"She Bop" by Cyndi Lauper

Top 10 Alert!

Gold Record Alert!

Song#:  1987
Date:  07/21/1984
Debut:  52
Peak:  3
Weeks:  18
Genre:  Synthpop



Pop Bits:  Lauper's star was solidly high in the sky thanks to two big hits ("Girls Just Want to Have Fun" and "Time After Time") from her debut album She's So Unusual. This next single would make it three in a row when it spent three weeks at #3 and went gold. But it wasn't without a bit of controversy. The song's subject matter, female masturbation, rankled a few people. Although Lauper's lyrics are not explicit in any way, there were folks who thought the tune's meaning was way too much for radio and young pop music listeners. One such person was Tipper Gore who later in 1985 put the song on the Parents Music Resource Center's "Filthy Fifteen" list. That organization would successfully lobby for record companies to label music products that contained explicit and/or offensive content. Luckily for Lauper, her album came out prior to all the hubbub. Had this album been assembled a year later, this song most likely would not have made the cut. Inclusion of the song would have gotten the album a parental advisory sticker and that would have directly affected a big chunk of Lauper's target audience. Lauper and her she-boppin' made it in under the wire.

ReduxReview:  Lauper's hit streak continued with this crunchy paean to gettin' it on wit yo bad self. It's almost like a twisted type of rockabilly or early rock song with the "be-bop-a-lu" and Lauper's quirky delivery. It more than hits all the marks and deservedly made the Top 10. Although the instrumentation keeps it stuck in the 80s, it still sounds awesome thanks to top-notch production and engineering. It didn't sound wimpy like a lot of 80s synthpop. The thing had muscle and it still flexes quite well today.

ReduxRating:  8/10

Trivia:  Lauper co-wrote this song with Rick Chertoff, Gary Corbett, and Stephen Broughton Lunt. Lauper's intention was to write the song in a way that a younger audience would think the lyrics were about dancing. As they got older, they would then later understand the song's more adult-oriented meaning. That ploy worked as the song's indirect lyrics allowed it to be played on the radio and its associated video got put into heavy rotation at MTV. However, the cheeky wink-wink lyrics didn't go unnoticed by the Tipper and the song would end up being tagged as filthy by the PMRC.

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"Dynamite" by Jermaine Jackson

Song#:  1986
Date:  07/21/1984
Debut:  55
Peak:  15
Weeks:  17
Genre:  R&B



Pop Bits:  Jackson's 1982 album Let Me Tickle Your Fancy would be the last one for his home label of Motown. The title track was a hit (#5 R&B/#18 Pop), but it seemed that Jackson was ready to move on. He signed on with Arista and began work on his debut album for that label. The self-titled LP was introduced by a first single title "Sweetest Sweetest." It ended up being a complete failure missing out on both the Pop and R&B charts. Hoping to turn things around, this second single was issued. Luckily, things went much, much better. The song took off and became Jackson's fourth R&B Top 10 (#8). Pop responded well with the tune peaking in the Top 20. It also got to #20 at Dance.

ReduxReview:  I liked this workout of a jam right off the bat. It's very hooky and the 80s flourishes in the production were used to great effect. Jackson served as producer for the song and he did a great job. The song had a different flavor than the usual pop candy on the chart and I think that helped the song along. The album was quite good as well. Clive Davis had a hand in all this and for a change he did quite well getting Jackson back on the hit making path.

ReduxRating:  8/10

Trivia:  Despite the slow start, Jackson's album was catching on thanks to this hit. There was potential for an even bigger hit from the album, but circumstances killed its chances. The track "Tell Me I'm Not Dreamin' (Too Good to Be True)" featured a guest vocal appearance by Michael Jackson. With Michael's name and voice attached to the song, the catchy tune was poised to be a sizable hit. Unfortunately, issues arose between the artists' two labels (Arista and Epic) that they were unable to resolve and it prevented the release of the song as a single. Despite not being officially released, the song still got a lot of airplay, but airplay alone did not fit the criteria for charting at the time. However, airplay at clubs was all it needed to get on the Dance chart and the song went to #1 for three weeks. That was pretty good advertisement for the album, but this certainly was a missed opportunity for Jackson. It could have easily been one of his biggest solo hits. Alas, the music biz took that away. The song ended up garnering a Grammy nod for the brothers for Best Pop Vocal Performance by a Duo or Group.

