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100 Best Singles of 1984: Pop’s Greatest Year

Let’s go crazy: The standout songs from radio’s ‘Thriller’ season

From Prince to Madonna to Michael Jackson to Bruce Springsteen to Cyndi Lauper, 1984 was the peak of pop stardom. Here's the 100 best reasons why

Richard E. Aaron/Redferns;

From Prince to Madonna to Michael Jackson to Bruce Springsteen to Cyndi Lauper, 1984 was the year that pop stood tallest. New Wave, R&B, hip-hop, mascara’d hard rock and “Weird Al” Yankovic all crossed paths on the charts while a post-“Billie Jean” MTV brought them into your living room. In the spirit of this landmark year, here are the 100 best singles from the year pop popped. To be considered, the song had to be released in 1984 or have significant chart impact in 1984, and charted somewhere on the Billboard Hot 100. 

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36

Cyndi Lauper, “She Bop”

Hot 100 Peak: Number Three
1984 was a banner year for female masturbation in pop music. Cyndi didn't outright say the "m" word like Prince did on "Darling Nikki," but her code was hardly subtle — she's not reading Blue Boy for the articles or worrying she'll go blind because glaucoma runs in the Lauper family. The pearl-clutching busybodies of the PMRC, who listed "She Bop" among the "Filthy Fifteen" songs corrupting Eighties teens, were right to be worried: With everyone acting like sex should be solemn or sleazy, Cyndi's ecstatic gulps and yelps showed us it could just be goofy fun. K.H.

 

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35

The Romantics, “Talking in Your Sleep”

Hot 100 Peak: Number 3
These Detroit power-poppers with poofy hair so astounding, it's gif-worthy, hit it big in 1979 with "What I Like About You," which 51 percent of Americans still think was the Kinks. Impressive! This was a calmer, moodier, creepier piece of jangle-noir, caught halfway between the Buzzcocks and the Strokes, just catchy and charismatic enough to avoid being overpoweringly pervy. Kris Kross later sampled it, which is the highest compliment a song of this type can receive, other than a restraining order. R.H.

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34

Night Ranger, “Sister Christian”

Hot 100 Peak: Number Five
A power-ballad standard — it's been in Rock of Ages, on Glee and can be heard on the Emotion 98.3 station in Grand Theft Auto: Vice City. "Sister Christian" is a really big, often ridiculous ode to drummer/vocalist Kelly Keagy's virtuous younger sister, a roller-coaster ride of somber pianos and searing solos that took the band to the upper reaches of Billboard. More than a decade later, director Paul Thomas Anderson unearthed it for Boogie Nights, where it scores one of the film's most memorable scenes. J.M.

 

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33

Bruce Springsteen, “Dancing in the Dark”

Hot 100 Peak: Number Two
Springsteen had been recording Born in the U.S.A. for two years — much of it was cut prior to the release of its predecessor, Nebraska — and he wanted to be done. However, his manager, Jon Landau, refused to let him call it quits: They needed a hit single. Springsteen got angry and irritated, wrote a song about it — and that song eventually spent four weeks at Number Two, beaten out successively by Duran Duran and Prince. Nevertheless, it was the push Springsteen needed to become a bona fide pop star: "Dancing" was the first of Born in the U.S.A.'s seven Top 10 hits. M.M.

 

1984 queen
32

Queen, “I Want to Break Free”

Hot 100 Peak: Number 45
After 1982's synth-dance mixed-bag Hot Space, an abandoned soundtrack (for The Hotel New Hampshire) and side- and solo-project distractions, Queen's 11th album was released at a sketchy time in the band's career — yet, "I Want to Break Free" is perhaps their most oddly in-your-face bit of playful uplift. Written by bassist John Deacon, it's a mid-tempo declaration with no chorus, just Freddie Mercury's love-lost verses building up drama until a goofy synth solo leads to a subdued instrumental bridge, another verse, and Mercury wailing the title repeatedly on the outro. The song became a controversial firestarter due to its video, in which the band members dressed in drag as a parody of British soap opera Coronation Street, with choreography provided by the Royal Ballet. Brit fans got the joke, but fans in America viewed the cross-dressing as a coming-out for Mercury, who wore a wig and fake breasts in the video and onstage (the video was banned by MTV and rocks were hurled at Mercury during a concert in Brazil). Conversely, in most of the rest of Europe, the song was viewed as an anthem of resistance against political oppression. C.A.

