Top 40 Metrics: The Jackson Family 1982-1983

We’re looking at the Top 40 metrics of The Jackson family to analyze their influence during the 1980s. During the last post, we reviewed 1980 and 1981, when Michael and Jermaine had successful breakthrough albums. But the best was yet to come.

[Note: Each song is listed with its peak position and number of weeks spent in the Top 40]


Jermaine Jackson – Let Me Tickle Your Fancy [#18, 7 wks in the Top 40]

JJ is back in the Top 40 with the title track to his latest album, an adventurous affair that steps into the world of New Wave synth-funk. It even features Gerald Casale & Mark Mothersbaugh of Devo de-evolving the chorus into a monotone request. (FYI – they were NOT the backup group, as JJ says. )

This single and LP release piggybacked an appearance on The Facts of Life, wherein Tootie loses her shit that she missed the chance to roller skate her way into his heart at a local show. FYI – Mrs. Garrett sucks.

And then, one month after this single peaked, Michael released his new single and first in over two years.


Michael Jackson & Paul McCartney – The Girl Is Mine [#2, 14 wks]

Did folks know he was recording with the former Beatle in 1982? I was certainly shocked. And yet two had been collaborating for a year with no releases to show for it. It was odd to showcase MJ’s new album with something so mellow. But maybe his plan was to get the grannies and hedge fund boomers invested early in the album. It will climb to #3 by the end of 1982, then climb one notch higher to #2 at the beginning of the year, kept out of the top spot by Hall & Oates’ Maneater and Men At Work’s Down Under. That’s right; they were held down by The Man. [FYI – MJ will get his revenge on H&O later]

This song is essentially Paul & Michael singing with Toto as the backing band. So it’s the 60s, 70s, and 80s wrapped up in one. [Toto had just broken through with Toto IV, which will net them six Grammys a month after this peaks.]

Michael Jackson – Billie Jean [#1 (7 wks), 17 wks]

And now, world, meet Michael Jackson plus visuals. After a decade-plus of performing,  he became the firmament of pop culture. This wasn’t about songs on the radio anymore. This was about watching Michael in your own living room home.

Every time Bille Jean showed up on MTV, it was an event. It’s not like he hadn’t filmed videos before, but they were cheesy green-screen episodes. And this was different. How many of us tried to stand on the tips of our shoes or try to make everything we touched light up after we saw this. It took a while for the public to have the ability to enjoy it, as MTV didn’t air the video when it was released. With pressure from multiple (disputed) sources, it finally showed up on the channel on March 10th, 1983, AFTER the song hit #1. MTV didn’t make Michael Jackson. MJ made MTV.

By the way, that’s Louis “Thunderthumbs” Johnson on the bass line. Yeah, that cat is bad.

Supposedly Michael told Daryl Hall that he swiped this bass line from I Can’t Go For That. Don’t know if Madonna ever owned up to her heist for Like A Virgin.

Michael Jackson – Beat It [#1 (3 wks), 18 wks]

Another iconic song and video released right on the heels of Billie Jean. The rock sound and presence of Eddie Van Halen helped spread the mass appeal of the album, and soon everyone would have a copy. When this hit #1, it replaced Toto’s Africa, which had replaced Billie Jean. But the real story is how the master recording got accidentally erased after Eddie’s solo, and Steve Lukather, Jeff Porcaro, and Steve Porcaro had to recreate the track to preserve it. It’s all in Luke’s autobiography, which I highly recommend.

Michael Jackson – Wanna Be Startin’ Somethin’ [#5, 11 wks]

Thriller would only yield MJ two #1s, but it was the first album to generate seven Top 10 singles. In the breakdown, Jackson incorporates some of Manu Dibango’s Soul Makossa, creating the bridge from 70s disco to 80s synth-driven dance music.

Michael Jackson – Human Nature [#7, 11 wks]

The fifth single takes Michael to the quiet storm format, a track initially discovered by Quincy Jones on the b-side of a demo cassette recorded by Steve Porcaro. Steve had the title, and Q loved it. He asked for lyrical help from John Bettis, who had written several Carpenters hits, such as Top of The World and Only Yesterday. Boom – hit #5.

This song has shown up as a sample in many tunes, such as SWV’s Right Here (Remix), and it also received a “backstory” courtesy of the guys from the Yacht Rock episode series. (watch at your own discretion)

Michael Jackson – P.Y.T. (Pretty Young Thing) [#10, 9 wks]

This one is probably my favorite on the album. Written mainly by James Ingram with some assistance from Q, it will peak at #10 while the song below was still climbing at #2. Also, Janet and LaToya are singing back-up, which signifies their best chart showing on a single to date [Question – Which one of them would show up on a #1 song first?] Rumor has it that Natalie from The Facts of Life sings back-up too, deepening the Jackson family connection to the fictional Eastland Academy.

Paul McCartney & Michael Jackson – Say Say Say [#1 (6 wks), 18 wks]

I listed this last because it was the final song of 1983 to reach its peak, hitting #1 on December 10th, knocking off Lionel Richie’s All Night Long. [This song will also spend four weeks at #2, meaning it was one of the top two most popular songs for almost three months.] This will be MJ’s seventh Top 10 single for the year. Incredible. The video played on MTV round the clock that holiday season, even giving LaToya a little cameo. I could probably recite Paul & Michael’s Mac N Jac pitch scheme verbatim as I watched it so much.

He also got his H&O revenge by keeping Say It Isn’t So at #2 for four weeks.

The album Thriller had reportedly sold 32 million copies by the end of 1983. If he never did anything else, MJ was now a part of the pop culture forever. But he wasn’t done, not by a long shot. A groundbreaking video directed by John Landis was released as a significant pop culture event on December 3rd, 1983. The dance sequence and his red jacket turned MJ into an icon.

And now his family was ready to cash in. In the next post, we’ll take a peek at what the top looks like for the Jackson family and how it sounds when things get diluted.

Say It Again In the Land of the Free

We have reached the end of our review of singles Bubbling Under the Hot 100 during the 80s.

Let’s wrap it up and first take a gander at chart week fifty-one.

Lord Williams on Twitter: "@rembert reminded me of the Dave Chapelle  episode with the wrap it up button. Lol" / Twitter

Atlanta Rhythm Section – Silver Eagle (debuted 12/20/1980, peaked at #101)

ARS couldn’t carry any of their 70s mojo into 1980 and ended up with two Bubblers from their ninth album, The Boys From Doraville – I Ain’t Much and this one, which was the follow-up. It was a solid album, but maybe it was missing that extra special something with drummer and lyricist Robert Nix getting “nixed’ from the band {So that’s where that phrase comes from…] They’ll be back in the Top 30 next Fall with Alien.

Devo – Freedom Of Choice (debuted 12/20/1980, peaked at #103)

The follow-up to the Akron, OH quintet’s platinum single, Whip It was this equally catchy synth-rock single and the title track to their third LP. This track which talks about the concept of free will becoming a burden in a land with so many options, will climb to #8 on the Dico Top 100.

