Mtume - "Juicy Fruit"

(Debuted August 6, 1983, Peaked #45, 12 Weeks on the Chart)

If you're a little young to remember the 1980s and anyone tries to tell you that the music that's made nowadays is more graphic or is somehow less "pure," here's a song you can ask about. The "Juicy Fruit" in this song isn't about a stick of gum, it's about cunnilingus. That's right, oral sex given to a female...and the words don't really skirt the subject, either: "I'll be your lollipop, you can lick me everywhere."

Mtume was a funk/soul combo named after percussionist James Mtume, a protege of Miles Davis. Peaking at #45, it was as close to the U.S. pop Top 40 as the group would ever get. Despite that, the song was a million-seller and has provided sample material for a whole host of songs, notably The Notorious B.I.G.'s debut hit "Juicy" and Keyshia Cole's 2007 hit "Let it Go."

Robert Plant - "Big Log"

(Debuted October 15, 1983, Peaked #20, 16 Weeks on the Chart)

I guess I have to preface this with the fact that I turned 12 in 1984. At the time, I (along with my friends) found the title "Big Log" to be rather funny for purely juvenile reasons. Besides that, there was a friend's older brother, a Led Zeppelin fanatic, who just didn't like the way the song went. Since Robert Plant had been the lead voice of Led Zep, he just found it atrocious that he was willing to do such "soft" material.

Time has passed, and I can listen to the song today without snickering (much) at its title -- which, by the way, is never actually mentioned in the words of the song -- and find it to be a great 1980s single. From the casual guitar to the mellow synthesizer lines, the music suits the mood. Not only has Plant explored his vocal range in the years since, he has also branched out into totally different genres that make this song seem not so "soft" anymore. As for the friend's brother who argued that the voice of Led Zeppelin shouldn't be on this single, I lost track of him 25 years ago. I'd be interested to hear what he had to say about it today.

Actually, he might be pretty favorable with it, too. He was about 18 at the time and life's lessons often have a way of changing our outlook on things. I know my own view of things is a lot different than I saw things back then.

The Pretenders - "Back On the Chain Gang"

(Debuted December 11, 1982, Peaked #5, 23 Weeks on the Chart)

"Back On the Chain Gang" was really supposed to be about Kinks leader Ray Davies, who was part of a couple with Pretenders leader Chrissie Hynde and had a child with her. However, the song became an epitaph of sorts for band member James Honeyman-Scott when he died in July 1982 after battling heroin addiction. The group was understandably devastated, with the death coming just two days after bassist Pete Farndon was fired from the band after his own addiction to the drug (he would die soon afterward, in April 1983).

Undaunted, Hynde finished writing the song and recorded it with a revamped Pretenders lineup that now featured her, drummer Martin Chambers, former Rockpile guitarist Billy Bremner and future Big Country bassist Tony Butler. Beginning with a Byrds-inspired 12-string guitar and using similar grunting sound effects that linked it to Sam Cooke's "Chain Gang," the song was a recap of what happened with Honeyman-Scott but also a restatement that the band could carry on despite what happened to him. Released on a single with "My City Was Gone" (another great song in its own right), it didn't see an official album release until Learning To Crawl came out at the beginning of 1984.

By that time, Hynde had revamped The Pretenders' lineup again and continued the process of moving on, just as she promised to do in "Back On the Chain Gang." It ended up being their biggest U.S. hit.

Saga - "On the Loose"

(Debuted February 26, 1983, Peaked #26, 17 Weeks on the Chart)

Saga was a band from Canada who were an even bigger success in Europe -- Germany specifically -- than they were in their own country. In fact, the band is still together and still charting in Germany. In the U.S., however, they only managed three Hot 100 singles, with "On the Loose" being their only Top 40 hit.

Despite being a hit in the spring of 1983, "On the Loose" Appeared on Saga's '81 LP Worlds Apart. And though it sounds like a generic early to mid-1980s rock hit, it was actually different than they'd ever recorded before. In fact, producer Rupert Hine told singer Michael Sadler to "stop singing like a choirboy" for the album and ordered him on the roof of a barn to get the "proper attitude" for the song.

It's their most recognizeable hit in the States, with a video that matched the manic performance they gave it.