 

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31

The Pointer Sisters, “Automatic”

Hot 100 Peak: Number Five
After Thriller, a blockbuster album was expected to yield hit after hit, and the Pointer Sisters' late-1983 Break Out, their synth-pop summation, is a paradigmatic example, yielding three Top Ten hits. The best is one of the great Prince rips — "Automatic" is like an inverted "1999," from the fanfare-like synth riff with clipped funk guitar responses to the bassy "Au-to-ma-tic" that caps the chorus echoing "Don't worry, I won't hurt you." The groove powers the arrangement, but this record won a Best Vocal Arrangement Grammy Award for good reason as well. M.M.

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30

Frankie Goes to Hollywood, “Relax”

Hot 100 Peak: Number Ten
BBC's Radio One DJs missed the sexual implications of this track's drawn-out hook — probably having missed the Frankie magazine ads featuring taglines like "All the nice boys love sea men" and "19 inches that must always be taken." Not long after they helped the record become one of the most popular in the U.K., the network promptly banned it — a decision that, no surprise, boosted its popularity even more. Of course, even if the record's hard, Hi-NRG sound was mostly the work of producer Trevor Horn, the band themselves were no naïve bystanders. "Morley had his strategy all worked out," backing vocalist Paul Rutherford later recalled, referring to the ZTT Records mastermind who planted those ads. "He wanted it to be like the Sex Pistols — all the outrage, controversy — but this time with all the sex." N.M.

The Time 1984

UNITED STATES - JANUARY 01: Photo of Morris DAY (Photo by Ebet Roberts/Redferns)

Ebet Roberts/Redferns

29

The Time, “Jungle Love”

Hot 100 Peak: Number 20 
To what could this title be referring? Nothing racial, surely — not from Prince, who two years earlier on "D.M.S.R." was instructing, "All the white people clap your hands on the four." And not from the Time, the band he'd masterminded for his hardcore R&B ideas. It might have been a one-joke idea were Morris Day not so ingratiating — he even sells "Come on, baby, where's your guts? You wanna make love or what?" — or the groove so hot. It became the Time's biggest Hot 100 hit yet, getting steady play on MTV and WTBS's Night Tracks. But it was a last gasp — Day had already moved to Los Angeles, ending the Time until a 1990 reunion. M.M.

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28

Teena Marie, “Lovergirl”

Hot 100 Peak: Number Four
In three decades of R&B singles by this self-proclaimed "black artist with white skin" — 29 charting songs, total — only "Lovergirl" peaked higher on the pop charts. That's probably because, in addition to its typically atypical in-your-face-and-all-over-the-map blend of scatting, semi-rapping, robotic chanting, French words and unwarranted proactive apologies for being "passé" and "old hat," it was clearly a funk & roll move for the age of Prince, Michael and her mentor Rick James, complete with half-minute guitar solo. That's one kick-ass co-ed biracial band backing her in the video, too — though, on record, Teena was just as capable of playing almost all those instruments herself. C.E.

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27

New Edition, “Cool It Now”

Hot 100 Peak: Number Four
The self-titled second album from Boston boy band New Edition doubled as a chance for the group to fully form its identity; having signed to a major label and parted ways with architect Maurice Starr. "Cool It Now," the record's first single, is a rebuke to friends who might be worried about a pal's romantic longings, with the silk-voiced Ralph Tresvant expressing his torment over peppy synths and his bandmates' street-corner harmonies. Its blend of the sweet and the acerbic (not to mention the breakdown, in which Tresvant calls out "Ronnie, Bobby, Ricky and Mike" for not getting along with the program) helped it become the group's first Top 10 hit. M.J.