Captain & Tennille – This Is Not The First Time (debuted 12/20/1980, peaked at #106)

Even though this duo hit #1 at the beginning of the year with Do That To Me One More Time, they were still trying to shake their wholesome image. So they decided to go the soft porn route, which I’m sure was indulged by Casablanca president Neil Bogart. Had folks only realized back then that Toni sang back-up vocals on the year’s biggest release, Pink Floyd’s The Wall, maybe she wouldn’t have had to hang out naked in saunas with just a small towel covering her to move some records.

Fun fact: During the release of C&T’s fifth album, Keeping Our Love Warm, Toni was on TV hosting her own syndicated talk show, The Toni Tennille Show. Here’s the episode from the week of this 45’s Bubbler debut.

Bobby Hart – Lovers For The Night (debuted 12/20/1980, peaked at #110)

With songwriting partner Tommy Boyce, Bobby Hart wrote some big hits in the 60s, such as Come a Little Bit Closer for Jay & the Americans and Hurt So Bad for Little Anthony & the Imperials. They also wrote hits for the Monkees, such as (I’m Not Your) Steppin’ Stone and Valleri and a smash for themselves in early 1968, I Wonder What She’s Doing Tonight, which reached #8. After many years of performing with Tommy, Bobby released his first solo album in late 1979. When that bombed, he switched labels from WEA to Ariola and recorded this ballad, a mere bubblin’ blip at the end of the year.

ZZ Top – Tube Snake Boogie (debuted 12/26/1981, peaked at #103)

The Texas trio was winding down the first half of their career by their seventh album, El Loco. Their initial use of synthesizers on this release would inform the direction of their sound throughout the 80s. For now, we’re still treated to analog blues-rock courtesy of Frank, Billy & Dusty. It will reach #4 on the Mainstream Rock charts.

Grover Washington Jr. with Patti LaBelle – The Best Is Yet To Come (debuted 12/25/1982, peaked at #104)

Along with Bill Withers, Grover came up with the perfect tune that mixed soul, jazz, and pop in 1981 when Just the Two Of Us climbed to #2. He never got that close again and ended with two more Bubblers, this one representing the title track from his fourteenth LP. This Quiet Storm ballad sung by Patti Labelle and synth work from co-writer Dexter Wansel will peak at #14 on the R&B charts.

Madonna – Everybody (debuted 12/25/1982, peaked at #107)

And this is where it all began. A simple dance song that would be Madonna’s only Hot 100 miss until Bedtime Story in 1995. Nothing on this track tells the listener that you are hearing the most significant female artist of the 80s. She added that element by fusing an ever-evolving video image with business smarts and her ambition. This will rise to #3 on the Dance/Disco Top 80.

Fun fact: Her follow-up, Burning Up, which I prefer, will not even become a Bubbler. But because of its strength in the clubs, it convinced Sire Records to record an entire album with her. And the rest is…..

Stacy Lattisaw – Hey There Lonely Boy (debuted 12/25/1982, peaked at #108)

I love Eddie Holman’s 1969 recording of this song, which reached #2 in early 1970. And even though it was initially recorded by Ruby & the Romantics as “lonely boy,” and I think it plays better as “lonely girl,” But I understand Stacy’s choice in covering it because it’s a great song ad she sells the hell out of it. Unfortunately, she will only chart at #71 on the R&B charts.

Jennifer Holliday – Just Let Me Wait (debuted 12/24/1983, peaked at #103)

Effie’s follow-up to the #49 song, I Am Love, from her debut, Feel My Soul, is a nice little soul boogie track that will climb to #24 on the R&B charts but keep her a one-hit-wonder on the Pop charts. It was produced by Earth, Wind & Fire’s  Maurice White and features some of those synth horn riffs he’d utilize in the 80s.

Linda Ronstadt – Skylark (debuted 12/22/1984, peaked at #101)

Linda did so well with a Pop standards album, What’s New, in 1983 that she recorded another one with Nelson Riddle called Lush Life. The first single released was her version of the Johnny Mercer/ Hoagy Carmichael standard, initially recorded by Bing Crosby, Dinah Shore, and the Glenn Miller Orchestra. The song just missed charting on the Hot 100 but will peak on the AC charts at #12. It also features harmonica by Wrecking Crew member Tommy Morgan.

Fat Boys – Jail House Rap (debuted 12/22/1984, peaked at #105)

Stick ’em! Years before they tackled the Beach Boys & Chubby Checker, this hefty hip-hop trio gets their first Bubbler from their debut, the Fat Boys. Produced by Kurtis Blow, they beatboxed up to #17 on the Soul charts as the first of six R&B Top 40 hits.

There was only one year during the 80s where Bubblers appeared during chart week fifty-two. So what did 1980 chew up and spit out?

Robin Williams (Popeye) – I Yam What I Yam (debuted 12/27/1980, peaked at #104)

Robin was hot in 1980 with a big sitcom, Mork & Mindy, and a burgeoning adult comedy career. He decided to try his hand in films garnering the lead in Robert Altman’s live-action version of Popeye. It was a financial success but a critical flop. It’s an oddity that should be rewatched light-heartedly.  The soundtrack was written and produced by Harry Nilsson. So what we have here is Robin Williams singing a Harry Nilsson tune and almost having success with it.

Fun fact: For you movie buffs – the Popeye song, He Needs Me, sung by Shelley Duvall (Olive Oyl), was heavily used in the Paul Thomas Anderson film Punch-Drunk Love.

George Benson – Turn Out The Lamplight (debuted 12/27/1980, peaked at #109)

We’re gonna wrap it up with the third single from the Quincy Jones-produced album, Give Me The Night, which won three Grammy awards. One of five tracks written by Rod Temperton, it will clip #3 on the R&B charts and #9 on the AC charts for all you teeth drillers out there.

So there you have it, all of the singles that Bubbled Under the Hot 100 during the 80s. Now what? Ideas? Drop me a line.

Here With Me, Lost In the Past

It’s a short list of Bubbling Under singles from chart week fifty during the 80s. Let’s jump in and review.

Carly Simon – Take Me As I Am (debuted 12/13/1980, peaked at #102)

Here’s the follow-up single to Carly’s #11 hit, Jesse, from her ninth album, Come Upstairs. The album had a harder edge adding in more synths. And if Jesse didn’t reflect that, this song did – a straight-up rocker that was a warning to her partner about the “grasser never being greener on the other side.” Or, as Roy Munson once said…

The Manhattans – I’ll Never Find Another (Find Another Like You) (debuted 12/13/1980, peaked at #109)

After reaching #5 during the Summer with Shining Star, this vocal quartet decided to wrap up the year with a Greatest Hits collection. They recorded a few new tunes for the set, including this sprightly number which was considerably out of step for Top 40. It was a great catchy little tune, but it probably would have been more successful in 1973. This will be the final of the group’s nine Bubblers.

Carly Simon – Hurt (debuted 12/19/1981, peaked at #106)

Carly’s back with her tenth album, Torch, a collection of standards that she recorded during her divorce of James Taylor. And you can feel the pain and ache in each song, especially this one, initially recorded by Timi Yuro in 1961. Michael Brecker is playing the sax solo. An overlooked gem in her collection.

