About 7 or 8 years ago my dad checked out from the library a book detailing every single #1 song from 1958 through the present. Since then, I've been wanting to listen to all of them in order and I figure now's a good time as any to hear the evolution of music.
1. Poor Little Fool (Ricky Nelson) - It's kinda fitting that the very first #1 song is your standard tune about young love and heartbreak. Turns out, teen idols have always been around.
2. Nel blu, dipinto di blu (Domenico Modugno) - I was seriously not expecting that the most popular song of 1958 in the US would be entirely in Italian. I find it hard to imagine such a song doing so well in today's era (even Gangham Style only hit #2).
3. Little Star (The Elegants) - The lyrics are basically just the nursery rhyme with some filler words thrown in, but the doo-wop vocals are still quite good. Wikipedia claims the group still performs, though that claim feels a bit dubious.
4. It's All in the Game (Tommy Edwards) - Apparently in 1958 not calling her was just part of the game. This was his second release of this song, though with a more modern arrangement. It's based on a composition by (really) Vice President Charles Dawes.
5. It's Only Make Believe (Conway Twitty) - Yep, Conway Twitty recorded a #1 pop song. It's basically your standard unrequited love song, though they're actually a couple somehow? Regardless, moving to country music was probably a wise career choice.
6. Tom Dooley (The Kingston Trio) - A cover of an old folk song about a real murder from the prospective of the killer about to be hanged. The group was a powerhouse in the late 50s, though I think this was their only Hot 100 #1.
7. To Know Him Is to Love Him - The Teddy Bears
This song helped launch the career of the infamous Phil Spector. It's basically a funeral song, which makes its 3 weeks at the top rather surprising.
This song helped launch the career of the infamous Phil Spector. It's basically a funeral song, which makes its 3 weeks at the top rather surprising.
8. The Chipmunk Song (Christmas Don't Be Late) - Alvin and the Chipmunks
Yes, seriously, this song spent an entire month at #1. Three weeks after Christmas, people wanted to hear about Alvin wanting a hula hoop. I don't get it.
Yes, seriously, this song spent an entire month at #1. Three weeks after Christmas, people wanted to hear about Alvin wanting a hula hoop. I don't get it.
9. Smoke Gets in Your Eyes - The Platters
We enter 1959 with a showtune. It's about as golden oldies as one can get. I've noticed a lot of these songs have been covers - I want to say this trend continues for the next several years.
We enter 1959 with a showtune. It's about as golden oldies as one can get. I've noticed a lot of these songs have been covers - I want to say this trend continues for the next several years.
10. Stagger Lee (Lloyd Price)
This is an R&B cover of an old folk song and it's extremely well done. This is probably my favorite song so far, with my only complaint that it doesn't really have an ending and it's only 2:30 in length.
This is an R&B cover of an old folk song and it's extremely well done. This is probably my favorite song so far, with my only complaint that it doesn't really have an ending and it's only 2:30 in length.
11. Venus (Frankie Avalon)
The singer really wants a girlfriend, and promises that if he gets one, he won't cheat on her. Avalon would later record a disco version of Venus in an attempt to make a comeback. It's not that great.
The singer really wants a girlfriend, and promises that if he gets one, he won't cheat on her. Avalon would later record a disco version of Venus in an attempt to make a comeback. It's not that great.
12. Come Softly to Me (The Fleetwoods)
No relation to Fleetwood Mac. Yes, the title is a double entendre, which says basically all you need to know about this song.
No relation to Fleetwood Mac. Yes, the title is a double entendre, which says basically all you need to know about this song.
The Happy Organ (Dave "Baby" Cortez)
It's an organ (with some accompaniment) playing a happy tune. What did you expect? It's a fun song, but it gets old fast, which is probably why it only spent one week at #1.
It's an organ (with some accompaniment) playing a happy tune. What did you expect? It's a fun song, but it gets old fast, which is probably why it only spent one week at #1.
Kansas City (Wilbert Harrison)
This song is evidently not about the Lombardi. It's been covered by many big names, including the Beatles, but this is the most iconic version. I'm not sure how the place got associated with "crazy little women", though.
This song is evidently not about the Lombardi. It's been covered by many big names, including the Beatles, but this is the most iconic version. I'm not sure how the place got associated with "crazy little women", though.
The Battle of New Orleans (Johnny Horton)
The number one song of 1959 is an almost comical retelling of Andrew Jackson beating and killing the British after the war had technically ended. It hasn't aged well.
The number one song of 1959 is an almost comical retelling of Andrew Jackson beating and killing the British after the war had technically ended. It hasn't aged well.
16. Lonely Boy (Paul Anka)
A Canadian teen idol singing about love? But I thought Beiber wouldn't be around for another 50 years! To be fair, Anka is a pretty good singer-songwriter, even if this song isn't that great.
A Canadian teen idol singing about love? But I thought Beiber wouldn't be around for another 50 years! To be fair, Anka is a pretty good singer-songwriter, even if this song isn't that great.
17. A Big Hunk O' Love (Elvis Presley)
The Hot 100 debuted right at the start of The King's military service, so only now does he make an appearance. It's classic rock 'n roll that we've been missing over the past year.
The Hot 100 debuted right at the start of The King's military service, so only now does he make an appearance. It's classic rock 'n roll that we've been missing over the past year.
18. The Three Bells (The Browns)
A mostly a capella folk song, this song quickly goes through the birth, marriage, and death of Jimmy Brown. The vocals were strong, but the song itself felt like it needed a bit more depth.
A mostly a capella folk song, this song quickly goes through the birth, marriage, and death of Jimmy Brown. The vocals were strong, but the song itself felt like it needed a bit more depth.
19. Sleep Walk (Santo & Johnny)
It's basically a lofi beat to relax/study to. It's a fine tune, but not what I'd consider #1 material. Then again, it almost feels like pop music is figuring out where to go after the early rock 'n roll era.
It's basically a lofi beat to relax/study to. It's a fine tune, but not what I'd consider #1 material. Then again, it almost feels like pop music is figuring out where to go after the early rock 'n roll era.
20. Mack the Knife (Bobby Darin)
This song would spend 9 weeks on top of the charts, and for good reason. It's an uptempo, creative reimagining of a showtune that makes me want to swing dance. One can almost forget it's about a murderer making a body "ooze life" (cont.)
This song would spend 9 weeks on top of the charts, and for good reason. It's an uptempo, creative reimagining of a showtune that makes me want to swing dance. One can almost forget it's about a murderer making a body "ooze life" (cont.)
20.5 Darin had burst onto the scene the previous year with "Splish, Splash", but this song feels to me more like his actual style.
21. Mr. Blue (The Fleetwoods)
This is their second #1 hit of 1959, and the singer's romantic state has taken a downturn. This song peaked halfway through Mack the Knife's run, and honestly I'd rather talk about that song instead.
This is their second #1 hit of 1959, and the singer's romantic state has taken a downturn. This song peaked halfway through Mack the Knife's run, and honestly I'd rather talk about that song instead.
22. Heartaches by the Number (Guy Mitchell)
It's a good early country song. Unfortunately in the version I listened to the instruments seemed too loud, which is a shame because Mitchell sang the song quite well.
It's a good early country song. Unfortunately in the version I listened to the instruments seemed too loud, which is a shame because Mitchell sang the song quite well.
23. Why (Frankie Avalon)
We wrap up the decade with another Frankie Avalon song, and I guess Venus granted his wish. It's still a very shallow song, but this one feels more tolerable.
We wrap up the decade with another Frankie Avalon song, and I guess Venus granted his wish. It's still a very shallow song, but this one feels more tolerable.
Interlude:
The late 50s were a nadir for rock 'n roll. The original pioneers were out of the scene (either by army or plane crash or jail or just plain disgraced), and the genre was seen as "sinful" and could even lead to (gasp!) race mixing. (cont.)