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"Right By Your Side" by Eurythmics

Song#:  1985
Date:  07/21/1984
Debut:  67
Peak:  29
Weeks:  12
Genre:  Synthpop



Pop Bits:  After a set of dark and edgy new wave singles that included the the #4 "Here Comes the Rain Again," the duo unleashed this joyous, calypso-leaning tune that served as the third single from their album Touch. The tune had already been a hit in the UK where it got to #10, but it didn't do quite that well in the US. The song struggled to reach the Top 30 and couldn't do any better at Dance (#32) or AC (#38). However, by this time the album was already a #7 platinum hit.

ReduxReview:  This is a fun track that showed the duo in a completely different light. Not everything they did had to be so serious and intense. The song was a welcome breath of fresh air. I loved the tune when I first heard it on the album, but wasn't so sure it would do so well as a single. The UK embraced it, but I had doubts that US pop listeners would latch on to the quirky calypso sound. It ended up not doing too bad hitting the Top 30. While I prefer their darker tunes, I still enjoy hearing this once in a while.

ReduxRating:  7/10

Trivia:  As a quick follow-up to the Touch album, the band's label, RCA, decided to release a remix EP of songs from the album. It featured remixes of four tracks from Touch that were not issued as singles, plus three instrumental versions. Heading up the remixes were noted producers Jellybean Benitez (Madonna) and Francois Kevorkian. Titled Touch Dance, the collection would reach #19 on the US Dance chart. It also did fairly well in the UK where it got to #31 on the Album chart. On the US Album chart it could only manage a #115 showing.

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"Cruel Summer" by Bananarama

Top 10 Alert!

Song#:  1984
Date:  07/21/1984
Debut:  74
Peak:  9
Weeks:  18
Genre:  Pop, Dance



Pop Bits:  The UK trio's self-titled second LP was off to a shaky start in the US with the single "Robert De Niro's Waiting" flaming out at a very minor #95. Despite having Top 10 success in the UK, the US was not warming up to the group. However, that would finally change with this next single. The song, co-written by the trio plus their producers Jolley & Swain, debuted on the chart far higher than the peak of "Robert" and proceeded to make its way up the chart. It eventually became their first US Top 10 (#11 Dance). The hit boosted the album, which made it to #30. After several attempts, the trio finally broke through in America.

ReduxReview:  This was the song where everything came together for the trio and Jolley/Swain. It was a delicious blast of pop candy that perfectly fit in with the summer of '84. The group's unusual vocal approach combined with Jolley and Swain's glossy 80s production finally got its due in the US thanks to the tune. Since that time, the song has been an essential entry on most any summer-themed playlist. I had a particularly bad time in '84 and when this single came out I dubbed it my theme song for the summer. Despite scoring two bigger hits later on, for me this remains the best song Bananarama ever did.

ReduxRating:  9/10

Trivia:  1) This hit was helped along by its appearance in a summer box office hit. Folks took notice of the tune when it was used in the film The Karate Kid. Although the track was not included on the official soundtrack album, the exposure certainly helped make the song a hit.  2) Later in 1998, the hit making Swedish pop group Ace of Base recorded a cover of this song. It would serve as the title-track and lead single from their third US album. The song would reach #10 and go gold. It was the group's fourth and final US Top 10 hit.