 

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26

Thompson Twins, “Hold Me Now”

Hot 100 Peak: Number 3
Forget Queen, U2 and whoever else: This song was the true star of Live Aid. The startling zenith of the follically resplendent U.K. trio's career, "Hold Me Now" is an all-timer, the lovers-quarrel lyrics just a shade darker than the gossamer, arpeggiated synth-pop splendor swirling around them. He doesn't assert himself until the final chorus, but the yelping backing vocals from synth/percussion specialist Joe Leeway — a former Thompson Twins roadie and current uncertified hypnotherapist — steal the show. The sneak-attack MVP of the Wedding Singer soundtrack, too. R.H.

 

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25

Rockwell, “Somebody’s Watching Me”

Hot 100 Peak: Number Two
Kennedy William Gordy was rock royalty — he was the son of Motown mastermind Berry Gordy, his middle name was gifted from Smokey Robinson's government name and he was even brother-in-law to Jermaine Jackson at the time (not to mention he was the future half-brother of LMFAO's Redfoo) — but he couldn't get a record deal. Finally, his dad was all ears when Rockwell got his childhood pal Michael Jackson to sing the hook on his first (and biggest) single "Somebody's Watching Me." It's hard to guess how far it would have gone without MJ's help, but the single was a great midpoint between Eighties R&B and Eighties New Wave regardless: It had the vibes of Men at Work's paranoia anthem "Who Can It Be Now?," a touch of electro and verses that Rockwell delivered like a cockney David Byrne. C.W.

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24

Wham!, “Careless Whisper”

Hot 100 Peak: Number One
"Careless Whisper" is an anomaly in the Wham! catalog; initially credited to "Wham! Featuring George Michael," it's also one of the duo's few tracks with writing credits for both Michael and partner Andrew Ridgeley. The combination of simmering R&B — particularly the wailing saxophone line, played by British session man Steve Gregory — with Michael's impassioned vocal performance and Wham!'s then-ascendant celebrity made "Careless Whisper" an inevitable smash. In his 1991 autobiography, Michael said that he wrote the song's "not very good" lyrics "very flippantly." Nevertheless, its sustained mood and wide swath of appeal established Wham! as something more than a goofy teenybopper crew prone to wearing big slogans, thus setting the table for Michael's later solo triumphs. M.J.

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23

Van Halen, “Jump”

Hot 100 Peak: Number One
In 1983, Eddie Van Halen fell in love… with a keyboard. He celebrated this new relationship by nicking a jumbo riff from "Kiss on My List" (well, at least so says Daryl Hall) that, in tandem with brother Alex's all-in drum punctuation, made walking across the bar to talk to a girl sound as perilous and world-historical as a space shuttle launch. Leaning nervously against a jukebox, super-stud David Lee Roth had to play against type as a timid wallflower — a wallflower who's still capable of emitting larynx-shredding arena howls, of course. K.H.

 

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22

Culture Club, “Karma Chameleon”

Hot 100 Peak: Number One
How popular was Culture Club? They got a whole episode of The A-Team dedicated to them and it climaxed with a rowdy redneck crowd cheering on heavily mascara'd Boy George as he sang "Karma Chameleon." On the Club's only U.S. Number One, George bops through a deteriorating love affair, admitting his supposed shortcomings in a guileless attempt to nuzzle his way back into his lover's heart. And his footloose charm is all the more remarkable now that we know the song chronicles his tense, secret relationship with the band's drummer, Jon Moss. K.H.

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21

The Cars, “Drive”

Hot 100 Peak: Number Three
Despite singing lead on some of the Cars' biggest hits (from "Just What I Needed" to "Moving in Stereo" to "Let's Go"), Ben Orr's keening voice was too similar to that of the, uh, far more visually distinctive Ric Ocasek to earn him the spotlight he deserved. But still, working off 1984's Heartbeat City, as Ocasek became MTV's resident avant-garde creepy uncle, Orr snuck in this shattering ballad/aria, the sweetest and saddest thing the band (or Mutt Lange) ever produced. R.H.