The late 50s were a nadir for rock 'n roll. The original pioneers were out of the scene (either by army or plane crash or jail or just plain disgraced), and the genre was seen as "sinful" and could even lead to (gasp!) race mixing. (cont.)
So instead at the start of the Billboard Hot 100 list, we get a lot of "safe" songs from teen idols, or folk tunes, or other assorted music. Sure, some more rebellious songs showed up, but we're talking about a time when Frankie Avalon is a two-time #1 star. (cont.)
If memory of listening to Oldies 100 serves me right, things start to pick up in the early 60s as doo-wop grows in popularity. And then, in about 80 songs' time, everything changes.
24. El Paso (Marty Robbins)
Welcome to the 60s! The decade begins with a western ballad that has held up quite well through the years. The tune is simplistic, but Robbins weaves a great story in a short time.
Welcome to the 60s! The decade begins with a western ballad that has held up quite well through the years. The tune is simplistic, but Robbins weaves a great story in a short time.
25. Running Bear (Johnny Preston)
Yikes, this hasn't aged well. The verses are backed by stereotypical Indian chanting, and the lyrical c content feels a bit iffy at best.
Yikes, this hasn't aged well. The verses are backed by stereotypical Indian chanting, and the lyrical c content feels a bit iffy at best.
26. Teen Angel (Mark Dinning)
I guess people in 1960 really wanted to listen to music about people dying. Getting run over by a train to save a high school ring doesn't seem like the wisest choice.
I guess people in 1960 really wanted to listen to music about people dying. Getting run over by a train to save a high school ring doesn't seem like the wisest choice.
27. Theme from a Summer Place (Percy Faith)
This is an instrumental from a film most people haven't heard of nowadays, and it spent 9 weeks on top of the charts. Nothing would top it until the disco era. (cont.)
This is an instrumental from a film most people haven't heard of nowadays, and it spent 9 weeks on top of the charts. Nothing would top it until the disco era. (cont.)
27 (cont). Don't get me wrong, it's a sweet tune, but you'd think a more popular song would have come out in a two-month span.
28. Stuck on You (Elvis Presley)
Elvis is back from military duty! It's not his greatest hit, but music had sorely missed him singing about how he's going to make out with you really hard.
Elvis is back from military duty! It's not his greatest hit, but music had sorely missed him singing about how he's going to make out with you really hard.
29. Cathy's Clown (The Everly Brothers)
When I was a kid I always heard the lyric as "let's catch these clowns". The unorthodox music structure keeps you on your toes, though the lack of verses feels weird in retrospect.
When I was a kid I always heard the lyric as "let's catch these clowns". The unorthodox music structure keeps you on your toes, though the lack of verses feels weird in retrospect.
Those past three songs combined for 18 weeks on the #1 spot, which was unheard of in that era.
30. Everybody's Somebody's Fool (Connie Francis)
It's the standard fare of how she hopes someone will break the heart of the person who broke hers. The song doesn't sound too bitter, which makes it a lot more listenable.
It's the standard fare of how she hopes someone will break the heart of the person who broke hers. The song doesn't sound too bitter, which makes it a lot more listenable.
31. Alley Oop (The Hollywood Argyles)
It's a song about a comic strip. The singer is literally explaining who the characters are. Not being familiar with the cultural context doesn't really help this song age well.
It's a song about a comic strip. The singer is literally explaining who the characters are. Not being familiar with the cultural context doesn't really help this song age well.
32. I'm Sorry (Brenda Lee)
I would never guess that this was sung by a 15-year-old. Brenda Lee does a great job on vocals, even if the subject matter might be a bit old for someone her age.
I would never guess that this was sung by a 15-year-old. Brenda Lee does a great job on vocals, even if the subject matter might be a bit old for someone her age.
33. Itsy Bitsy Teenie Weenie Yellow Polkadot Bikini (Brian Hyland)
A song about the dangers of not using a fitting room. I'm sure the mental image helped drive sales, especially since bikinis were still a new thing.
A song about the dangers of not using a fitting room. I'm sure the mental image helped drive sales, especially since bikinis were still a new thing.
34. It's Now or Never (Elvis Presley)
This song is definitely influenced by Elvis' time in Europe, and it feels a bit more grown-up. It sold over 20 million copies, and for good reason.
This song is definitely influenced by Elvis' time in Europe, and it feels a bit more grown-up. It sold over 20 million copies, and for good reason.
35. The Twist (Chubby Checker)
The dance craze that was sweeping the nation. It doesn't pretend to be anything else and it's really easy to follow along to. Checker would release Let's Twist Again the next year, though that only hit #8.
The dance craze that was sweeping the nation. It doesn't pretend to be anything else and it's really easy to follow along to. Checker would release Let's Twist Again the next year, though that only hit #8.
36. My Heart Has A Mind of Its Own (Connie Francis)
This is basically your generic pop song about longing. It's done well, but it's not exactly memorable, even if it gave Francis her second #1 hit of the year.
This is basically your generic pop song about longing. It's done well, but it's not exactly memorable, even if it gave Francis her second #1 hit of the year.
37. Mr. Custer (Larry Verne)
This abomination of a song has an annoying vocal, but even worse is incredibly insensitive with regard to its topic and slang used for the Sioux. There are zero redeeming qualities and I can't even be bothered to link this piece of garbage.
This abomination of a song has an annoying vocal, but even worse is incredibly insensitive with regard to its topic and slang used for the Sioux. There are zero redeeming qualities and I can't even be bothered to link this piece of garbage.
38. Save the Last Dance for Me (The Drifters)
This is one of my favorite songs so far. It has Ben E. King's amazing vocals, a great hook, and it's an honest, sweet song devoid of angst.
This is one of my favorite songs so far. It has Ben E. King's amazing vocals, a great hook, and it's an honest, sweet song devoid of angst.
39. I Want to Be Wanted (Brenda Lee)
Not to be confused with the Cheap Trick song. This is Lee's third big hit and she's not even 16. I feel like she's had better vocal performances, but she's still really good at what she does.
Not to be confused with the Cheap Trick song. This is Lee's third big hit and she's not even 16. I feel like she's had better vocal performances, but she's still really good at what she does.
40. Georgia on My Mind (Ray Charles)
A stirring, soulful tribute to the state Charles called home. It's a shame it only had one week at #1, but such are the ways of the pop charts at this point in time.
A stirring, soulful tribute to the state Charles called home. It's a shame it only had one week at #1, but such are the ways of the pop charts at this point in time.
41. Stay (Maurice Williams and the Zodiacs)
This song about a kid wanting his date to not end yet clocks in at 96 seconds. I barely had time to get into the music and then it ended. Jackson Browne's cover, meanwhile, is 9 minutes long.
This song about a kid wanting his date to not end yet clocks in at 96 seconds. I barely had time to get into the music and then it ended. Jackson Browne's cover, meanwhile, is 9 minutes long.
42. Are You Lonesome Tonight? (Elvis Presley)
And with that, Elvis was #1 for over a quarter of 1960. It's a slow song and even contains a spoken word section, and yet Elvis carries it beautifully.
And with that, Elvis was #1 for over a quarter of 1960. It's a slow song and even contains a spoken word section, and yet Elvis carries it beautifully.
43. Wonderland by Night (Bert Kaempfert)
I hear he's got the mad hits. We begin 1961 with a decent tune, but a song that ultimately feels like elevator music.
I hear he's got the mad hits. We begin 1961 with a decent tune, but a song that ultimately feels like elevator music.
44. Will You Love Me Tomorrow (The Shirelles)
I heard this song a lot on the radio as a kid, and only now do I get that it's about a potential one-night stand. It is a sweet R&B song by one of the first big pop girl groups.
I heard this song a lot on the radio as a kid, and only now do I get that it's about a potential one-night stand. It is a sweet R&B song by one of the first big pop girl groups.