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"Reach Out" by Giorgio Moroder (Featuring Paul Engemann)

Song#:  1983
Date:  07/21/1984
Debut:  87
Peak:  81
Weeks:  4
Genre:  Synthpop, Soundtrack



Pop Bits:  To accompany the 1984 summer Olympic games that were held in Los Angeles, an official soundtrack was created. Several popular artists contributed songs and each one was dedicated to a specific event category. Just prior to the games, the LP's first single, the swimming theme "A Chance for Heaven" by Christopher Cross, was released. It fared okay at AC getting to #16, but was a dud at Pop tanking at #76. Next up was this song from hit songwriter/producer Giorgio Moroder. It was tagged as the theme for the track and field events and featured vocals by Paul Engemann (see below). The single was unable to gain any traction and ended up stumbling at a low #81. Oddly, the song caught fire in Germany and it reached the #1 spot on that country's chart. The track would end up being Moroder's final one to reach the US Pop chart.

ReduxReview:  Once again, Moroder employed his "Flashdance" slow opening technique to this sporty synth jam. That much-used device was getting tired and the rest of this song wasn't much better. As I mentioned before, it is rather difficult to come up with a song that is specific to an event. Even some of the best songwriters fail. I'm not sure I'd count this one as a complete failure, but it's not very good or inspiring. The lyrics are full of sporting clichés and the music sounds like something from a b-movie about a teen or team overcoming the odds to win! Moroder just tries way too hard here and the results sound stiff and forced. It might have been good for a razor blade commercial, but as a pop single - nope. The Germans seemed to love it, but need I remind you that they made a music star out of David Hasselhoff...

ReduxRating:  2/10

Trivia:  Double Shot!  1) This song would also be included on Moroder's 1985 LP Innovisions. That album would end up being Moroder's last formal studio release of original material for thirty years. When his appearance on Daft Punk's Grammy-winning Album of the Year Random Access Memories brought him back in the limelight, Moroder returned to the studio for the brand new 2015 album Déjà Vu. Featuring appearances by stars like Sia, Britney Spears, and Kylie Minogue, the LP spawned two #1 Dance tracks.  2)  This song was co-written by Morodor with Richie Zito and Paul Engemann. Engemann supplied the vocals for the track. This wasn't Engemann's first time on the Pop chart and it wouldn't be his last. Engemann first reached the chart back in 1975 when he and his sister formed the duo Christopher Paul & Shawn. They got to #91 with the song "For Your Love," a remake of the 1958 #7 R&B/#13 Pop hit by Ed Townsend (who also wrote the tune). Engemann would later hook up with Moroder for the song "Push It to the Limit," which was featured on the soundtrack to the 1983 film Scarface. Engemann would continue to work with Moroder for the next few years before becoming lead singer of the band Device (with songwriter Holly Knight). That band would get to #35 in 1986 with "Hanging on a Heart Attack." Soon after Device broke up, Engemann joined Animotion in time to do the vocals for their #9 1989 hit "Room to Move." (Side note:  Engemann's sister Shawn later married TV icon/journalist Larry King.)

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"I Send a Message" by INXS

Song#:  1982
Date:  07/21/1984
Debut:  90
Peak:  77
Weeks:  7
Genre:  Rock, New Wave



Pop Bits:  INXS broke through to the US charts with "The One Thing" (#30 Pop, #2 Rock) from their fourth LP Shabooh Shoobah. However, their next effort The Swing was having difficulty expanding upon that success. The LP's first single, "Original Sin," stopped early at Pop (#58) and Rock (#43) and this next single fared even worse. However, both songs did see some action at Dance getting to #13 and #18, respectively. The story was greatly different in their native Australia where "Original Sin" got to #1 and this tune made it to #3. The hits helped the album reach #1 in that country. It would take another album before the band would fully capture the attention of US listeners.

ReduxReview:  I love the opening of this song and it starts off good, but it kind of slacks off after the first verse and then there is not much in the way of a hooky chorus to draw in a listener. It's not a bad new wave jam, but it doesn't really go anywhere for me. You can tell, however, that they were beginning to hone in on a good formula. They just needed a little more focus and hook, which they were able to accomplish on their next LP.

ReduxRating:  5/10

Trivia:  Capitalizing on the the success they were having on the dance floor with tracks from The Swing, the band's label issued a release titled Dekadance that consisted of remixed songs from the album. The collection was only issued on cassette in Australia and it was quite successful reaching #2 on the chart. This set should not be confused with a similar collection that appeared in the US in 1983. That same-titled release featured four remixed songs from Shabooh Shoobah and was issued on 12" vinyl and cassette. It sold a few copies and got to #148 on the chart.