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20

Van Halen, “Panama”

Hot 100 Peak: Number 13
Though fret-nerds worship Eddie Van Halen's solo firestorm "Eruption," the guitarist's greatest contribution to the Eighties Pop Culture Carnival was this display of everywhere-all-at-once mastery. The convulsive rhythm guitar, ferociously chugging riffs, preternatural chord progressions, mad harmonics, and yes, that lick-it-up pre-chorus that gets you tinglin' like a fistful of molly-laced Skittles. Supposedly, frontman David Lee Roth's leering double entendres were inspired by a car that he'd seen at a drag race, but that's definitely Eddie's Lamborghini revving during the breakdown (microphones were attached to the exhaust pipes). A Number 13 hit, "Panama" also boasted goofball aerial derring-do in the video, and was later used as part of the 1989 U.S. military operation to remove rogue Panamanian leader Manuel Noriega from the Vatican embassy in Panama City. The General proved no match for EVH's finger-taps and DLR's oh yeahs. C.A.

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19

Ashford & Simpson, “Solid”

Hot 100 Peak: Number 12
More than a decade after releasing their first LP, Motown's King-Goffin scored their biggest hit — and only R&B Number One — by stripping back the upward mobility that defined the previous year's "High-Rise." "That song measured success by living in a high-rise apartment, but we found ourselves singing to a small segment of people," Valerie Simpson said at the time. "Perhaps a high-rise is a success to people in New York, Los Angeles and Chicago, but once you hit the Midwest, where success might mean owning a home, you've lost your audience. I think people have to relate personally." Twenty-five years later, the duo took another approach, recording the "Solid (as Barack)" tribute to the man for whom success meant moving to 1600 Pennsylvania Ave. N.M.

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18

a-ha, “Take on Me”

Hot 100 Peak: Number One
The little Norwegian synth-pop song that could, "Take On Me" began its journey in 1984, when a-ha released the first version of their debut single, along with a cheap, performance-driven music video. A slightly different re-recording, and the now-iconic video with rotoscoped animation, helped drive the song to the top of the American charts in 1985. The band only had one more Top 40 hit in the States, but remained stars all over Europe for the rest of the decade. Few pop singles have the lasting legacy of this one — rock bands (mxpx, Cap'n Jazz) covered it in the Nineties, boy bands (the Jonas Brothers, A1) covered it in the Aughts and Pitbull recently scored a Top 10 hit by borrowing the melody for "Feel This Moment." A.S.

 

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17

Sade, “Smooth Operator”

Hot 100 Peak: Number Five
"Minimum space, maximum joy:" It's not only the ethos of the lithe lothario in Sade's silky smash, it's a pretty apt description for the song itself, a lighter-than-air classic that crossed lines between R&B, jazz, adult contemporary, pop and dance music. The opening track on the group's debut album, Diamond Life, it signaled the arrival of a bright new star in frontwoman Sade Adu, and provided the soundtrack to a decade of excess and soft-focus sensuality. J.M.

 

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16

Tracey Ullman, “They Don’t Know”

Hot 100 Peak: Number Eight
Tracey takes on… Lesley Gore? In 1984, British sketch-comedy repertory player Tracey Ullman was an unknown commodity in the States. Her debut album, You Broke My Heart in 17 Places, was a peak moment of new wave's obsession with the girl-group era, covering early-to-mid-Sixties singles from Irma Thomas, Marcie Blaine and Sandie Shaw (and even Sixties revisionists Blondie). But it was this cover of Kirsty MacColl's 1979 swooner "They Don’t Know" that became an international smash — Ullman made the connection more explicit by amping up the kitsch, adding Spectorian production, indulging huge harmonies and performing in a brilliantly acted video that showcased her comedy chops. Three years later she would have her own half-hour series in America that would introduce an animated family named the Simpsons. C.W.