45. Calcutta (Lawrence Welk)
This is an instrumental cover of a German song for Welk's variety show. It's supposed to be "champagne music", which is an apt comparison given the wine's quality. I guess it's a good way to pass the time in an elevator.
This is an instrumental cover of a German song for Welk's variety show. It's supposed to be "champagne music", which is an apt comparison given the wine's quality. I guess it's a good way to pass the time in an elevator.
46. Pony Time (Chubby Checker)
This feels like Checker wanted to follow up on The Twist by introducing another dance. It obviously wasn't as successful, probably because pretending to ride a horse isn't nearly as appealing.
This feels like Checker wanted to follow up on The Twist by introducing another dance. It obviously wasn't as successful, probably because pretending to ride a horse isn't nearly as appealing.
47. Surrender (Elvis Presley)
It's hard not to compare this with "It's Now or Never", as they both are adaptations of Italian songs. This song feels not as strong, but it's still a worthy #1 hit, Elvis's fourth in a one-year span.
It's hard not to compare this with "It's Now or Never", as they both are adaptations of Italian songs. This song feels not as strong, but it's still a worthy #1 hit, Elvis's fourth in a one-year span.
48. Blue Moon (The Marcels)
It's a fun doo-wop song, it doesn't pretend to be anything else, and it doesn't wear out its welcome. I couldn't tell you which Marcel put the bomp in the "bomp bah bomp bah bomp", though.
It's a fun doo-wop song, it doesn't pretend to be anything else, and it doesn't wear out its welcome. I couldn't tell you which Marcel put the bomp in the "bomp bah bomp bah bomp", though.
49. Runaway (Del Shannon)
It's your standard pop fare about the singer's girlfriend leaving him. The electric keyboard and falsetto makes this song stand out from the rest. We'd take that bridge for granted now, but I bet it was a big deal in 1961.
It's your standard pop fare about the singer's girlfriend leaving him. The electric keyboard and falsetto makes this song stand out from the rest. We'd take that bridge for granted now, but I bet it was a big deal in 1961.
50. Mother-in-Law (Ernie K-Doe)
It's a decent enough tune, but a song about how mother-in-laws are the Devil in disguise just feels a bit trite nowadays. Maybe it was a more original concept 60 years ago?
It's a decent enough tune, but a song about how mother-in-laws are the Devil in disguise just feels a bit trite nowadays. Maybe it was a more original concept 60 years ago?
51. Travelin' Man (Ricky Nelson)
Our first #1 singer has returned with a song a lot less bland than Poor Little Fool, not that that's saying much. It's a fun tune, as long as you don't think about the lyrics too much.
Our first #1 singer has returned with a song a lot less bland than Poor Little Fool, not that that's saying much. It's a fun tune, as long as you don't think about the lyrics too much.
52. Running Scared (Roy Orbison)
This song serves entirely as a vehicle for Orbison's operatic voice, and he delivers an amazing crescendo. My only real complaint is that we don't get to hear more of him.
This song serves entirely as a vehicle for Orbison's operatic voice, and he delivers an amazing crescendo. My only real complaint is that we don't get to hear more of him.
53. Moody River (Pat Boone)
It's been a while since we've had a tragic ballad. It's not really sung sadly or played with lightly (as with Stagger Lee). The song feels like it's just kinda there.
It's been a while since we've had a tragic ballad. It's not really sung sadly or played with lightly (as with Stagger Lee). The song feels like it's just kinda there.
54. Quarter to Three (Gary U.S. Bonds)
Apparently the poor sound quality is intentional. This song feels like it belongs in the mid-50s era of rock 'n roll, not that I particularly mind. Gary U.S. Bonds is such a weird stage name though.
Apparently the poor sound quality is intentional. This song feels like it belongs in the mid-50s era of rock 'n roll, not that I particularly mind. Gary U.S. Bonds is such a weird stage name though.
55. Tossin' and Turnin' (Bobby Lewis)
The top song of 1961 is a pretty high-energy song about being unable to sleep. It spent 7 weeks at #1 in a year with 22 songs reaching that spot, so I guess people were eager for a song to dance to.
The top song of 1961 is a pretty high-energy song about being unable to sleep. It spent 7 weeks at #1 in a year with 22 songs reaching that spot, so I guess people were eager for a song to dance to.
56. Wooden Heart (Joe Dowell)
This is a cover of an Elvis song that was popular overseas but not released in the USA yet, and it sounds like someone trying to imitate his style. I think I'd rather listen to the original.
This is a cover of an Elvis song that was popular overseas but not released in the USA yet, and it sounds like someone trying to imitate his style. I think I'd rather listen to the original.
57. Michael (The Highwaymen)
It's an African-American spiritual song being covered by a white collegiate quartet, so it naturally feels like it's missing the soul necessary for this song to work.
It's an African-American spiritual song being covered by a white collegiate quartet, so it naturally feels like it's missing the soul necessary for this song to work.
58. Take Good Care of My Baby (Bobby Vee)
This is Carole King's second #1 as a songwriter. It works well as an oldies pop song, even if I'm not fully convinced Vee is selling what he's singing.
This is Carole King's second #1 as a songwriter. It works well as an oldies pop song, even if I'm not fully convinced Vee is selling what he's singing.
59. Hit the Road Jack (Ray Charles)
Ray Charles and Margie Hendrix team up for a fairly unique jazzy R&B song, with a catchy chorus that has become a staple of sports stadiums everywhere.
Ray Charles and Margie Hendrix team up for a fairly unique jazzy R&B song, with a catchy chorus that has become a staple of sports stadiums everywhere.
60. Runaround Sue (Dion)
This is the type of doo-wop song that I feel like would be playing in every jukebox in 1961. The lyrics are really quite bitter, but despite that all the pieces add up to a finely-crafted pop song.
This is the type of doo-wop song that I feel like would be playing in every jukebox in 1961. The lyrics are really quite bitter, but despite that all the pieces add up to a finely-crafted pop song.
61. Big Bad John (Jimmy Dean)
Before Jimmy Dean made sausages, he crafted a tale of a man who sacrificed himself to save 20 fellow miners. Unlike the previous folk attempts, this one tells the story very well.
Before Jimmy Dean made sausages, he crafted a tale of a man who sacrificed himself to save 20 fellow miners. Unlike the previous folk attempts, this one tells the story very well.
62. Please Mr. Postman (The Marvelettes)
This song is significant for being the first #1 hit to come out of Motown, though it would be a couple years before the label really got going. It's a bit shallow, but still a decent listen.
This song is significant for being the first #1 hit to come out of Motown, though it would be a couple years before the label really got going. It's a bit shallow, but still a decent listen.
63. The Lion Sleeps Tonight (The Tokens)
Derived from a really popular Zulu song from the 1930s, this song is complete nonsense. But it's done really well, somehow managing to be distinct yet not annoying.
Derived from a really popular Zulu song from the 1930s, this song is complete nonsense. But it's done really well, somehow managing to be distinct yet not annoying.
63.5: I guess we're doing the twist again in 1962. The dance continued to be popular to the point where this song managed to reach #1 again, a year and a half after its first charting performance. I guess The Pony never really took off.
64. Peppermint Twist Part 1 (Joey Dee & The Starliters)
And we follow it up with another song about the twist. This song isn't super inspiring, but it's a good way to capitalise on the latest fad for 3 weeks at #1.
And we follow it up with another song about the twist. This song isn't super inspiring, but it's a good way to capitalise on the latest fad for 3 weeks at #1.
65. Duke of Earl (Gene Chandler)
This is a quintessential doo-wop song from the genre's peak. It takes a nonsense premise (where is Earl anyway?) and spins it into a coherent song that mostly avoids the genericness of a couple years prior.
This is a quintessential doo-wop song from the genre's peak. It takes a nonsense premise (where is Earl anyway?) and spins it into a coherent song that mostly avoids the genericness of a couple years prior.