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"Lights Out" by Peter Wolf

Song#:  1981
Date:  07/14/1984
Debut:  56
Peak:  12
Weeks:  14
Genre:  Rock



Pop Bits:  The J. Geils band was at its peak as the decade started. Their 1981 album Freeze Frame was a multi-platinum #1 hit thanks to the #1 single "Centerfold." However, as with many bands that experience huge success, problems would follow and in the case of this band, it was mainly creative differences between lead singer Peter Wolf and the band's other songwriter Seth Justman. It all became too much for Wolf and he chose to leave the band in 1983 before a proper studio follow-up to Freeze Frame could be recorded. Wolf then signed on with EMI America for a solo career. Working with producer Michael Jonzun (of the electro-funk group Jonzun Crew), the pair came up with Wolf's debut solo disc Lights Out. The title track would be the LP's first single and it did well getting near the Pop Top 10, #6 Rock, and #11 Dance. Although it wasn't a huge hit, Wolf could take solace knowing that the next J. Geils album wouldn't produce any successful singles.

ReduxReview:  I loved this blast, blast, blast from Wolf. Between he and Justman, they supplied J. Geils Band with most of its material. However, friction developed between the two when Wolf's new tunes were rejected by Justman. Apparently Wolf wanted to remain rooted in the band's rock/R&B style while Justman wanted to go in a more modern direction. The rift caused Wolf to leave, which was a shame. He had written some terrific tunes, like this one, that would have been perfect for the band. Alas, he got to keep them for himself and a solo career was born. I'm oddly glad it worked out that way because the Lights Out LP is a real gem from the time period. It's kind of a lost LP now because it has never been issued on CD here in the US and remains out of print (and not available digitally either). Luckily, I still have the vinyl LP so a little magic got it into my digital world.

ReduxRating:  8/10

Trivia:  This song was co-written by Wolf and R&B singer/songwriter Don Covay. Despite being highly admired by many musicians (including Wolf), Covay's solo career was less than stellar. Only two of his songs, 1965's "Seesaw" and 1973's "I Was Checkin' In, She Was Checkin' Out," would get inside the R&B Top 10. However, he is probably more well-known as a songwriter. Many artists have recorded his songs with at least two of them certified classics. Chubby Checker took "Pony Time" to #1 in 1961 while Aretha Franklin won a Grammy for her  1967 #1 R&B/#2 Pop hit "Chain of Fools."

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"When You Close Your Eyes" by Night Ranger

Song#:  1980
Date:  07/14/1984
Debut:  72
Peak:  14
Weeks:  17
Genre:  Rock



Pop Bits:  The band's big ballad "Sister Christian" turned into a classic 80s hit when it reached #5 at Pop and #2 at Rock. It was taken from the band's second album Midnight Madness, as was this follow-up tune. It was another good hit for them that reached #7 at Rock and peaked just outside of the Pop Top 10. The dual hits pushed the LP to #15. It would also be the band's first album to reach platinum status.

ReduxReview:  I don't think the band could have come up with a better follow up to "Sister Christian." It moved them away from ballad mode into a pop/rock territory where folks like 38 Special resided. It helped that it was a solidly written song with a top-notch chorus. This could have easily slipped into the Top 10, but oddly stalled slightly short. They were hitting their stride with Midnight Madness and the success would continue with its follow-up.

ReduxRating:  7/10

Trivia:  This song was co-written by band member Alan Fitzgerald. In addition to his tenure in Night Ranger, Fitzgerald played keyboards for other artists like Van Halen and Bruce Springsteen. However, if you went to any of these shows where Fitzgerald performed, you most likely would not see him. His contributions to the show were made off stage. There are many artists and bands who utilize off-stage performers. The main reason for doing this is to enhance the sound of the performance while not crowding the stage with extra people and equipment. Bands may also relegate these folks to off-stage areas so that the crowd's focus stays on the actual band members instead of side musicians. Artists who do elaborate stage shows may also sequester the show's musicians off stage or in a pit in order to keep space clear for the performance, sets, and dancers. The off-stage musicians are typically given credit in programs and liner notes, but for the most part their role is kept quiet and out of sight.