Nikki Wills – Some Guys Have All The Luck (debuted 12/19/1981, peaked at #109)

Many folks have recorded this song since it was first released by The Persuaders, who took it to #39 in late 1973. The most successful version was by Rod Stewart in 1984, who had his version climb to #10. Along the way, Robert Plamer, Maxi Priest, and Louise Mandrell gave their respective takes. And in 1981, former lead singer of the Johnny Average Band,  Nicole Wills, who first went by Nikki, threw her soft-rock shot into the ring. This seems custom-tailored for those mushy soft early-80s playlists. I could see this showing up on one of those Radio Daze compilation volumes right next to Leslie Pearl.

The Time – The Walk (debuted 12/18/1982, peaked at #104)

One of the best contributions Prince made to popular culture was writing and producing this group of talented musicians and giving us music that was as funk as his own output. It took Purple Rain to finally break these guys into the mainstream. But those first two LPs were some of the best, sophisticated slapdown funk of the period or, as Ricky Vincent described them, “refined tightness in a band.” The album version is nine-plus minutes, and you never know where the time went.

Fun fact: Denise Matthews shows up on the album version as Grace “in tight jeans,” and Prince plays a club owner with a bad Italian accent who’s about to get introduced to a headache.

Gloria Gaynor – I Am What I Am (debuted 12/17/1983, peaked at #102)

We hadn’t heard much from GG since her 1979 smash, I Will Survive, and the July Disco demolition backlash. She released three albums between 1979 and 1982, all of which were ignored. Then for her 1983 album, I Am Gloria Gaynor, she recorded this song from the Broadway musical La Cage Aux Folles (The Birdcage, to you American folks). If she wasn’t a gay icon before, she definitely was now. It will reach #3 on the Dance/Disco Top 80 charts, where she will have #1 hits into the 2000s.

Force M.D.’s – Tears (debuted 12/15/1984, peaked at #102)

I don’t think I’ve had a week where R&B bubblers were less than 50 % of the group. This week’s no exception. It makes me realize how much Soul music was out there, trying to crossover during the 80s, and percentage-wise, how little actually made it.  This vocal quintet from Staten Island will nab two Bubblers before being saved by some ‘tender love’ in 1986. This throwback ballad will become their first Soul hit, rising to #5 on the R&B charts.

Joan Jett and the Blackhearts – I Love You Love (debuted 12/15/1984, peaked at #105)

I thought I knew all of Joan’s 80s singles, but I didn’t remember this one. From her third album with the Blackhearts called Glorious Results of a Misspent Youth, here’s another cover from artist and convicted pedophile Gary Glitter, which had previously been #1 for him in the UK in 1973. Even though it rocks, I’m sure Joan isn’t happy that this piece of trash gets any royalties from this.

Hold On Longer If You Want

We’re up to chart week forty-nine in our review of singles Bubbling Under the Hot 100 during the 80s. Let’s see what was forgotten in the year-end mix.

Keith Sykes – Love To Ride (debuted on 12/6/1980, peaked at #108)

Keith was a singer-songwriter who recorded three albums in the 70s before Jimmy Buffet recorded a few tunes and asked him to join his Coral Reefer Band for the 1979 Volcano tour. [Keith also wrote the title track to that album.] So there was some decent momentum happening for him when he released his fourth album, I’m Not Strange, I’m Just Like You, which was picked up for release by Tom Petty’s Backstreet Records label. This single falls somewhere between Dave Edmunds and Rodney Crowell and should have been a bigger hit. Instead, it’s been credited as an early form of Americana.

Bar-Kays – Hit And Run (debuted on 12/12/1981, peaked at #101)

After this funk band’s resurrection, culminating in a #23 showing for Shake Your Rump to the Funk in early 1977, The Bar-Kays never came close to the Top 40 again. They would rack 22 R&B Top 40 hits, with ten of them reaching the Top 10, as this did when it climbed to #5.

And then there’s this, cause even the Russians knew good music when they heard it.

Kraftwerk – Numbers (debuted on 12/12/1981, peaked at #103)

Would you like to learn how to count to ten German (or French and Spanish?) using a Speak and Spell? Look no further than this track, from the eighth album, Computer World, which was nominated for a Best Rock Instrumental album Grammy. It will reach #13 on the Disco Top 80 and become a breakdancing classic.

Sue Saad – Looker (debuted on 12/12/1981, peaked at #104)

Sue was the lead singer of The Next, who had released their debut in 1980 to positive reviews. The lead single, Won’t Give It Up, will become a Bubbler at #107. The band will get an opportunity to record the title song to the 1981 Albert Finney science-fiction bomb, but it will be released under Sue’s name only. Maybe this rocker would have had a better fate if the film had done better. Kim Carnes recorded a synthier version for her 1982 LP, Voyeur.

Grand Funk Railroad – Stuck In The Middle (debuted on 12/12/1981, peaked at #108)

The Flint, MI trio split up in 1977, two years after their last Top 40 hit, Bad Time which reached #4 in 1975. Their first album in five years, Grand Funk Lives, yielded this single, which starts to sound like This Guy’s In Love With You before the rest of the band shuffles in. I think it’s a really good song with an awful release date, which explains why it didn’t get much Rock or Top 40 airplay.

Loverboy – Jump (debuted on 12/11/1982, peaked at #101)

The Vancouver quintet netted two Top 40 hits from their second album, Get LuckyWhen It’s Over, and the 80s classic Working For The Weekend. They should have been happy with that, but they kept releasing singles, including this plodding affair co-written by Bryan Adams and Jim Vallance. And that’s called pushing your luck.

Don Felder – Bad Girls (debuted on 12/10/1983, peaked at #104)

Thanks to the Eagles documentary, History of the Eagles, we all know about Glenn Frey’s disdain for Don Felder (and probably every other Don in the world, save Henley). In the film, there’s a scene where they discuss taking away Don’s promised lead vocal on one of The Long Run tracks but privately decide against it. Instead of discussing it with him, their manager, Irving Azoff, takes him out to dinner and gives him the bad news. It’s an incredibly cowardly act, but that’s what assholes do.

Not that idea was off-base, as this single illustrates. Felder is no Henley on the mic, but he can still jam on guitar. He was allowed to be a part of the band’s big Hell Freezes Over payday but was eventually fired in 2001.

Sade – Hang On To Your Love (debuted on 12/8/1984, peaked at #102)

Man, do I love some Sade. Their first three albums, especially, are smooth, mellow affairs and paved the way for a wave of sophisticated soulful pop from the UK. Their debut album, Diamond Life, was released in the Summer of 1984 and immediately became a big hit in England. By the time their first single was released in the States, they had three UK Top 40 hits. Surprisingly, this was not one of them. While it ends up as a Bubbler here, it will reach #14on the Soul charts. Their second single, Smooth Operator, will put them on the map.