Wham! - "Bad Boys"

(Debuted September 17, 1983, Peaked #60, 9 Weeks on the Chart)

It's easy for Americans to forget the pre-stardom days of Wham!, when seen through the spectrum of the band's mid-1980s success and singer George Michael's monster solo career. But before their 1984 breakthrough, they were known as Wham! UK here in the states because of conflicts with a similarly-named band and were much more of a group effort, giving more credit to the backing dancers/vocalists (a la The Human League) and sported a different look with their leather jackets and outwardly rowdy behavior.

That behavior was at the center of "Bad Boys." While on its surface, it was a song about being rebellious -- reflecting the 19-year-old age of George Michael at the time -- there was a middle eight that featured the parents' viewpoint as well. It was their fist appearance in the Hot 100; however, when Michael and bandmate Andrew Ridgely began having success with their LP Make it Big, they quickly distanced themselves from the earlier material as a way of forgetting what brought them to the dance to begin with.

In fact, when Wham! issued it greatest hits compilation, there was no mention of "Bad Boys" at all. Like the older brother on Happy Days, it was never spoken of again.

Missing Persons - "Words"

(Debuted August 28, 1982, Peaked #42, 11 Weeks on the Chart)

Missing Persons was an L.A.-based band made up of three former Frank Zappa session performers: husband-and-wife team Terry and Dale Bozzio, along with Warren Cuccurullo. Zappa associate Patrick O'Hearn and Chuck Wild were also members. The line-up gelled after the recording of Zappa's LP Joe's Garage, which explains the rampant experimentalism behind the band's music. Dale Bozzio had her own distinctive delivery, which often included "hiccuping"as she sang...something quite evident in "Words."

"Words" and its followup "Destination Unknown" are played often of 1980s stations and appear in compilations, which obscures the fact that neither song made the pop Top 40 during its chart run. They both peaked at #42 and were as close to the Top 40 as Missing Persons would ever get. Both cuts appeared on the LP Spring Session M -- an anagram of the band's name --  and both were staples of MTV during that channel's infancy.

Strife between the Bozzios led them to split the group (and their marriage) in 1986. Cuccurullo went on to join Duran Duran later that year, cementing his standing as a figure of 1980s music even as he might not have been as warmly embraced by the fans.

Buckner & Garcia - "Pac Man Fever"

(Debuted January 9, 1982, Peaked #9, 19 Weeks on the Chart)

One of the biggest crazes of the 1980s was the video game arcade, which was home to Space Invaders, Asteroids, Berzerk, Frogger, Centipede and a whole host of electronic characters. However, the biggest video game of them all was Pac-Man. It was a phenomenon, spawning a "sequel" (Mrs. Pac-Man), a Saturday-morning cartoon series and a whole host of novelty items.

It was also the source of the biggest song of the era related to a video game. Performed by the songwriting duo of Jerry Buckner and Gary Garcia, it was part of an album that was entirely based on different video games. It was also the duo's only hit under their own names as performers; they were tagged as "novelty" artists and affected by the inevitable crash of the games' popularity by 1983. Buckner and Garcia continued to write for other artists and perform their own material after that.

Sadly, Gary Garcia died in November 2011 from an illness at his Florida home.

Journey - "Open Arms"

(Debuted January 16, 1982, Peaked #2, 18 Weeks on the Chart)

When he came to Journey in 1981, Jonathan Cain had the music worked out for "Open Arms." He had written it while he was still a member of his previous group The Babys, but leader John Waite rejected it for being too "syrupy." However, when he joined Journey and played it for fellow member Steve Perry, he loved it and helped Cain finish the song. It was one of the early power ballads, and Waite had to wait three years before touching on his own ("Missing You").

Whaen they recorded the song, guitarist Neal Schon reportedly wasn't thrilled with the idea of a ballad, but came around after performing it live and seeing the concertgoers' response. It was something different than the band had ever tried before, and was almost kept off the Escape LP as a result.

"Open Arms" was a #2 smash, kept out of the top spot by the twin puch of "Centerfold" and "I Love Rock & Roll," showing how powerful those two songs were in 1982. It ended up being as close as the band ever got to the top of the charts. It was used twice in the 1982 film The Last American Virgin and has appeared in several movies since, in addition to becoming a standard Karaoke tune and a frequent choice of reality-based TV performance shows.