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15

Nena, “99 Luftballons”

Hot 100 Peak: Number Two
At the height of Germany's anti-nuclear movement, two years before Chernobyl left radiation across the nation, six years before reunification, West Berlin Neue Deutsche Welle cuties imagine how "neunundneunzig" balloons floating over the Wall might turn the Cold War hot. In the B-side's English translation, its title seemingly references 1956 French art-film short The Red Balloon. "The war machine springs to life" and the city turns to dust — a.k.a., the abandoned post-atomic wasteland tomboy singer Nena strolls across in the video. Her musicians gave martial krautrock a synth-funk bubblegum bounce, and the German version barely missed topping ugly America's imperialist pop chart regardless. C.E.

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14

John Waite, “Missing You”

Hot 100 Peak: Number One
Former Babys vocalist John Waite scored his only solo hit with "Missing You," a song that desperately attempts to convince an ex that he isn't hurting as bad it seems. "John epitomized the tortured poet artist, the romantic figure that's my big weakness," MTV's Nina Blackwood recalled in VJ: The Unplugged Adventures of MTV's First Wave. "He was a walking Byronic archetype, down to his look and his cologne." Years after the two had exchanged letters and gifts across the Atlantic, Waite, now married, invited Blackwood to meet him at his studio. When she declined, he could do nothing but write "Missing You" — eventually playing it for her at Little Steven's 57th Street apartment. Later, when another VJ, Mark Goodman, asked if the song really was written about Blackwood, the tortured poet artist paused and responded: "It was written about her and a bunch of other women." N.M.

 

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13

Newcleus, “Jam on It”

Hot 100 Peak: Number 56
At the nexus of electro, funk, DJ culture and "Purple People Eater"-style novelty records lie Brooklyn quartet Newcleus, who bang-dang-diggy-diggy'd their way to a helium-voiced cult hit in 1983 with "Jam on Revenge." The even catchier "Jam on It" exploded while the band was on tour with fellow funkateers Cameo — Cozmo D said the bass line (inspired by Yazoo's slick new wave track "Situation") was always a crowd pleaser. But the fact that Chilly B rapped on it, an early pop triumph for the slowly rising hip-hop scene two years before Run-D.M.C. would hit the Hot 100, probably is the song's biggest legacy. "Sure enough, that record just kept going and going," said Cozmo. "So, now all of a sudden, we're rap artists!" C.W.

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12

U2, “Pride (in the Name of Love)”

Hot 100 Peak: Number 33
U2's Top 40 debut was a dedication to the resilience of Dr. Martin Luther King Jr.'s vision for peace. It's a big concept that required a big song, and luckily the group's soaring guitars and industrial-strength drums (not to overlook guest vocals by the Pretenders' Chrissie Hynde) made for an anthem that was up to the task. Unsurprisingly, "Pride" has become a concert staple for the band and its message has transcended genres thanks to covers by everyone from C+C Music Factory to John Legend to the nü-metal group Flyleaf. K.G.

 

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11

Tina Turner, “What’s Love Got to Do With It?”

Hot 100 Peak: Number One
"Survivor" and "comeback" are hideously overused critical clichés but damn if Tina Turner didn't deserve both of them. A musician so inseparable from "domestic violence" that Jay Z still peppers hit singles with references to it, Turner had gone more than a dozen years without a Top 10 hit. That personal history seemed audible in her rasp, adding a resonance to this anti-romantic ballad that even a great singer like Donna Summer, who'd turned it down, wouldn't have. At 44, Turner was the oldest solo female artist to score a Number One hit — a record that stood for 14 years until the 52-year-old Cher's "Believe." K.H.