The Whispers – Contagious (debuted on 12/8/1984, peaked at #105)

Here’s another slab of synth-funk that will reach the Top 10 on the Soul charts [#10] and remain a Bubbler here [one of five 80s Bubblers]. This L.A. soul quintet could not score anything at Pop radio between 1981 and 1987, even though they released one R&B smash after another. I’m sure lots of hilarious folks that created Covid playlists in the Spring of 2020 missed this one.

There’s Nothing Sure In This World

We have a short list of singles that were Bubbling Under the Hot 100 during chart week forty-seven. Even one of those will eventually make it out. Let’s review.

Johnny Lee – One In A Million (debuted on 11/22/1980, peaked at #102)

Johnny was one of many benefactors of the Urban Cowboy craze of the 80s, specifically because he placed Looking For Love on the soundtrack. That reached #5.  [It also helped that he played Gilley’s a lot.] This follow-up track should have kept him from being a one-hit-wonder, but he could not find any traction of Pop radio playlists. It will end up as his second #1 Country hit.

Fun fact: Johnny would marry Charlene Tilton in 1982, wowing the country as Lucy Ewing in Dallas. They would divorce in 1984. But the show played Johnny’s Looking For Love a few times during Season 11 in 1988. Tilton was off the show that season.

Heatwave – Gangsters Of The Groove (debuted on 11/22/1980, peaked at #110)

Here’s another R&B group that was cast aside after the Disco backlash, although they did have some additional lousy luck befall them. Their lead singer Johnnie Wilder was in a bad car crash which left him paralyzed, and although he could still sing, he could not perform. At the same time, Quincy Jones was employing their keyboardist Rod Tempterton for Michael Jackson’s new album, Off The Wall, pinching some of his best tunes. I think it was always going to be challenging to top monster hits like Boogie Nights and The Groove Line. However, this interracial, multi-international outfit still put out consistently good party music. The lead single from their fourth album, Candles, will reach #21 on the Soul charts and #19 in the UK. 

BTW – this LP had a lot of great singles on it like Posin’ Til Closin’ and Jitterbuggin’ and was finally released on CD during the last decade, but only in the UK & Japan. Oh, and on YouTube.

The Temptations – Oh, What A Night (debuted on 11/28/1981, peaked at #102)

The mishandling of the Temptations career in the 80s is a tragedy with no acceptable explanation. Heart. Their self-titled 1981 album was produced by Thom Bell, and this was the follow-up to the #67 peak of Aiming At Your Heart. Obviously, no one was interested in one of the best 60s R&B groups doing Philly Soul back in 1981, including Soul stations that didn’t play this either. While this might not be the pinnacle of anyone’s career, this album and 45s should have received a lot more airplay than they did.

Bob Welch – Two To Do (debuted on 11/28/1981, peaked at #107)

After two albums and four Top 40 hits, Pop radio completely turned their back on Bob, even though he continually cranked out interesting pop-rock fare. For his self-titled fifth album, RCA, his new record label tried to lean him in a Westcoast Yacht direction, which didn’t have him picking up any new fans. This straight-ahead rocker was written by Michael Clark, who had success earlier in the year with a co-write on the Pointer Sisters’ Slow Hand.

Billy Idol – White Wedding (debuted on 11/27/1982, peaked at #108)

Billy finally scored a Top 40 hit in 1982 with Hot In the City, which rose to #23. This was the follow-up and should have been a no-brainer to be hit #2. Sometimes it takes a while for a classic to become one, which failed upon first release.  Six months later, Chrysalis reissued the single in the States, and it would finally crawl onto the Hot 100, sliding all the way up to #36., though it would fail in the UK. Two years later, England would embrace it as a Top 10 single. Timing is everything, I guess.

Paul Rodgers – Cut Loose (debuted on 11/26/1983, peaked at #102)

Paul reached the Top 40 in three different bands: Free, Bad Company, and the Firm, but never as a solo artist. His debut album was released in 1983, and there is nothing in the sound or the album cover that tells you it’s the early 80s. This bluesy rocker easily could have been on the Bad Company’s 1974 debut, which is probably why it failed here. It did get some Rock airplay reaching #15 on the Mainstream Rock charts.

Lindsey Buckingham – Slow Dancing (debuted on 11/24/1984, peaked at #106)

Now, this track sounds like the 80s, probably a little too much, like a madman left alone in his own studio with a Fairlight, a Linn drum machine, and a mountain of coke. This is what Fleetwood Mac would have sounded like without an intervention.

Rant and Rave To Manipulate Me

As we approach chart week forty-five in our quest to discuss 1980s singles that Bubbled Under the Hot 100, we reach a group where eight out of the eleven artists have had multiple Bubblers. On the positive side, six out of the eight mentioned had at least one Top 40. Let’s review, shall we?

Roxy Music – In The Midnight Hour (debuted 11/8/1980, peaked at #106)

The third single from this UK art rock trio’s seventh album, Flesh & Blood, is a cover of the 1965 Wilson Pickett classic. The song had all of its soul stripped from it in the 1973 Top 40 version by Cross Country, so Bryan Ferry thought to add a little back in, along with some melodrama and style.

Aussie Band – Somebody Wants You (debuted 11/8/1980, peaked at #109)

Out of the ashes of the UK folk-rock band, Spriguns, came this studio duo of Dennis Dunstan and Wayne Morrison. While both were from Australia, this one-off single produced by Kan Caillat sounds like they were dropped off in Topanga Canyon. I believe this only became a Bubbler because someone mistook it for an Eagles song, which probably pissed off Glenn Frey.

Devo – Beautiful World (debuted 11/14/1981, peaked at #102)

Set your spudguns to sarcasm. Here’s the lead single from this Akron, OH quintet’s fourth album, New Traditionalists. It will, unfortunately, stall in the States but reach #14 in Australia. A handful of artists have covered it, including Harvey Danger, Information Society, and Rage Against The Machine.

Steve Wariner – All Roads Lead To You (debuted 11/14/1981, peaked at #107)

Here’s a former backing musician for Dottie West who started a solo career in the late 70s. This track from Steve’s self-title debut record became his first Country #1 and was tailor-made for Pop crossover in the early 80s. Not sure why it got stuck here and not onto Top 40 playlists. Don’t cry for SW, though. He’ll rack up eight more Country #1s in the 80s and finally get his Top 40 hit in 1999 – Two Teardrops, which will peak at #30.

Grace Jones – Nipple To The Bottle (debuted 11/13/1982, peaked at #103)

After having club success with Pull Up to The Bumper and her Nightclubbing album, Miss Jones went back down to the Bahamas in 1982 and recorded her sixth album, Living My Life. Co-written with Sly Dunbar, the first single has a similar vibe as Bumper and will match its peak of #2 on the Dance/Disco Top 80. It will also climb to #17 on the Soul charts.

Bananarama featuring Fun Boy Three – Really Sayin’ Somethin’ (debuted 11/13/1982, peaked at #108)

Here’s the third single that this female UK trio ever recorded and the second collaboration with another threesome, the Fun Boy Three. It’s a percussive ska-flavored cover of a 1965 Velvelettes single which only clipped#64. It will be their second Top 5 hit in the UK and be featured on their debut Deep Sea Skiving.