Jennifer Holliday - "And I'm Telling You I'm Not Going"

(Debuted July 3, 1982, Peaked #22, 14 Weeks on the Chart)

The showstopper has long been a part of Broadway shows, but by the 1980s they weren't as much a part of the general landscape of the pop scene as they were until the 1960s. You can blame the decline of the movie musical for that, as they gave way to the rock operas and the occasional project like Grease. However, stage shows were still going strong, and one of them that premiered late in 1981 was called Dreamgirls, which was largely taken from the story of The Supremes but fictionalized just enough to keep from getting sued by Motown.

That play's showstopper was "And I'm Telling You I'm Not Going," which was performed be the character Effie in the play and originally voiced by Jennifer Holliday. The Texas native immediately caught notice, driving the song into the pop Top 40 and the top of the R&B chart. It was the first song from a stage show in several years to hit the Top 40; even Grease had to wait for a movie version before it generated any hits.
Today, the song seems to be better known for Jennifer Hudson's rendition in the 2006 movie version of Dreamgirls, as well as the way it tends to get picked by every big-voiced ingenue on reality-based TV shows as a way of demonstrating their vocal range. While that can be occasionally disheartening, Jennifer Holliday set a pretty high bar with her performance.

Donald Fagen - "I.G.Y. (What a Beautiful World)"

(Debuted November 27, 1982, Peaked #26, 13 Weeks on the Chart)

The I.G.Y. referred to in this song is the International Geophysical Year, and depite the futuristic and utopian lyrics the event actually took place in 1957-'58, but was propagated by a group of scientists who saw visions that were expressed in the song's words. The entire content of Donald Fagen's LP The Nightfly was based on his recollections of growing up during that time, surrounded by optimism and great hopes for the future. In a way, it was a much brighter collection than the albums of Fagen's former group Steely Dan.

Speaking of Steely Dan, while The Nightfly was a solo effort, its recording was similar to the "old days" for Fagen. With 31 session musicians supplementing the music and Steely Dan producer Gary Katz onboard, it seemed all that was missing from the project was co-member Walter Becker. It was also one of the first albums that was recorded digitally, with several audio engineers using it to check their own setups due to the way it was laid down. And this was even before the advent of the CD and the digital age that followed.

Robert Gordon - "Someday, Someway"

(Not Available on iTunes)

(Debuted June 27, 1981, Peaked #76, 4 Weeks on the Chart)

 Robert Gordon was a kid who grew up in the turbulent 1960s but had an affinity for the rockabilly music from when he first remembered listening to the radio. He was able to bring that raw sound to his recordings, which ironically bridged punk, New Wave and alternative. His first chart success was a collaboration with the 1950s guitarist Link Wray called "Red Hot" that was given a bump after the death of Elvis Presley despite the fact that it wasn't a tribute to him.

"Someday, Someway" was a retro-sounding song written by Marshall Crenshaw, who was similarly interested in music from the past. Opening with a great guitar riff, Gordon rode that through the song and gave it a great vocal. When Gordon's version stalled at #76, Crenshaw recorded it himself (his version was reviewed here last year) and took it into the Top 40.

The Police - "De Do Do Do, De Da Da Da"

(Debuted October 25, 1980, Peaked #10, 20 Weeks on the Chart)

For the second day in a row, here's a song that was in the film The Last American Virgin but isn't really remembered for that. Which might be a good thing, as the scene with the song involved teenage boys trying to kill a case of of the crabs by drowning them in a pool. I really don't think Sting and company really had that in mind when they conceived the song.

In fact, when Sting wrote the lyrics, he was trying to make a comment about how people claimed to like high art but then still gravitated to songs like "Doo Wah Diddy" and "Da Doo Ron Ron." They were good songs, but their catchy refrains were essentially gibberish. So, he wrote a song that used some nonsense lyrics. However, once the band's reggae-like rhythms were added and a groove was created for it, it was easy to miss the meaning of the song.

I really don't know if that proved Sting's point or not.

REO Speedwagon - "Keep On Loving You"

(Debuted November 29, 1980, Peaked #1, 28 Weeks on the Chart)

While this is another song that was included in the soundtrack for the film The Last American Virgin, it is better known on its own terms. In 1981, it hit #1 on the pop chart and solidified REO Speedwagon's stature as much more than a live band. Adding the power ballad to their arsenal, it helped gather them more fans than their vaunted live sets ever could.