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10

Sheila E., “The Glamorous Life”

Hot 100 Peak: Number Seven
Prince and Sheila E. maintained a behind-the-scenes relationship for years — as her new memoir reveals — and it's not hard to hear on this irresistibly frisky funk-pop morality play: Prince didn't even bother mixing his guide vocals down. The song, written by her Purple pal, is one of the most generous giveaways of his career, full of coy turns of phrase ("They made love, and by the seventh wave she knew she had a problem") — though "The Glamorous Life" truly comes alive with percussion à la Sheila, mixed hot and up front. The horns are also an early sign of the jazzier touches that would come to adorn his music, particularly on 1987's Sign 'O' the Times. M.M.

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9

Bruce Springsteen, “Born in the U.S.A.”

Hot 100 Peak: Number Nine
Originally recorded as one of the cassette demos that eventually became 1982's harrowing Nebraska, "Born in the U.S.A." keynoted its blockbuster follow-up, an album Springsteen was adamant be a lot more optimistic (i.e., not difficult, as evidenced by mega-hits like like "Dancing in the Dark"). Yet Springsteen's screaming vocal, coupled with Max Weinberg's reverbed-out military drumming, is just as unsettling once you grasp the lyrics' desperation — "Nowhere to run, ain't got nowhere to go" is no metaphor for the Vietnam-veteran narrator. President Reagan's re-election committee missed this entirely and requested to use it as a campaign song. Springsteen declined. M.M.

Prince 1984

Event: Artist: Photographer: Credit: Redferns Copyright Holder:

Richard E. Aaron/Redferns

8

Prince and the Revolution, “Purple Rain”

Hot 100 Peak: Number Eight
Even edited down to a radio-friendly four minutes from the eight-and-half-minute LP version (which was already edited down from the 11-minute performance recorded at First Avenue in Minneapolis), "Purple Rain" feels long — and that's meant as the highest compliment. The emotional ground that Prince's signature power ballad covers — from Wendy Melvoin's introductory chords to his own climactic, heroic solo flight — is vast. And just think how weird it'd have been if Stevie Nicks had written the words, as Prince had asked her to. K.H.

 

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7

Don Henley, “The Boys of Summer”

Hot 100 Peak: Number Five
This is what it sounds like when Eagles cry. For pure, lethal nostalgia, nothing beats this phenomenally catchy and casually devastating slice of synth-pop melancholy. Not only the bleeding heart of Don Henley's second solo album, Building the Perfect Beast, the tune's Jean-Baptiste Mondino-directed French new wave clip cleaned house at the second-ever VMAs in '85 — it was MTV's very own The 400 Blows. It lyrical legacy remains "Out on the road today/I saw a Deadhead sticker on a Cadillac," the "Deadhead" part later updated by pop-punkers the Ataris to "Black Flag" in 2003. Whoever covers it next can choose from "White Stripes," "Deadmau5" or "Death Grips." R.H.

 

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6

Cyndi Lauper, “Time After Time”

Hot 100 Peak: Number One
Written with Rob Hyman of Philadelphia's Hooters before that band's mid-Eighties heyday, this ballad was, as Lauper told Interview, "180 degrees" from its predecessor, "Girls Just Want to Have Fun": "They were opposites." But the song showcased Lauper's stylistic range and, especially, her vocal depth — she sounded both vulnerable and tough, like a Ronnie Spector who'd heard Patti Smith. She got the title, but not the plot, from a 1979 movie starring Malcolm McDowell as a time-traveling H.G. Wells. The following year, Miles Davis would cover it on his album, You're Under Arrest. M.M.

 

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5

Michael Jackson, “Thriller”

Hot 100 Peak: Number Four
In the worst of all possible alternative universes, songwriter Rod Temperton stuck with his original title: "Starlight." Fortunately, in our happier, weirder world he went with "Thriller." The final hit single from the blockbuster album that popped out seven of them (starting way back in October of 1982) is a perfect mix of campy winks and genuine chills, aided spooktacularly by a synth bass that's even creepier than Vincent Price luxuriating in the word "evil." The music video for "Thriller" was also quite popular. K.H.