Rick James – U Bring The Freak Out (debuted 11/12/1983, peaked at #101)

Here’s the second single from Buffalo Rick’s seventh album, Cold Blooded, which only yielded one Top 40 song, the title track, which peaked at #40. Was he blacklisted by MTV like he claims he was? More than likely. I’m sure he didn’t play ball with them either, nor should he have. This will peak at #16 on the Soul charts. Also, there’s a great 2021 doc on his life, which is currently on Showtime.

Was (Not Was) – Smile (debuted 11/12/1983, peaked at #106)

It’s hard to characterize the sound of Don & Dave Was since they tackled many different genres. They mainly adopted the position as a backing band for two male Soul singers, Sweet Pea Atkinson & Sir Harry Bowens. But on their second album, Born To Laugh At Tornadoes, they indulged in a handful of artist cameos, such as Mitch Ryder, Mel Torme, and Ozzy Osborne. They enlist former Knack frontman Doug Fieger for some 60s-inspired New Wave dance fun on this single.

Zapp – Heartbreaker (Part 1) (debuted 11/12/1983, peaked at #107)

Here’s the lead track from the Ohio funk outfit Zapp and their accompanying LP, Zapp III, one of six Bubblers they would accrue. It will bounce up to #15 on the R&B charts. Among the multitude of hip hop songs to sample it, I prefer this understated clip that’s featured on Heavy D’s Take Your Time from 1994.

The S.O.S. Band – No One’s Gonna Love You (debuted 11/10/1984, peaked at #102)

Surprisingly, this Atlanta octet, who hit big out of the gate with 1980’s Take Your Time (Do It Right), could make a return visit to the Top 40. Any one of their other fifteen Soul Top 40 hits could have done the trick, such as this one, the second single from their fifth LP, Just The Way You Like It. This Jimmy Jam & Terry Lewis-produced midtempo ballad will rise to #15 on the R&B charts.

Champaign – Off And On Love (debuted 11/10/1984, peaked at #104)

We finish up with a septet named after their hometown in Illinois. They had already reached the Top 40 twice with How ‘Bout Us [#12] in 1981 and Try Again [#23] in 1983. Their third album, Woman In Flames, and its lead single saw them lose a band member while trading on its organically soulful pop vibe for an antiseptic synth & drum machine-led sound. While it will be their third and final Top 10 on the Soul charts, it will Bubble Under here, and the group will take a six-year hiatus.

It’s Easy To Live In Your Imagination

We have made it to chart week forty-four and this motley crew of singles Bubbling Under the Hot 100 during the 80s.

Vince Vance & The Valiants – Bomb Iran (debuted 11/1/1980, peaked at #101)

In November 1980, the Iran Hostage crisis had been happening for a year, and people were fed up. Some people tied yellow ribbons on trees and held vigils. Others recorded this song – a parody of the Regents/Beach Boys hit of the 60s. I say others because there were multiple ‘bomb Iran’ singles out in the late Fall of 1980. In fact, this was even the first one as supposedly a version came out almost a year earlier. But this 45 was the one that got the closest to the Hot 100.

Fun Fact: Vince recorded a Christmas song in 1989 called All I Want For Christmas Is You, which gets played frequently on Country stations during the holiday season. It is a different song than the one we’re subjected to each year by Mariah. Two Christmas songs. Same title. Different song.

Benny Mardones – Hometown Girls (debuted 11/1/1980, peaked at #103)

The Voice follows up his pedophile kidnapping opus with this pleasant-sounding pop-rocker. On its own, the lyrics are innocuous until you think about Into the Night and hear Benny sing this:

I was up and gone. I disappeared in the night. 

This dude is all about fleeing the scene of the crime.

Molly Hatchet – Beatin’ The Odds (debuted 11/1/1980, peaked at #107)

Well, I wouldn’t be putting down all my money on Southern rock in the 80s to win. Most music of the decade was starting to lose its rural feeling, and this genre was one of the first to be absorbed into corporate rock. The first single released was the title track to their third album and first with Danny Joe Brown singing lead. Its follow-up, The Rambler, will climb to #91.

Rocky Burnette – Fallin’ In Love (Bein’ Friends) (debuted 11/1/1980, peaked at #109)

The son of rock and roll follows up his surprise Top 10 smash, Tired of Toein’ The Line with more late 50/ early 60s-inspired sock hop rock. When I listen to tracks like this, I can’t help but think that it opened the door for Gary U.S. Bonds to have a few hits again.

John Entwistle – Too Late The Hero (debuted 11/7/1981, peaked at #101)

Thunderfingers was on solo album number five by 1981, his first in six years. The album featured Joe Walsh on guitar and Joe Vitale on drums, and he released the epic title track as the first single. It will be the closest John will get to a chart single, but its follow-up, Talk Dirty, received moderate Rock radio airplay.

Rupert Holmes – Loved By The One You Love (debuted 11/7/1981, peaked at #103)

Seven albums. Six different record labels. Such was the momentum-killing recording career of Rupert Holmes, who still somehow managed three Top 40 hits, including the #1 smash, Escape. After the lack of success of this single and accompanying album, Full Circle. Holmes moved on to the playwrighting, debuting on Broadway in 1985 with The Mystery Of Edwin Drood.

Spyro Gyra – Summer Strut (debuted 11/7/1981, peaked at #108)

Buffalo, NY jazz-fusion were on their fifth album, Freetime, by 1981, trying to get back on Pop radio after the #24 peak of 1979’s Morning Dance. The lite funk interplay between Jay Beckenstein’s sax licks and Tom Schuman’s electric piano didn’t get the group back onto the charts. But I bet a few stations played while they were “experiencing technical difficulties.”

Karla DeVito – Midnight Confession (debuted 11/7/1981, peaked at #109)

With the bombast of a Jim Steinman song, Karla covers this 1968 Grass Roots classic from her debut, Is This A Cool World or What? I’m all for it. The Meatloaf connection was strong, and although she didn’t sing on the recorded version of Paradise by the Dashboard Light, she appeared in the video and went out on the Bat Out Of Hell tour.

Zapp – Doo Wa Ditty (Blow That Thing) (debuted 11/6/1982, peaked at #103)

All Roger and Zapp did in the early 80s was put out one funky synth jam after another. All Pop programmers did was ignore it until they were hidden in many hip songs from the 90s onward. This will reach #10 on the Soul charts and first show up as a sample on the Beastie Boys’ #36 charter, Hey Ladies. It will also feature on Paperboy’s  1993 Top 10 single, Ditty.

Melba Moore – Love’s Comin’ At Ya (debuted 11/6/1982, peaked at #104)

This single from Melba’s twelfth album, The Other Side of the Rainbow, was her fourth Bubbler out of seven. If Top 40 radio ignored it, it’s their loss. This will peak at #5 on the Soul charts and #2 on the  Dance/Disco Top 80. Folks in the UK dug this funky boogie track as it reached #15 in England.