A listen to the lyrics reveals that the protagonist of the song is borderline possessive. His girl is beginning to look for other men and has begun to act on those impulses. It isn't really said in the song if their relationship has ended or not (though I'm guessing it has), but this poor guy isn't ready to let go of something that once seemed so right. Seen through that lens, the lines "when I said that I loved you, I meant that I love you forever" can be ominous rather than resilient. Dude...she's moving on, you need to let her go. For your own good.

In any case, "Keep On Loving You" was the first #1 hit for a band that was poised to become one of the biggest acts of the 1980s. The song was everywhere in 1981, and soon it seemed that all of their music was pulled out of the vaults because of it. That's good, because certain songs like "Ridin' the Storm Out" were too good to merely be brushed off only when a hurricane or tornado were in the area.

Jim Steinman - "Rock & Roll Dreams Come Through"

(Debuted May 30, 1981, Peaked #32, 16 Weeks on the Chart)

Before it was released as a single by Meat Loaf in 1993, "Rock and Roll Dreams Come Through" appeared as a Top 40 single for Jim Steinman, who wrote the material that Meat Loaf was spinning into gold. However, when the pair were recording the followup to Bat Out of Hell, Meat Loaf lost his voice and the material eventually appeared as a Steinman solo project. So, "Rock and Roll Dreams Come Through" was written with Meat Loaf in mind; his recording of the song was essentially righting a wrong that fate played in his life.

Actually, calling it a Steinman solo project is a misnomer. While his name was on the record label for the LP Bad For Good and he was shown in the video singing the words, the vocals were actually recorded by Canadian singer Rory Dodd. It features many of Steinman's signature styles, and listening to it after Meat Loaf finally recorded it...it really needed his wider range to work. That's not to say that Steinman's version was bad; he simply played with the cards he was dealt.

The video below has the shortened single version. On the album's extra EP, the song is faded back in and given a coda that was simply cut off for the single.

Get Wet - "Just So Lonely"

(Not Available on iTunes)

(Debuted April 25, 1981, Peaked #39, 9 Weeks on the Chart)

Here's a song that proves the maxim that everything old is indeed new again. At first, "Just So Lonely" sounded like it could have been a relic of the "girl group" sound of the 1960s with some early 1970s bubblegum mixed in. Yet it is infused with a New Wave sensibility. It's possible that the duo Get Wet were paying homage to styles they grew up with, and those were just part of the sound they wanted to project.

In any case, the record was produced by Phil Ramone, who definitely was involved in the recording of those earlier styles. He certainly had a blast putting together the record.

"Just So Lonely" was the only chart hit for Get Wet in the U.S. While they were essentially a duo of Sherri Beachfront and keyboardist Zecca Esquibel, they were supported by a backing band. On "Just So Lonely," there is a guitar solo, a sax part and a rhythm section. Those weren't done on Esquibel's keyboard. Not in 1981, at least.That type of technology was years away from being realized.

Peter Gabriel - "Games Without Frontiers"

(Debuted August 16, 1980, Peaked #48, 11 Weeks on the Chart)

"Jeux sans frontieres."

That's the French translation of "Games Without Frontiers." As I've said here before, I don't understand French (I took Spanish in high school) so I spent several years trying to figure out just what the hell Peter Gabriel was singing throughout this song. I was trying to understand how "she's so funky, yeah" or "she's so popular" tied in with the rest of the lyrics, but a reading of the lyrics when the song was played on the Direct Choice service around 2001 showed me I was mishearing the lyrics because I was listening to them in the wrong language.

The rest of the lyrics have references to adults acting like children (in fact, "Games Without Frontiers" is itself a reference to the methods often used in international diplomacy). The names refer to people in history, such as Adolf -- who built a bonfire -- and Enrico, who played with the fire. This is a reference to Adolf Hitler and Enrico Fermi, the man who built the atomic bomb. As a child of the Second Wrold War who grew up under the threat of a nuclear Holocaust, Gabriel definitely used the images from his own life to frame his song.

A track from the third self-titled solo Gabriel LP -- known to fans as "Melt" to distinguish it from the others -- "Games Without Frontiers" missed the Top 40 during its initial chart run. However, Gabriel's popularity during the next decade kept it in the public stream of consciousness.