66. Hey! Baby (Bruce Channel)
Y'know, it felt like it had been a while since we had a generic pop song about wanting love. I guess that streak had to end eventually. At least the harmonica gives it some distinctness.
Y'know, it felt like it had been a while since we had a generic pop song about wanting love. I guess that streak had to end eventually. At least the harmonica gives it some distinctness.
67. Don't Break the Heart That Loves You (Connie Francis)
This is her third #1, and I'm getting the feeling that the trajectory of music is moving away from her easy-listening style. The spoken word section seems heavily inspired by Elvis.
This is her third #1, and I'm getting the feeling that the trajectory of music is moving away from her easy-listening style. The spoken word section seems heavily inspired by Elvis.
68. Johnny Angel (Shelley Fabares)
It's your standard teen having a crush song. The backup singers work well here, but there's not a whole lot to say here.
It's your standard teen having a crush song. The backup singers work well here, but there's not a whole lot to say here.
69. Good Luck Charm (Elvis Presley)
We're well removed from the Elvis Is Back period, but he can still crank out the hits. It's not quite as strong as some of his prior #1s, but that's an unfair comparison to make.
We're well removed from the Elvis Is Back period, but he can still crank out the hits. It's not quite as strong as some of his prior #1s, but that's an unfair comparison to make.
70. Soldier Boy (The Shirelles)
This song has a vibe that would not work after Vietnam. The concern is faithfulness, not coming home safely. Come to think of it, it's surprising how big a theme "staying true" is for pop songs of this era.
This song has a vibe that would not work after Vietnam. The concern is faithfulness, not coming home safely. Come to think of it, it's surprising how big a theme "staying true" is for pop songs of this era.
71. Stranger on the Shore (Acker Bilk)
It's so weird to me that the top single of 1962 was a clarinet jazz piece. It's good, don't get me wrong, but it's certainly not what one would imagine as culturally popular music.
It's so weird to me that the top single of 1962 was a clarinet jazz piece. It's good, don't get me wrong, but it's certainly not what one would imagine as culturally popular music.
72. I Can't Stop Loving You (Ray Charles)
This is a cover of a country song, and Ray Charles delivers it with the right amount of emotion. I'm convined there isn't a genre of music that he can't excel at.
This is a cover of a country song, and Ray Charles delivers it with the right amount of emotion. I'm convined there isn't a genre of music that he can't excel at.
73. The Stripper (David Rose)
No, I am not making this up. A piece of striptease music really did reach #1 for a week in 1962. How this happened I have no good explanation. Were strip clubs really that popular back then?
No, I am not making this up. A piece of striptease music really did reach #1 for a week in 1962. How this happened I have no good explanation. Were strip clubs really that popular back then?
74. Roses Are Red (My Love) (Bobby Vinton)
It's a song about yearbook messages from his high school sweetheart. It's kinda forgettable, but at least the subject matter is a fairly unique tweak of the standard pop formula.
It's a song about yearbook messages from his high school sweetheart. It's kinda forgettable, but at least the subject matter is a fairly unique tweak of the standard pop formula.
75. Breaking Up Is Hard to Do (Neil Sedaka)
This song revels in its simplicity, and the doo-wop beat manages to make for a great hook. Apparently, if you can't think of a lyric, just doo-wop it. (Just kidding. Mostly.)
This song revels in its simplicity, and the doo-wop beat manages to make for a great hook. Apparently, if you can't think of a lyric, just doo-wop it. (Just kidding. Mostly.)
76. The Loco-Motion (Little Eva)
I guess it's time for a brand new dance now. This is probably the most reassuring dance song I've heard, as Little Eva keeps telling us that we're "doing good".
I guess it's time for a brand new dance now. This is probably the most reassuring dance song I've heard, as Little Eva keeps telling us that we're "doing good".
77. Sheila (Tommy Roe)
If someone were to ask me to guess when this song came out, I would have said 1957. But it's a rare bubbly rock song from the early 60s, and it works because of how different a change of pace it is.
If someone were to ask me to guess when this song came out, I would have said 1957. But it's a rare bubbly rock song from the early 60s, and it works because of how different a change of pace it is.
78. Sherry (The Four Season)
We have the arrival of the Four Seasons, who would dominate the airwaves for the next couple years. Frankie Valli's falsetto is unmistakable and dispenses with any form of subtlety.
We have the arrival of the Four Seasons, who would dominate the airwaves for the next couple years. Frankie Valli's falsetto is unmistakable and dispenses with any form of subtlety.
79. Monster Mash (Bobby Pickett)
(Yep, the Monster Mash was a #1 hit for 2 weeks. (For those keeping track, that's 4 #1s about specific dances in 1962 alone.) It's supposed to be a parody of the mashed potato dance, whatever that was.
(Yep, the Monster Mash was a #1 hit for 2 weeks. (For those keeping track, that's 4 #1s about specific dances in 1962 alone.) It's supposed to be a parody of the mashed potato dance, whatever that was.
He's a Rebel (The Crystals)
It's not a full Wall of Sound yet, but I definitely hear Phil Spector's influence. The combunation of instruments and intense vocals in the chorus makes me want to turn my headphones up.
It's not a full Wall of Sound yet, but I definitely hear Phil Spector's influence. The combunation of instruments and intense vocals in the chorus makes me want to turn my headphones up.
So yeah, Phil Spector. He was a despicable person who did many horrendous things throughout his life including murder, but he was one of the most influential people in all of pop music. It'd be impossible to do this and not talk about how he shaped the landscape of music.
81. Big Girls Don't Cry (The Four Seasons)
The Four Seasons are back on top after just a month. The quartet takes full advantage of their distinct vocal ranges to produce a fairly unique doo-wop sound. I'm not sure whether I prefer this to Sherry, though
The Four Seasons are back on top after just a month. The quartet takes full advantage of their distinct vocal ranges to produce a fairly unique doo-wop sound. I'm not sure whether I prefer this to Sherry, though
82. Telstar (The Tornados)
Named after one of the first communications satellites that launched a few months prior, it sounds so very sci-fi, especially for its time. It's possibly the most unique song on this list so far, and it's a joy to listen to.
Named after one of the first communications satellites that launched a few months prior, it sounds so very sci-fi, especially for its time. It's possibly the most unique song on this list so far, and it's a joy to listen to.
83. Go Away Little Girl (Steve Lawrence)
Hello 1963! If being near a girl makes you want to cheat on your SO, you've got unresolved issues. It's a generic pop song with basically nothing notable about the music or lyrics.
Hello 1963! If being near a girl makes you want to cheat on your SO, you've got unresolved issues. It's a generic pop song with basically nothing notable about the music or lyrics.
84. Walk Right In (The Rooftop Singers)
This feels like one of those songs that's really catchy the first time you hear it, but then you get really annoyed at after a dozenth listen. Then again, the song is basically just chorus and hook.
This feels like one of those songs that's really catchy the first time you hear it, but then you get really annoyed at after a dozenth listen. Then again, the song is basically just chorus and hook.
85. Hey Paula (Paul and Paula)
For some reason the artist credit for this song was attributed to the names of the ficticious couple in the song, rather than their real names. Otherwise, it's just a generic love song of the time.
For some reason the artist credit for this song was attributed to the names of the ficticious couple in the song, rather than their real names. Otherwise, it's just a generic love song of the time.
86. Walk Like a Man (The Four Seasons)
The Four Seasons have now held the top spot for 3 of the past 6 months. This is probably their strongest song of the 3 released so far, with the vocals meshing in quite well with the backing track.
The Four Seasons have now held the top spot for 3 of the past 6 months. This is probably their strongest song of the 3 released so far, with the vocals meshing in quite well with the backing track.