Devo – Peek-A-Boo! (debuted 11/6/1982, peaked at #106)

When you think about the success of Whip It in late 1980, it’s truly amazing that the single reached #14. Even though we all might remember the video, it scaled that height before the advent of MTV.  The video channel aided in keeping the band on everyone’s mind through the 80s, but Pop radio did not follow suit. They would rack up five Bubblers, with this one as the lead single from their fifth LP, Oh No! It’s Devo.

Firefall – Runaway Love (debuted 11/5/1983, peaked at #103)

The pride of Boulder, CO, tried to update their Country rock sound by mixing in some synth drums and upping the tempo. But programmers couldn’t get past the band’s cultivated laidback image and sound, so they took a pass. This single from their seventh album, Mirror For the World, would be their last release for twelve years.

Southside Johnny & The Jukes – Trash It Up (debuted 11/5/1983, peaked at #108)

John Lyon and his Jersey shore outfit spent a lot of their career shaking off Springsteen comparisons. By their sixth album, they dropped Asbury from their name and some R&B synths and funky beats. The switch might have turned off some old fans, but they should have picked up some new ones. The album, produced by Nile Rodgers, also netted the band a #55 zenith for Get Your Body On the Job.

Pia Zadora – Rock It Out (debuted 11/5/1983, peaked at #110)

There has been a lot of cash thrown behind the idea that Pia has talent. When she failed as an actress, dollars were given to forward a singing career., first in Country, then in Pop. This is a single from her second album called Let’s Dance Tonight. When you listen to it, you will wonder how many people could have been fed with that money rather than it being wasted here.

There are no singles that debuted this week in 1984 that did not chart, with one being this track from Alphaville.

Sordid Details Following

Not all 80s Bubblers are made the same. Some singles signify an artist trying to get noticed. Some are at the tail end of their career. Some are crossing over from their main genre. And then some are just ahead of their time, to become classics later on. We have them all during chart week forty-three.

Prince – Uptown (debuted on 10/25/1980, peaked at #101)

Prince had a big hit from his second album in early 1980, I Wanna Be Your Lover. It got the record companies off his back and allowed him to do what he wanted while he tried to perfect his musical vision. You were going to come to him, not the other way around. That’s why he followed up his mainstream success with an album called Dirty Mind. This was a powerful shot of New Wave funk, and its lack of cross-over success was a portent of the mellow, risk-free programming that Top 40 radio would subject us to for the next few years. Or maybe they were afraid of this lyric:

“What’s up, little girl? I ain’t got time to play.”
Baby didn’t say too much
She said, “Are you gay?”
Kinda took me by surprise, I didn’t know what to do
I just looked her in her eyes, and I said, “No. Are you?”

David Bowie – Ashes To Ashes (debuted on 10/25/1980, peaked at #101)

This is a stone-cold classic, so you may be wondering why it ends up here. Well, Woman In Love by Barbra Streisand was the #1 song when this debuts. Imagine anyone in 1980 thinking those two songs should be played back to back. Bowie is driving a stick through the heart of the 70s with this one, taking his Space Oddity character, Major Tom, and turning him into a heroin fiend. It was the lead single from his fourteenth album, Scary Monsters (And Super Creeps), and it would go to #1 in the UK.

Fun Fact: The video for the single cost £250,000, making it the most expensive at the time, even more than Thriller three years later. And MTV was still a year away from its debut.

Barry Goudreau – Dreams (debuted on 10/25/1980, peaked at #103)

After the second Boston album, Don’t Look Back, leader Tom Scholz became embroiled in a multitude of legal battles for a long time. So the remaining members, Brad Delp and Sib Hashian, joined guitarist Barry Goudreau and recorded an album together. It sounded like a warmed-over Boston record, and Tom Scholz got so pissed, he kicked Barry out of the band. Barry & Brad would form Orion the Hunter and release an LP in 1984, two years before Boston’s third offering, Third Stage. Delp was allowed to participate in that recording, but Barry was never allowed back in the fold.

Bruce Cockburn – Rumours Of Glory (debuted on 10/25/1980, peaked at #104)

Ottawa native Bruce finally found success in the US with his ninth album, Dancing In the Dragon’s Jaws, and #21 single, Wondering Where The Lions Are. His follow-up long play, Humans, led off with this 45 release, which ends up as a Bubbler. It will land in the Canadian Top 40 at #36.

Yes – Into The Lens (I Am A Camera) (debuted on 10/25/1980, peaked at #104)

Drama, Yes’ tenth album is an od one in the group’s catalog as they absorb Trevor Horn and Geoff Downes from the Buggles into the band after Jon Anderson and Rick Wakeman left the group. Prog rock purists thumbed their nose at it. But when listened to it in hindsight, it’s a fantastic blueprint for where the band would travel throughout the 80s. I mean, once they would inadvertently get back together in 1983 after they officially split in 1981. Adding Trevor and Geoff was a superb decision to modernize their sound and cut down on the one-song-per-side album bloat. The Buggles would release their second album in 1981 and include a new recording of this single.

Johnny Van Zant Band – 634-5789 (debuted on 10/25/1980, peaked at #105)

While brother Donnie was getting his band .38 Special off the group, Johnny and his fellas released their debut, No More Dirty Deals. Produced by Al Kooper, it features this boogie rock cover of the 1966 Wilson Pickett classic written by Eddie Floyd & Steve Cropper. Kinds surprised the Blues Brothers didn’t tackle this the first time around. Unfortunately, they would tackle it in Blues Brothers 2000.

Curtis Mayfield – She Don’t Let Nobody (But Me) (debuted on 10/31/1981, peaked at #103)

I think I knew all of Curtis’ solo material, so I was surprised to find this single from an album I didn’t own called Love Is The Place, his twentieth release. To succinctly sum it up, Mayfield gets on the yacht. This 45, co-written and co-produced by Dino Fekaris, would reach #15 on the soul charts.

Jefferson Starship – Save Your Love (debuted on 10/31/1981, peaked at #104)

Now that Mickey Thomas had taken over the band and had a hit with Jane in 1980 [#14], Grace Slick slid her way back in. She joined the group for their follow-up album, Modern Times, which yielded the #29 track, Find Your Way Back (Grace wasn’t on that one.) This was the third single released, a Pete Sears co-write with his wife, Jeanette.

Fun fact: bassist Pete and Jeanette would write the band’s next two Top 40 hits, Be My Lady & Winds Of Change.

Gary Wright – Heartbeat (debuted on 10/31/1981, peaked at #107)

Gary had his first Top 40 hit in five years since the twin #2 peaks of Dream Weaver & Love Is Alive in 1976. The #16 peak of Really Wanna Know You from the LP, The Right Place, was followed up with this catchy pop-rock single that couldn’t get any traction at Top 40 radio. It features backing vocals by David Pack from Ambrosia and Timoty B. Schmit.

Fun fact: Gary has a sister, Lorna, who recorded a soulful Westcoast pop album in 1978 called Circle Of Love.