Bob Seger - "Fire Lake"

(Not Available on iTunes)

(Debuted February 23, 1980, Peaked #6, 16 Weeks on the Chart)

"Fire Lake" may be a 1980 single, but its history stretches long before that. Bob Seger began writing its words in the early 1970s and recorded it for his 1975 LP Beautiful Loser. While it didn't make the final cut for that album, it sat in limbo for several years until Seger reconsidered it for the 1980 LP Against the Wind.

Rather than simply releasing the song as he'd recorded it, Seger cut it again and had three of the Eagles (fellow Michigander Glenn Frey, along with Don Henley and Timothy B. Schmidt), who gave it a characteristic feel that would be recognized by any of that group's fans. The song was different for Seger, with a rolling R&B meets country feel. The lyrics, however, were well in Seger's wheelhouse, featuring a protagonist who's ready to take a big risk and give it all up.

Seger has never spoken about the place he wrote about in "Fire Lake," and that has sparked some debate about where it is. Some fans say it's a reference of the lake of fire that was mentioned in The Bible, while some say it's a place called Silver Lake near Seger's childhood home. Others still point out that there is a real Fire Lake in Michigan. Wherever the source of the song, Seger spins quite a yarn and provides a compelling tale that was a quick Top 10 hit for him.

Bette Midler - "The Rose"

(Debuted March 22, 1980, Peaked #3, 25 Weeks on the Chart)

In 1979, Bette Midler starred in a movie about a superstar whose rapid ascent to fame only fueled her self-destructive tendencies and ended up becoming the victim of an overdose. Though The Rose was a fictional account, the story was loosely based on the life of Janis Joplin but was changed after Joplin's family refused to give their consent. The movie was one of Midler's finest big-screen moments and earned her an Academy Award nomination, but the title song is perhaps better remembered than the movie was...thanks to its second life as a standard Karaoke song by drunk women to sing.

There is a story behind the song that has nothing to do with Midler or the movie. It was written by Amanda Broome in the late 1970s after she heard a line to a Leo Sayer song that stuck with her, and began leading to some other lines. Racing home to write the lines down before she forgot them, she wrote the lyrics down in about 10 minutes from the time she reached her piano. After sitting on the song for a year, she was encouraged to submit it for the producers of the film. Of course, they hated it, as producers do. In a last gasp, the song was given to Midler and she liked it enough to lobby for its inclusion.

That turned out to be a good move. Not only was it the film's centerpice song, it was one of the biggest hits Midler ever had. Not only did it reach #3 on the pop chart, it was also a #1 adult contemporary hit for 5 weeks. In 1983, a version by Conway Twitty that featured a spoken passage to bring out the power of the words went to #1 on the country chart as well.

Frank Sinatra - "Theme From New York, New York"

(Debuted May 3, 1980, Peaked #32, 12 Weeks on the Chart)

Today is the anniversary of the September 11, 2001 attacks...and here's a song that picked up airplay because of its connection to the city of New York.

However, "Theme From New York, New York" wasn't originally a Frank Sinatra song. It was originally recorded by Liza Minelli for the 1977 Martin Scorsese film New York, New York, with "Ol' Blue Eyes" adding it to his concert repertoire the next year. It was finally released as a single in 1980 and became the final Top 40 hit of Sinatra's long and storied career.

The song is now so deeply ingrained in the lore of the city it names it seems hard to imagine when it wasn't around. It's played after every home Yankees game and each Rangers contest at Madison Square Garden. It appears in commercials, weddings and bar mitvahs. And with its big band sound and its defiant and brassy "if I can make it there, I'll make it anywhere" line, it will be associated with the city for a long time.

Like the city or hate it...you really have to admire the resilience of many people who call it home.

Molly Hatchet - "Flirtin' With Disaster"

(Debuted January 5, 1980, Peaked #42, 10 Weeks On the Chart)

Debuting the first week of the new decade, "Flirtin' With Disaster" just might be Molly Hatchet's best-known song. It was defintely their highest-charting single, just missing the Top 40 with their slice of Southern Rock.

The band hailed from Jacksonville, Florida, an area that also produced Lynyrd Skynyrd and .38 Special, and also saw the foundation of The Allman Brothers Band. While their brand of loud guitars and Southern flair had always assured the group a fanatic audience at home, the infux of meatl bands like Van Halen into pop was a big boost for Molly Hatchet and .38 Special during the new decade.

Below is the song as performed live...the way it was meant to be heard.