 

Prince 1984

Prince performing on his 'Purple Rain' tour in Detroit, MI on November 4, 1984. *** NO SALES TO: THE NETHERLANDS, BELGIUM, GERMANY, AUSTRIA, SWITZERLAND, FRANCE + UK *** © Govert de Roos / Retna Ltd.

© Govert de Roos/Retna Ltd.

4

Prince and the Revolution, “Let’s Go Crazy”

Hot 100 Peak: Number One
In 1984, Prince ruled every major musical category — pop, R&B, rock, dance — with one album, the soundtrack to Purple Rain. With that album's opener, "Let's Go Crazy," he flashed the breadth of his mastery in one song: sprinting Linn drum-machine groove, blackout-dizzying guitar solo, adrenaline-swizzling synth solo, all kicked off by a fonkily reverbed testimony from the bandleader himself as a church-organ swelled. His band the Revolution (full collaborators for this alchemical moment in time), flaying every turn and breakdown, until it all concluded with Prince turning Hendrix into a cartoon superhero, while hopping off his motorcycle to kiss Apollonia in the video. C.A.

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3

Chaka Khan, “I Feel for You”

Hot 100 Peak: Number Three
Ten years since her last Number Three hit, Rufus' "Tell Me Something Good," Chaka Khan finally matched it. For Khan, it recharged her career. For Prince, this high-tech cover of a 1979 album cut was a late feather an unstoppable year — beyond his Number One album/singles/movie were hits he also wrote for Sheila E. and the Time. For producer Arif Mardin, who'd been producing records since the mid-Sixties, it was a chance to change with the times, and possibly change them himself: "As we were mounting the recording onto the main master," he told NPR, "my hand slipped on the repeat machine — ch-ch-ch-ch-Chaka Khan. So we said, 'Let's keep that, that's very interesting.'" For America, "I Feel for You" was another early meeting with hip-hop culture (and its uncanny ability to be pop music) thanks to a Melle Mel rap, a sampled Stevie Wonder harmonica solo and video full of breakdancers. C.W.

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2

Madonna, “Borderline”

Hot 100 Peak: Number 10
"I dared to believe this was going to be huge beyond belief, the biggest thing I'd ever had, after I heard 'Borderline,'" Seymour Stein, the record man who signed Madonna, recalled. "The passion that she put into that song, I thought, there's no stopping this girl." His gut was right on target: The fifth and final single from Madonna's 1983 debut album was her first to hit the Top 10. The melodic synth-a-palooza with the plunky low end was one of two on the LP penned by Reggie Lucas, who used a drum machine instead of a live drummer for the first time on the tune, doubling a synth bass with Anthony Jackson on electric bass guitar ("They're playing so tight you can't tell the difference," Lucas said). Madonna turned in a sweetly-sung, restrained but emotional vocal (her voice wavers just so when she gets to "Feels like I'm going to lose my mind") about a beau who has her heart twisted. The radio remix, which trims nearly three minutes from the tune, boasts one of Madge's most iconic fade-outs, standing by as she "la la la"s into the void. C.G.

Prince1984

UNITED STATES - SEPTEMBER 13: RITZ CLUB Photo of PRINCE, Prince performing on stage - Purple Rain Tour (Photo by Richard E. Aaron/Redferns)

Richar E. Aaron/Redferns

1

Prince and the Revolution, “When Doves Cry”

Hot 100 Peak: Number One
The year's biggest hit (five weeks at Number One) was also its most visionary. After the shrapnel of Prince's introductory guitar volley settles, a hypnotic Linn drum pattern syncs with a synth figure courtly enough for a minuet. Vocals of cold menace and desperate abandon vie for preeminence until climatic screeches of pain carry the day. It's a song that has everything — except a bass. Prince brazenly lopped off his original bass line the studio and then, according to engineer Peggy McCreary, boasted, in true Prince fashion, "There's nobody that's going to have the guts to do this." K.H.

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