87. Our Day Will Come (Ruby and the Romantics)
I don't know if "pre-Motown" is a thing, but I would nominate this song for that category. Ruby Nash does a good job of singing, but the production quality does feel lacking, and not in a good way.
I don't know if "pre-Motown" is a thing, but I would nominate this song for that category. Ruby Nash does a good job of singing, but the production quality does feel lacking, and not in a good way.
88. He's So Fine (The Chiffons)
It's a good, if simple, late doo-wop song. It's not necessarily special, but it still has enough energy to make it as a good pop song. I'm sure it was coincidence that George Harrison would accidentally use the same tune.
It's a good, if simple, late doo-wop song. It's not necessarily special, but it still has enough energy to make it as a good pop song. I'm sure it was coincidence that George Harrison would accidentally use the same tune.
89. I Will Follow Him (Peggy March)
People have really started to get the hang of the early-60s pop formula, and this song is no exception. I thought Brenda Lee was young when she hit #1, but "Little" Peggy March recorded this when she was 14.
People have really started to get the hang of the early-60s pop formula, and this song is no exception. I thought Brenda Lee was young when she hit #1, but "Little" Peggy March recorded this when she was 14.
90. If You Wanna Be Happy (Jimmy Soul)
It's a fun jaunty song about, erm, why you should marry an ugly woman because she can cook and she won't kill your self-esteem. Yikes.
It's a fun jaunty song about, erm, why you should marry an ugly woman because she can cook and she won't kill your self-esteem. Yikes.
91. It's My Party (Leslie Gore)
And she'll cry if she wants to. After the song was recorded, Phil Spector happened to mention to producer Quincy Jones that he wanted The Crystals to record it, so Jones had to rush to send the record to radio stations.
And she'll cry if she wants to. After the song was recorded, Phil Spector happened to mention to producer Quincy Jones that he wanted The Crystals to record it, so Jones had to rush to send the record to radio stations.
92. Sukiyaki (Kyu Sakamoto)
Is this technically the first J-pop hit? In the US it was given the name of an unrelated food dish, because "Ue o Muite Arukō" felt too hard to pronounce. It's an unexpected entry, but it's a good listen.
Is this technically the first J-pop hit? In the US it was given the name of an unrelated food dish, because "Ue o Muite Arukō" felt too hard to pronounce. It's an unexpected entry, but it's a good listen.
93. Easier Said Than Done (The Essex)
It was the B-side of a single released by a group of active Marines, but it still made #1. It's a simple composition, but it's done quite well and it doesn't drag on at all.
It was the B-side of a single released by a group of active Marines, but it still made #1. It's a simple composition, but it's done quite well and it doesn't drag on at all.
94. Surf City (Jan & Dean)
Nope, it's not a Beach Boys song, though Brian Wilson did write it. The California sound is here, and it'll make waves for the next year or so. The song sells the fantastical ideal of Surf City very well in a new style.
Nope, it's not a Beach Boys song, though Brian Wilson did write it. The California sound is here, and it'll make waves for the next year or so. The song sells the fantastical ideal of Surf City very well in a new style.
95. So Much in Love (The Tymes)
It's a nice little romantic doo-wop song. It doesn't push any boundaries, but it doesn't really go wrong anywhere. I can definitely see why it would hit #1 for one week in 1963.
It's a nice little romantic doo-wop song. It doesn't push any boundaries, but it doesn't really go wrong anywhere. I can definitely see why it would hit #1 for one week in 1963.
96. Fingertips (Little Stevie Wonder)
When I was 12 I was struggling to learn piano. This is the second half of a live performance (the first to hit #1), and it features a lot of improvisation after the planned end of the song. Kid's got a bright future.
When I was 12 I was struggling to learn piano. This is the second half of a live performance (the first to hit #1), and it features a lot of improvisation after the planned end of the song. Kid's got a bright future.
97. My Boyfriend's Back (The Angels)
A song about how this harassing asshole is going to get his comeuppance. You love to see it. I found myself clapping along to the song, and it's got a nice, distinctive refrain.
A song about how this harassing asshole is going to get his comeuppance. You love to see it. I found myself clapping along to the song, and it's got a nice, distinctive refrain.
98. Blue Velvet (Bobby Vinton)
I guess Bobby Vinton likes to reminesce about past loves. This one holds up much better and doesn't feel as blunt as Roses Are Red. I'm sure he wasn't expecting David Lynch to name a movie after it.
I guess Bobby Vinton likes to reminesce about past loves. This one holds up much better and doesn't feel as blunt as Roses Are Red. I'm sure he wasn't expecting David Lynch to name a movie after it.
99. Sugar Shack (Jilly Gilmer and the Fireballs)
This song is more or less carried by its unique organ sound. It's a fun song, it tells a sweet story, but I'm starting to get to the point where that style's starting to feel a bit same-y.
This song is more or less carried by its unique organ sound. It's a fun song, it tells a sweet story, but I'm starting to get to the point where that style's starting to feel a bit same-y.
100. Deep Purple (Nino Temple & April Stevens)
It's a cover of a song recorded in 1933. The accidental spoken-word second half gave it the distinctive style needed to make it stand out. It's not really my type, but I appreciate it.
It's a cover of a song recorded in 1933. The accidental spoken-word second half gave it the distinctive style needed to make it stand out. It's not really my type, but I appreciate it.
101. I'm Leaving It Up to You (Dale & Grace)
This is the second #1 in a row that would be covered by the Osmonds. Their voices combine quite well, though I feel like it could use with more than one stanza of lyrics.
This is the second #1 in a row that would be covered by the Osmonds. Their voices combine quite well, though I feel like it could use with more than one stanza of lyrics.
102. Dominique (The Singing Nun)
That makes two foreign-language songs for the year. It's a simpler song that harkens back to a simpler time, which was exactly what the country was longing for after it saw its president get shot.
That makes two foreign-language songs for the year. It's a simpler song that harkens back to a simpler time, which was exactly what the country was longing for after it saw its president get shot.
103. There! I've Said It Again (Bobby Vinton)
Vinton's third #1 song kicks off 1964. It's basically your generic song about professing love. It's forgettable, and I'm amazed it stayed at the top for 4 whole weeks.
Vinton's third #1 song kicks off 1964. It's basically your generic song about professing love. It's forgettable, and I'm amazed it stayed at the top for 4 whole weeks.
We've made it through just over 100 songs and about 5.5 years of pop music. While certainly there are duds (see above), there's still a lot of promise. Doo-wop's on its way out, but Motown and the California sound are on the rise. Everything's about to suddenly change, however...
I was familiar with 55/103 of those #1 songs going into this. I'm curious how that well compare with later eras, though I suspect that ratio to improve in the immediate future. Listening to the oldies station a lot as a kid definitely helped though.
104. I Want To Hold Your Hand (The Beatles)
Here they are -- The Beatles! While rock in the US had faded away by the late 50s, it was still alive and well in the UK. In 1963, Beatlemania was real but seen as a mere curiosity in America. But then, a DC-area DJ (for what would
Here they are -- The Beatles! While rock in the US had faded away by the late 50s, it was still alive and well in the UK. In 1963, Beatlemania was real but seen as a mere curiosity in America. But then, a DC-area DJ (for what would
ultimately become DC101) got a hold of I Want To Hold Your Hand from a listener and propelled the band into the American consciousness weeks before their appearance on the Ed Sullivan Show, which would be watched by 40% of the country.
As for the song itself, it's such a departure from the previous chart-toppers. Bobby Vinton would court you, but Paul McCartney would discreetly lead you by the hand to under the bleachers. The harmonies of John and Paul give the song that raw feeling that pushes it over the top.
I gotta say, it's hard to give an honest opinion of a song that is just so ingrained in the culture of music. That song's not good or bad, it just *is*.
105. She Loves You (The Beatles)
After 7 weeks of the Beatles, it's time to move on to The Beatles. Instead of doo-wah-diddies, we have yeah-yeah-yeahs. It was recorded before I Want To Hold Your Hand, not that it really mattered.