Spinners – You Go Your Way (I’ll Go Mine) (debuted on 10/31/1981, peaked at #110)

The Spinners had two big comeback hits in 1980, and they tried to parlay that success throughout the decade. This midtempo ballad, written by James Mtume & Reggie Lucas, was the first single from their upcoming album, Can’t Shake This Feelin’, the feelin’ being that the salad days were over. It barely snuck into the R&B Top 40, settling at #39. Had Pop radio not tried to slam the door so hard on 70s artists, this quintet and smooth track might have had a better showing.

Al Jarreau & Randy Crawford – Your Precious Love (debuted on 10/30/1982, peaked at #102)

Here’s a single from the Casino Lights album, a live concert in Montreux, Switzerland, featuring the Yellowjackets, David Sanborn, and Al & Randy dueting on three tracks. This duo adds a little more gospel and jazz into Ashford & Simpson’s sweet sentiment, originally made famous in 1967 by Marvin Gaye and Tammi Terrell. It will reach #16 on the Soul charts.

The Jonzun Crew – Pack Jam (Look Out For The OVC) (debuted on 10/30/1982, peaked at #108)

And now, from Boston, we have the Johnson Brothers, not the Brothers Johnson. This trio foresaw that confusion and changed their electro-funk outfit to the Jonzun Crew. They had a handful of minor hits on the Soul charts, this being their first. This 12″ single will climb to #13 R&B and #19 in Germany, where a cult following of the group was formed. Michael Johnson, otherwise known as Maurice Starr (don’t ask), was also busy discovering five young kids from Roxbury called New Edition.

Mary Jane Girls – Boys (debuted on 10/29/1983, peaked at #102)

One of four Bubblers from this Rick James-produced debut by a female quartet. This synth-funk jam will climb to #29 on the Soul charts, the group’s third straight Top 40 hit.

Timothy B. Schmit – Playin’ It Cool (debuted on 10/27/1984, peaked at #101)

Imagine working your ass off in an established band (Poco) but never reaching that next level. Then one day, you get a call to join the biggest rock band in the world (Eagles), only for them to implode after one album. Welcome to Tim’s world. [Don’t feel too bad. He’ll rejoin the reformed Eagles in 1994 and get payyyyyy-d.] His first solo single, So Much In Love, was on the Fast Times at Ridgemont High soundtrack and peaked at #59 in 1982. This single was the title track to his debut, and it sounds like it could have been featured in that movie as well. J.D. Souther co-wrote the track and sings back up.

The Staple Singers – Slippery People (debuted on 10/27/1984, peaked at #109)

The Staple Singers’ last Top 40 hit was the #1 smash, Let’s Do It Again, in 1975. And then Pop radio ignored them for the rest of time. In 1984 Pops got the kids together for their first album in five years, Turning Point, and it featured this fantastic cover of the Talking Heads’ track from Speaking In Tongues. That they were ignored again by Pop programmers speaks volumes to their tight-fisted conservative playlists where Soul had very few opportunities. It will climb to #22 on the R&B charts and #4 on the Hot Dance/Disco charts.


A Pack Of Lies

The mish-mash of tunes Bubbling Under the Hot 100 during the 80s on chart week forty-two continues. All of these artists were a part of a Top 40 hit either as a band or by themselves. Unfortunately, all of these (minus one) didn’t cut it. Let’s review.

Exile – Take Me Down (debuted on 10/18/1980, peaked at #102)

Here’s a band started in the mid-60s, had a huge pop smash in 1978 with Kiss You All Over, and was utterly lost by the turn of the decade. By their 1980 album Don’t Leave Me This Way, it sounded like they wanted to turn towards Country but couldn’t make the total commitment. When Alabama recorded this track for their Mountain Music LP and watched it cross over to the Hot 100, peaking at #18, the group knew which way to go.

Melissa Manchester – If This Is Love (debuted on 10/18/1980, peaked at #102)

And now we have an ordinary ballad from Melissa’s ninth album, For The Working Girl, which probably wouldn’t have even shown up here had it not been for her engaging vocal performance. Co-written by Robbie “Don’t Give It Up” Patton, it will reach the Top 20 on the AC chart, so root canals, beware.

Average White Band – For You, For Love (debuted on 10/18/1980, peaked at #106)

As soon as you hear those jazzy Rhodes chords, you know no one is picking up any pieces anymore. In fact, they are steering their yacht towards the sunrise cause it’s been a long day, and they work to do, if you know what I mean. This was the second single from their 1980 LP, Shine, on their new label Arista. Obviously, the company had no idea what to do with a sophisticated ballad and worthy radio successor to After The Love Is Gone, both co-written by Bill Champlin. It will climb to #60 on the Soul charts and #46 in the UK.

The Dirt Band – Badlands (debuted on 10/18/1980, peaked at #107)

The Dirt Band dropped the nitty-gritty and had a few Top 40 hits in 1980. But this is where the magic ends. This was the second release from Make A Little Magic and the follow-up to the #25 title track. Not sure why Pop radio ignored this catchy little pop-rock ditty.

Nils Lofgren – Night Fades Away (debuted on 10/24/1981, peaked at #109)

This former leader of the band Grin and early 70s Crazy Horse member set out for a solo career in the mid-70s, beginning with his self-titled debut in 1975. It was highly reviewed by Jon Landau that year, but another album by a dude named Bruce. Speaking of which, Nils will join the E Street Band in 1984, just in time for the Boss to become a superstar.

Carl Carlton – Baby I Need Your Loving (debuted on 10/23/1982, peaked at #103)

Carl Carton, the man who had hits with a cover of Everlasting Love in 1974 and She’s A Bad Mama Jama in 1981, tries to top them both with his shuffly version of a Motown classic. Released from his album, The Bad C.C., it will reach #17 on the Soul charts and become his only hit in Australia, climbing to #12.

Ray Parker Jr. – It’s Our Own Affair (debuted on 10/23/1982, peaked at #106)

If there’s something ol’ Ray is an expert on, it’s singing about infidelity. But folks said enough is enough. Do you have any other material besides cheating songs, the public asked as they passed on this breezy single. Maybe that’s why everyone went crazy when he wrote a song about busting ghosts.

Marshall Crenshaw – There She Goes Again (debuted on 10/23/1982, peaked at #110)

Another terrific track from a great debut. This was the follow-up to Marshall’s only Top 40 hit as a solo artist, Someday, Someway, which topped out at #36. In my opinion, this is way better and typifies Power Pop during the New Wave years. I guarantee that Lee Mavers of The La’s had this in his head when he wrote There She Goes, title coincidence aside.

James Ingram – Party Animal (debuted on 10/22/1983, peaked at #101)

Pop radio seemed to prefer James’ songs if he was collaborating with someone rather than by himself. Case in point – the lead single from It’s Your Night, his debut album, although he charted five times on the Hot 100. It’s slick, soulful Dance-pop from the QuincyJones camp with a groove that Lionel Richie would have killed for. But it was ignored at Pop radio while clipping up to #21 on the Soul charts. The follow-up, Yah Mo B There will reach the Top 20, but only because he had some help from Michael McDonald.

