, let me tell you. Whitney Houston made her chart debut with this simple pop-soul ballad about finally finding "the one." It reached #3, which seems impressive, but then became less so after her next seven singles all went to #1. Still, I think this is her best hit. There's just a simple beauty to her singing here, without some of the showy fireworks she'd display later. And Madonna's back again, singing about being gaga over someone. It's okay.
We close the first half with two returning solo men. Murray Head is back with his hit about preferring watching chess matches to sightseeing and sex. Nerd. And Julian Lennon still insists that you don't really love him. I leave up to you the amount of energy you want to expend convincing him otherwise.
Tomorrow: a strange hat, a strange name, and music to spy by.
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