After 7 weeks of the Beatles, it's time to move on to The Beatles. Instead of doo-wah-diddies, we have yeah-yeah-yeahs. It was recorded before I Want To Hold Your Hand, not that it really mattered.
The lyrics are stronger, but really all that matter is whether it rocks. And it does. The harmonies and instruments combine yet again to produce a sound that was so unfamiliar to the charts just a few months before.
106. Can't Buy Me Love (The Beatles)
This song was recorded after they had exploded on the American scene. It's got some bluesy influence to it, but it's still very much in the hard-and-fast Beatles style. It lacks a distinct hook like the previous two #1s, not that it's needed.
This song was recorded after they had exploded on the American scene. It's got some bluesy influence to it, but it's still very much in the hard-and-fast Beatles style. It lacks a distinct hook like the previous two #1s, not that it's needed.
If I had to rank the three, I'd have to put She Loves You > Can't Buy Me Love > I Want To Hold Your Hand. It's a really tough call. They're all great, iconic songs for their time.
The Beatles helped popularise artists writing their own stuff. Instead of producers matching a demo with a singer, they relied on Lennon-McCartney for their hits, though their album fillers were covers. It takes more skill to pull off, but it can result in more cohesive music.
Honorable mentions to Please Please Me, Twist and Shout, and Do You Want To Know a Secret for missing out on #1 by other Beatles songs, and You Don't Own Me for being #2 for 3 weeks right at the start of Beatlemania and is a good song in its own right.
107. Hello, Dolly! (Louis Armstrong)
This was a promotional single for the musical it titles. The Broadway version featured a female lead and an ensemble chorus, but Armstrong makes it sound like it was written just for him.
This was a promotional single for the musical it titles. The Broadway version featured a female lead and an ensemble chorus, but Armstrong makes it sound like it was written just for him.
108. My Guy (Mary Wells)
Welcome to the Motown era! It's a more soulful sound and less over - the-top than the Beatles, but the music and (here, wholesome) vocals are put together very well to produce the distinct Motown sound.
Welcome to the Motown era! It's a more soulful sound and less over - the-top than the Beatles, but the music and (here, wholesome) vocals are put together very well to produce the distinct Motown sound.
109. Love Me Do (The Beatles)
This was the Beatles' first released single in the UK, and it does sound like they're just getting started and trying to figure out their sound. The harmonica really does sell the song, though.
This was the Beatles' first released single in the UK, and it does sound like they're just getting started and trying to figure out their sound. The harmonica really does sell the song, though.
11. Chapel of Love (The Dixie Cups)
Probably the mushiest song so far. You can really tell the songwriters (ignoring Phil Spector, who shouldn't have gotten credit) really meant what they wrote. Kid me loathed this song in the arbitrary way that kids do.
Probably the mushiest song so far. You can really tell the songwriters (ignoring Phil Spector, who shouldn't have gotten credit) really meant what they wrote. Kid me loathed this song in the arbitrary way that kids do.
111. A World Without Love (Peter and Gordon)
Written by McCartney, this song was recorded by his girlfriend's brother. Honestly, I don't think it would be that big of a hit had it been an early Beatles tune. It works better as a "softer" song.
Written by McCartney, this song was recorded by his girlfriend's brother. Honestly, I don't think it would be that big of a hit had it been an early Beatles tune. It works better as a "softer" song.
112. I Get Around (The Beach Boys)
The Beach Boys finally make it on top as a band. Their imagery of youthful freedom and reckless energy set them apart from the British Invasion and Motown. They're not quite world-changers yet, but they're on their way.
The Beach Boys finally make it on top as a band. Their imagery of youthful freedom and reckless energy set them apart from the British Invasion and Motown. They're not quite world-changers yet, but they're on their way.
113. Rag Doll (The Four Seasons)
It seems like every time The Four Seasons release a #1, their music becomes even more refined. It's got a pretty neat story behind it too. And yep, that's the intro to Be My Baby that they adapt for their own use.
It seems like every time The Four Seasons release a #1, their music becomes even more refined. It's got a pretty neat story behind it too. And yep, that's the intro to Be My Baby that they adapt for their own use.
114. A Hard Day's Night (The Beatles)
This is one of the heavier songs of its era, starting with probably the most famous opening chord in pop music history, and the manic energy is controlled enough to produce a song that genuinely rocks.
This is one of the heavier songs of its era, starting with probably the most famous opening chord in pop music history, and the manic energy is controlled enough to produce a song that genuinely rocks.
115. Everybody Loves Somebody (Dean Martin)
I really was not expecting Dean Martin's crooning of a song from 1947 to show up here in the middle of 1964, but here we are. It's not bad, but it just feels so out of place.
I really was not expecting Dean Martin's crooning of a song from 1947 to show up here in the middle of 1964, but here we are. It's not bad, but it just feels so out of place.
116. Where Did Our Love Go (The Supremes)
We are introduced to the Supremes, one of the most dominant acts of the 1960s. It's not a groundbreaking song by any measure, but it just sounds so *good*. Hope you're looking forward to hearing more of them!
We are introduced to the Supremes, one of the most dominant acts of the 1960s. It's not a groundbreaking song by any measure, but it just sounds so *good*. Hope you're looking forward to hearing more of them!
Just to give prescriptive, we've seen the #1 debuts of the Beatles, the Beach Boys, and the Supremes in the span of 8 months. 1964 has been an amazing year for the history of pop. Like, can we replace 1960 with 1964, part II? (Save the Last Dance for Me can be spared, of course.)
117. The House of the Rising Sun (The Animals)
What, you thought the Beatles were the only British band to invade? It's a cover of an old folk song that the Animals sell very well, but the arpeggios help make the song remain memorable.
What, you thought the Beatles were the only British band to invade? It's a cover of an old folk song that the Animals sell very well, but the arpeggios help make the song remain memorable.
117 songs down, 1000 to go. "What's Next", your time will come. Eventually.
118. Oh, Pretty Woman (Roy Orbison)
Roy Orbison's vocal talents are practically peerless, but they feel a bit wasted with such kitschy lyrics. He, and the memorable riff, still manage to sell the song and set it apart from the rest.
Roy Orbison's vocal talents are practically peerless, but they feel a bit wasted with such kitschy lyrics. He, and the memorable riff, still manage to sell the song and set it apart from the rest.
119. Do Wah Diddy Diddy (Manfred Mann)
When I was a kid, I would wonder why they would kiss a little mole and why he was hurt. Mishearings aside, it's a British band singing lyrics that seem leftover from 1962's doo-wop, and the mashup kinda works.
When I was a kid, I would wonder why they would kiss a little mole and why he was hurt. Mishearings aside, it's a British band singing lyrics that seem leftover from 1962's doo-wop, and the mashup kinda works.
120. Oh, Pretty Woman (Roy Orbison)
Roy Orbison's vocal talents are practically peerless, but they feel a bit wasted with such kitschy lyrics. He, and the memorable riff, still manage to sell the song and set it apart from the rest at least.
Roy Orbison's vocal talents are practically peerless, but they feel a bit wasted with such kitschy lyrics. He, and the memorable riff, still manage to sell the song and set it apart from the rest at least.
121. Baby Love (The Supremes)
If it sounds a lot like Where Did Our Love Go, it's because Motown exec Berry Gordy really wanted to follow up on that song's success. I guess if it ain't broke, don't fix it, but the Supremes are capable of so much more.
If it sounds a lot like Where Did Our Love Go, it's because Motown exec Berry Gordy really wanted to follow up on that song's success. I guess if it ain't broke, don't fix it, but the Supremes are capable of so much more.
122. Leader of the Pack (The Shangri-Las)
It's what Teen Angel wished it could be, and the Shangri-Las sell it well. Still, I'm not sure I totally buy into the teenage tragedy subgenre, which is apparently a thing.