James had only one true solo Top 40 hit, but it was a big one. In 1990, I Don’t Have The Heart went to #1.

Lani Hall – Never Say Never Again (debuted on 10/22/1983, peaked at #103)

Lani was the lead vocalist for Sergio Mendes & Brasil 66, singing on The Look of Love and The Fool On the Hill. Once Serge started changing band names, Hall left, embarked on a solo career, and married Herb Alpert. She charted only once on Hot 100 in 1981 during her Westcoast era with Where’s Your Angel? [#88] She got the opportunity of a lifetime to sing a James Bond movie theme. Too bad, not many checked out Sean Connery’s return to the role or else this might have received more play.

Fun Fact: Herb Alpert recorded the theme to the 1967 film, Casino Royale making Herb & Lani and the first and only married couple to record Bond songs.

Robin Gibb – Juliet (debuted on 10/22/1983, peaked at #104)

Robin has his first US solo Top 40 hit in 1978 with his cover of The Beatles’ Oh Darling, which will peak at #15. The Bee Gees spent more time writing for other artists and being embroiled in lawsuits; it left more solo time for the Gibb brothers. This single was from the first of three Robin released in the 1980s titled How Old Are You? It will reach #1 in Germany.

Michael Murphey – Don’t Count The Rainy Days (debuted on 10/22/1983, peaked at #106)

The pride of Oak Cliff, TX, who went out to look for his horse Wildfire in 1975, came back in 1982 to ask the Grammarly-challenged question, What’s Forever For? This was the lead single from his eleventh album, The Heart Never Lies,  and reached #9 on the Country charts. It has a gentle air to it and some Yachty vibes but ended up as the last time M2 sniffed the Hot 100.

Phil Collins – In The Air Tonight (debuted on 10/20/1984, peaked at #102)

This is a first in the annals of 80s Bubblers – a song that reached the Top 40 and, upon re-release, ended up here. Why, you ask? Two words – Miami Vice. The track was played during the first episode while Crockett & Tubbs intensely drove at night through the streets. One month later, it showed up here but didn’t have enough juice to re-enter the Hot 100.

Fun Fact: This 45 went Gold, selling over 500,000 copies. The digital download has been certified for 3 Million. Also, it will initially hit #2 in the UK, then enter their Top 40 again in 1988 [#4] and 2007 [#14}.

Julio Iglesias – Moonlight Lady (debuted on 10/20/1984, peaked at #102)

After years of trying, Julio finally broke to the US Pop charts in 1984 with duets with Willie Nelson and Diana Ross. Hey, whatever works. This was the third single from 1100 Bel Air Place, written by Albert Hammond & Carole Bayer Sager. It will slide up to #17 on the AC charts, and the video will be in high rotation when VH-1 debuts at the beginning of 1985.

America – Special Girl (debuted on 10/20/1984, peaked at #106)

Perspective was the twelfth album by America and the last one before they reformed ten years later. It’s an interesting mix of New Wave and Westcoast, and if you listened to this track, you would probably have no idea who it was. Maybe not until the harmonies in the chorus. It might not be Sister Golden Hair, but it’s an oddity from a lost period in their career. Meat Loaf covered this on this 1986 album, Blind Before I Stop.


The Rats And Snakes Will Never Fade Away

Here we are rummaging through those 80s Bubblers during chart week forty-one. Shall we?

Atlanta Rhythm Section – I Ain’t Much (debuted 10/11/1980, peaked at #101)

Here’s a sextet from Atlanta (Doraville, specifically) who had racked up six Top 40 hits in the 80s. As the decade turned, they released their ninth album, The Boys From Doraville, and completely struck out. The band believed that their record label gave up on them and promptly left to sign with Columbia, where they would score the #29 hit, Alien, one year later.

Sammy Johns – Falling For You (debuted 10/11/1980, peaked at #103)

The pride of Charlotte, NC, tries to recapture some of his 1975 glory when his single Chevy Van reached #5 with a ballad that sounds a little less skeevy. But no matter; if you see this dude pull up in a G10 Nomad, run in the opposite direction.

The Bay Brothers – Baby Don’t Give Up (debuted 10/11/1980, peaked at #108)

The Bay Brothers were not brothers or had the last name of Bay. Discuss. Actually, they were a group led by the Brooklyn duo of Lou Hokenson and Ernie Sorrentino. They recorded a handful of singles for Millennium Records, and this soulful midtempo track was their most significant success. It was followed up by a Yachty take on Junior Walker’s What Does It Take (To Win Your Love).

Jet – Stranded In The Moonlight (debuted 10/17/1981, peaked at #105)

Here’s a Chicago sextet led by a husband and wife, kind of a midwest Quarterflash minus the sax playing. It’s just enough of an off-center pop-rock song that should have picked up more spins by programmers. Led by folk singer Michael P. Smith and his wife Barbara Barrow, the group disbanded after one album, and Michael picked his solo career back up, recording music until his death in 2020, six months after his wife.

The Pretenders – Louie Louie (debuted 10/17/1981, peaked at #110)

Hold on a second. Before you pass this by, this is not a cover of the Kingsmen classic. It’s a Chrissie Hynde original and one that is forgotten within their catalog. This horn-laden Stax rave-up was the only song from their second album, Pretenders II to sniff around the Hot 100, an album that featured stone classics such as Message Of Love, Talk of the Town, and I Go To Sleep. After an audacious debut in 1980, pop programmers totally fell asleep. It took a year full of tragedy to get the States to notice them again.

Cheryl Lynn & Luther Vandross – If This World Were Mine (debuted 10/16/1982, peaked at #101)

Cheryl was four years removed from her roller-skating classic Got To Be Real but still in the capable hands of Luther for this tender ballad. This duet was initially recorded by Marvin Gaye & Tammi Terrell, peaking at #68 in 1968. It will soar to #4 on the R&B charts.

We don’t have any Bubbler from 1983 this week. But a lady originally from Bay City, MI, lands on the chart at #109. The track, Holiday, will climb onto the Hot 100 and peak at #16, after which Madonna will peel off seventeen straight Top 10 smashes.

Marc Anthony Thompson – So Fine (debuted 10/13/1984, peaked at #101)

I really love this upbeat slice of synth-funk and marvel at the fact that it got stuck here as a Bubbler. Some just fall through the cracks. He’d release one more solo album in 1989 before forming the collective Chocolate Genius in the late 90s, collaborating with Marc Ribot, Vernon Reid, and John Medeski, to name a few. he also turned with Springsteen in 2006 as part of the Seeger Sessions Band.

Anne Murray (with Dave Loggins) – Nobody Loves Me Like You Do (debuted 10/13/1984, peaked at #103)

God bless Anne Murray, still trying to cross over to Pop radio long after her window was closed and musical trends moved on. This duet with Dave Loggins will reach # 1 on the Country charts and #10 on the AC charts. So if you went to the dentist in Nashville in 1983, your teeth were probably drilled to the gentle sounds of this ballad.

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