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"17" by Rick James

Song#:  1979
Date:  07/14/1984
Debut:  75
Peak:  36
Weeks:  14
Genre:  R&B, Funk



Pop Bits:  After James scored his second #1 R&B album with 1983's Cold Blooded, it seemed like a good time to take a break and issue a hits compilation. The single LP Reflections collected up seven of James' hits and combined them with three previously unreleased songs. Of course, at minimum a couple of these new songs would be released as singles to help promote the album and the first one out of the gate was this tune that has James contemplating whether or not to have sex with an infatuated underage girl in his hotel room. Despite the disturbing premise, the song was a hit that got to #6 on the R&B chart. It even did okay at Pop getting just inside the Top 40. The album's second single, "You Turn Me On" didn't impress folks and it stalled early at R&B (#31) while missing the Pop chart.

ReduxReview:  Back at a time when Tipper Gore was about to get all fired up about song lyrics, it really surprises me that this song kind of slid by under the radar. There's no foul language here of any kind, but the subject matter is kind of dicey and he even mentions "jailbait." It's definitely not "Darling Nikki," but I'm sure it had to have raised an eyebrow or two. Perhaps it slipped by because it wasn't all that noticeable. Yeah, it was a hit at R&B, but it wasn't one of James' best efforts. The tune wasn't all that different from what he had been pumping out previously. It just seemed he was resting on his laurels instead of pushing forward, which just makes me shrug my shoulders and say, "meh."

ReduxRating:  5/10

Trivia:  Call it saved by a hangover. In the late 60s when James was trying to get his career going, one person he met along the way befriended him and wanted to invest in his music. Later on, the guy invited James and his girlfriend to a party and they had plans to go. However, the night before James partied way too much and was so hung over that he couldn't go. He and his girlfriend had to skip the party. It ended up being a wise decision. The guy he met was celebrity hair stylist Jay Sebring and the party he was supposed to go to was the one at Sharon Tate's house the night of the Manson family murders in 1969. This gruesome (and apparently very lucky) tidbit was part of Rick James' memoir that was published after his death in 2004.

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"Two Sides of Love" by Sammy Hagar

Song#:  1978
Date:  07/14/1984
Debut:  76
Peak:  38
Weeks:  12
Genre:  Rock



Pop Bits:  After five middling solo albums, Hagar was finally able to break through with two hit LPs including the 1982 platinum Standing Hampton. Hoping for a third successful disc, Hagar assembled and issued VOA. This first single announced its arrival, but it was nearly met with a thud. The tune could only manage a #27 peak at Rock while barely making the Pop Top 40. It didn't set the album up for success very well, but luckily a second single would help out.

ReduxReview:  I can kind of hear why this was selected as the first single. It's got a pop radio friendly feel that could be compared to tunes from Rick Springfield. However, I don't think the chorus is strong enough to make it stand out on radio. It's a good song, but it's just missing a solid hook. Not long after hearing it a couple times in a row, I couldn't remember a lick of it. That's not really a good sign.

ReduxRating:  5/10

Trivia:  The VOA from the album title is a reference to the government broadcasting service Voice of America. Started during World War II, the VOA was to broadcast factual news via shortwave radio about the war to various countries around the world in English and other languages. The radio transmissions continued through the Cold War and sought to fight propaganda and other fictional news that was being broadcast by countries not in-line with the US, such as Russia. Over the years, the VOA expanded to TV and the internet and it still continues today. However, the role of the VOA has decreased and government funding has continually been cut back. There are those who say that the VOA is actually an outlet for pro-American propaganda itself, but many dispute this claim. Hagar's album also includes a song titled "VOA" which makes reference to the news service broadcasting pro-US sentiment.

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