It's what Teen Angel wished it could be, and the Shangri-Las sell it well. Still, I'm not sure I totally buy into the teenage tragedy subgenre, which is apparently a thing.
Ringo (Lorne Greene)
Not to be confused with the Beatle of the same name, though I'm sure the conflation sold a lot of records. It's a (mostly) spoken-word Western song about an outlaw and the sheriff who saved his life. It's actually not that bad.
Not to be confused with the Beatle of the same name, though I'm sure the conflation sold a lot of records. It's a (mostly) spoken-word Western song about an outlaw and the sheriff who saved his life. It's actually not that bad.
124. Mr. Lonely (Bobby Vinton)
In a surprise twist, Bobby Vinton's back! The song was recorded in 1962, but Vietnam made the song about a lonely soldier that much more relevant. It verges on melodrama, but it seemed to have struck a chord for some.
In a surprise twist, Bobby Vinton's back! The song was recorded in 1962, but Vietnam made the song about a lonely soldier that much more relevant. It verges on melodrama, but it seemed to have struck a chord for some.
125. Come See About Me (The Supremes)
Supremania continues with their 3rd #1 hit in 5 months. It's a quintessential "smile through the pain" song, though it's easy to miss the lyrics, especially since it's such a good song to listen to.
Supremania continues with their 3rd #1 hit in 5 months. It's a quintessential "smile through the pain" song, though it's easy to miss the lyrics, especially since it's such a good song to listen to.
126. I Feel Fine (The Beatles)
1964 comes to a close with the Beatles 6th #1 of the year. The song's noteworthy for one of the first instances of deliberately recorded feedback in what is otherwise your standard early Beatles structure.
1964 comes to a close with the Beatles 6th #1 of the year. The song's noteworthy for one of the first instances of deliberately recorded feedback in what is otherwise your standard early Beatles structure.
127. Downtown (Petula Clark)
Downtown, unlike many of its kin, sounds downright orchestral at times. It sounds like it could have come out of a musical film. It certainly doesn't hurt that the song's a bevy of optimism which fits perfectly for the music.
Downtown, unlike many of its kin, sounds downright orchestral at times. It sounds like it could have come out of a musical film. It certainly doesn't hurt that the song's a bevy of optimism which fits perfectly for the music.
128. You've Lost That Lovin' Feelin' (The Righteous Brothers)
This is possibly the ultimate example of the Wall of Sound, designed to sound amazing on jukeboxes and AM radios. It starts slow but builds up to be absolutely bombastic by the final chorus (for 1965's standards).
This is possibly the ultimate example of the Wall of Sound, designed to sound amazing on jukeboxes and AM radios. It starts slow but builds up to be absolutely bombastic by the final chorus (for 1965's standards).
Phil Spector advertised a shorter runtime to trick DJs into playing it, but the long 3:45 runtime is necessary for the song to work. There's a good reason why this song was the most-played record on the airwaves for the entire 20th century.
129. This Diamond Ring (Gary Lewis & The Playboys)
You can how much pop music has evolved in just a couple years. It's a bubblegum song, though rock influences have made its way in. The Wrecking Crew's performances probably save the track from obscurity.
You can how much pop music has evolved in just a couple years. It's a bubblegum song, though rock influences have made its way in. The Wrecking Crew's performances probably save the track from obscurity.
Huh, somehow I managed to be off by one. Whoops. Anyway,
129. My Girl (The Temptations)
From the opening riff to David Ruffin' tenor to the backup vocals that provide the right amount of emphasis, this Motown song is the complete package. This was Ruffin's first song as lead, and he knocked it out of the park.
From the opening riff to David Ruffin' tenor to the backup vocals that provide the right amount of emphasis, this Motown song is the complete package. This was Ruffin's first song as lead, and he knocked it out of the park.
130. Eight Days a Week (The Beatles)
The Beatles continue to flirt with experimentation, giving the song a fade-in since they couldn't figure out how to start it. Other than that, it's exactly what you expect from the Beatles of 1965.
The Beatles continue to flirt with experimentation, giving the song a fade-in since they couldn't figure out how to start it. Other than that, it's exactly what you expect from the Beatles of 1965.
131. Stop! In the Name of Love
This song has one of the best attention-grabbing intro hooks I've heard so far. The Supremes, Motown, and Holland-Dozier-Holland have discovered the formula for pop success, and our ears are better off for it.
This song has one of the best attention-grabbing intro hooks I've heard so far. The Supremes, Motown, and Holland-Dozier-Holland have discovered the formula for pop success, and our ears are better off for it.
132. I'm Telling You Now (Freddie and the Dreamers)
Even though this song was released in the UK in 1963, it got swept along the coattails of the British Invasion. It feels like its popularity was more because it was Merseybeat than its actual quality.
Even though this song was released in the UK in 1963, it got swept along the coattails of the British Invasion. It feels like its popularity was more because it was Merseybeat than its actual quality.
133. Game of Love (Wayne Fontana and the Mindbenders)
This is about as (hetero) sex-positive as you can get from a 1965 pop song. It's another British Invasion song, but it holds up on its own merits and it doesn't sound like it's cashing in on a trend.
This is about as (hetero) sex-positive as you can get from a 1965 pop song. It's another British Invasion song, but it holds up on its own merits and it doesn't sound like it's cashing in on a trend.
134. Mrs. Brown You've Got a Lovely Daughter (Herman's Hermits)
Three Manchester #1s in a row. It's a simple song and it works by not pretending to be anything grandiose. I'm not sure the lyrics fit with the tone of the song, though.
Three Manchester #1s in a row. It's a simple song and it works by not pretending to be anything grandiose. I'm not sure the lyrics fit with the tone of the song, though.
135. Ticket to Ride (The Beatles)
It's a heavier, less smooth song, and another sign of the Beatles transition away from their traditional sound. You can even hear the psychodelic influences start to creep in. Most importantly, it's still a good song.
It's a heavier, less smooth song, and another sign of the Beatles transition away from their traditional sound. You can even hear the psychodelic influences start to creep in. Most importantly, it's still a good song.
136. Help Me, Rhonda (The Beach Boys)
Speaking of transitioning music styles, this song (and its album) marks the Beach Boys' start of becoming more experimental. Spector's influence can definitely be felt here, though the sound is definitely their own.
Speaking of transitioning music styles, this song (and its album) marks the Beach Boys' start of becoming more experimental. Spector's influence can definitely be felt here, though the sound is definitely their own.
137. Back in My Arms Again (The Supremes)
The Supremes' fifth song in a row to hit #1 is probably their weakest, but it's still a well-produced pop song. Unlike the other four, this one is happier (though getting back with your ex is always a risk).
The Supremes' fifth song in a row to hit #1 is probably their weakest, but it's still a well-produced pop song. Unlike the other four, this one is happier (though getting back with your ex is always a risk).
It's really hard to understate how groundbreaking the Supremes were as an act. They were an all-female, all-Black group that nevertheless dominated the landscape and were second only to the Beatles in an era where television meant that an artist's race was visible to the public.
138. I Can't Help Myself (Sugar Pie, Honey Bunch) (The Four Tops)
The Four Tops had been around for a decade, but Motown made them stars. Levi Stubbs' desperation in his voice convinces us that he really can't help himself around the girl.
The Four Tops had been around for a decade, but Motown made them stars. Levi Stubbs' desperation in his voice convinces us that he really can't help himself around the girl.
139. Mr. Tambourine Man (The Byrds)
This is as close as Bob Dylan will get to this list. The Byrds' folk-rock version fits right into the pop sound of the era, while still being distinct. (Though folk's inspire a lot of pop music soon.)
This is as close as Bob Dylan will get to this list. The Byrds' folk-rock version fits right into the pop sound of the era, while still being distinct. (Though folk's inspire a lot of pop music soon.)
If it feels like we're going really slowly, you're right. In a 59-week span from May 9, 1964 through July 3rd, 1965, 33 different songs have hit #1. Normally we average about 20 a year.
140: (I Can't Get No) Satisfaction (The Rolling Stones)
The Stones have crossed the pond with a harder, grittier sound and a song that's too raunchy to even be played in the UK. The distorted guitar and Mick Jagger's almost-yelling vocals all but say this isn't your dad's blues.
The Stones have crossed the pond with a harder, grittier sound and a song that's too raunchy to even be played in the UK. The distorted guitar and Mick Jagger's almost-yelling vocals all but say this isn't your dad's blues.
Even past that, though, there's a lot of subtler instrumentation that glues the song together to help it fully rock. It spent four weeks at #1, an eternity for its time.
141: I'm Henry VIII, I Am (Herman's Hermits)
It's a fun novelty chorus of a 55-year-old song, but it doesn't feel like it's a full song in its own right. They do lean into it ("Second verse, same as the first!"), but I feel I'd want more from a #1 song.
It's a fun novelty chorus of a 55-year-old song, but it doesn't feel like it's a full song in its own right. They do lean into it ("Second verse, same as the first!"), but I feel I'd want more from a #1 song.
142: I Got You Babe (Sonny & Cher)
Sonny and Cher both did work for Phil Spector, so naturally this song has some similar elements. However, it's has a folkier sound it and shows signs of counterculture starting to make its way into the mainstream.
Sonny and Cher both did work for Phil Spector, so naturally this song has some similar elements. However, it's has a folkier sound it and shows signs of counterculture starting to make its way into the mainstream.
143: Help (The Beatles)
The Beatles' fourth #1 hit of the year was inspired from them rising so high so quickly and being overwhelmed. It's got the same Beatle style, but the more honest lyrics makes the song feel more real, and it benefits.
The Beatles' fourth #1 hit of the year was inspired from them rising so high so quickly and being overwhelmed. It's got the same Beatle style, but the more honest lyrics makes the song feel more real, and it benefits.
144: Eve of Destruction (Barry McGuire)
The record was actually a demo that was leaked to radio stations and suddenly the Dylan-esque song was #1. Civil Rights and Vietnam are out in full force in 1965, and it's harder to pretend that Everything Is Fine.
The record was actually a demo that was leaked to radio stations and suddenly the Dylan-esque song was #1. Civil Rights and Vietnam are out in full force in 1965, and it's harder to pretend that Everything Is Fine.
145: Hang on Sloopy (The McCoys)
The Strangeloves raced with the Dave Clark Five to release their cover of this song, so the former got a local group that opened for them to record vocals and get credit. Music is cutthroat, but at least the song's good.
The Strangeloves raced with the Dave Clark Five to release their cover of this song, so the former got a local group that opened for them to record vocals and get credit. Music is cutthroat, but at least the song's good.
146: Yesterday (The Beatles)
Basically a solo McCartney work, it was disliked by the other three for not being their style. To be fair, it's a slow, sad song from a rock group. And yet, the simplicity and somberness, plus Paul's talents, are exactly what make the song so great.
Basically a solo McCartney work, it was disliked by the other three for not being their style. To be fair, it's a slow, sad song from a rock group. And yet, the simplicity and somberness, plus Paul's talents, are exactly what make the song so great.
Its massive success showed that no, the Beatles did not need to be anchored to their defined rock 'n roll style, and they would further explore this in Rubber Soul (which would become significant in pop music history in many ways)
147: Get Off of My Cloud (The Rolling Stones)
The Rolling Stones continue to be ahead of their time, making another harsh and gritty (and barely-intelligble) song about how they want to just be left alone. It feels like this song was actually from 1975.
The Rolling Stones continue to be ahead of their time, making another harsh and gritty (and barely-intelligble) song about how they want to just be left alone. It feels like this song was actually from 1975.
148: I Hear a Symphony (The Supremes)
After the Supremes released a song that only went to (gasp!) #11, they switched things up a bit and produced my favorite song of the band yet. It's pleasant and sweet and doesn't lose any of the Supremes' magic.
After the Supremes released a song that only went to (gasp!) #11, they switched things up a bit and produced my favorite song of the band yet. It's pleasant and sweet and doesn't lose any of the Supremes' magic.
149: Turn! Turn! Turn! (The Byrds)
Apparently the Byrds didn't realise you're supposed to set *Psalms* to music. This folk-rock song nudges you and tells you there's a time for peace (it's not too late!). Perfect for the anti-war Christian market.
Apparently the Byrds didn't realise you're supposed to set *Psalms* to music. This folk-rock song nudges you and tells you there's a time for peace (it's not too late!). Perfect for the anti-war Christian market.
150: Over and Over (The Dave Clark Five)
It sounds like a British Invasion band covering a song from 1958, probably because it is. It feels outdated and slow compared to its contemporaries, and there are better lyrics than "everybody there was there".
It sounds like a British Invasion band covering a song from 1958, probably because it is. It feels outdated and slow compared to its contemporaries, and there are better lyrics than "everybody there was there".
151: The Sound of Silence (Simon & Garfunkel)
Hello 1966 my old friend. The song initially failed and the duo broke up, but then it got airplay. The producer remixed it and the rest was history. It's melodic and just faux-deep enough to be beautiful.
Hello 1966 my old friend. The song initially failed and the duo broke up, but then it got airplay. The producer remixed it and the rest was history. It's melodic and just faux-deep enough to be beautiful.
152: We Can Work It Out (The Beatles)
Lennon and McCartney did work it out with this song. The variety of their styles allows the tune to stand out while not seeming too disjointed. I think I prefer Day Tripper (the other "A"-side), but it's a close one.
Lennon and McCartney did work it out with this song. The variety of their styles allows the tune to stand out while not seeming too disjointed. I think I prefer Day Tripper (the other "A"-side), but it's a close one.
Until now, pop albums were basically a hit single or two and a bunch of filler tracks to be sold at a higher price point. 1966 was when this started to change, as We Can Work It Out/Day Tripper was released as a single with two "A" sides, but not included as part of an album.
Rubber Soul was the first mainstream instance of an album designed to be a complete package, with every song being an original creation and nothing included to pad the length. Starting around now, albums would diverge and become their own separate, relevant pieces of pop music.
153: My Love (Petula Clark)
This song has a lot of the same energy as Downtown, and while it's kinda catchy, it's pretty much a generic love song. I feel like I accidentally started listening to the Hairspray soundtrack when I put on this song.
This song has a lot of the same energy as Downtown, and while it's kinda catchy, it's pretty much a generic love song. I feel like I accidentally started listening to the Hairspray soundtrack when I put on this song.
154: Lighnin' Strikes (Lou Christie)
"If she gives me a sign that she wants to make time (stop!) // I can't stop (stop!) I can't stop myself (stop! stop!)" It's honestly hard for me to look past the lyrics in this modern take of a doo-wop-ish song.
"If she gives me a sign that she wants to make time (stop!) // I can't stop (stop!) I can't stop myself (stop! stop!)" It's honestly hard for me to look past the lyrics in this modern take of a doo-wop-ish song.
155: These Boots Are Made for Walkin' (Nancy Sinatra)
I guess rock's taking a bit of a break for now. It's a song about a guy getting what he deserves, and the song evokes the imagery of "Are you ready boots? Start walkin!" perfectly.
I guess rock's taking a bit of a break for now. It's a song about a guy getting what he deserves, and the song evokes the imagery of "Are you ready boots? Start walkin!" perfectly.
156: Ballad of the Green Berets (SSgt. Barry Sadler)
Look guys, fighting in Vietnam is noble! It was the top song of 1966 because of course it was, but it's obvious propaganda that killing commies and dying for your country is what you should strive for.
Look guys, fighting in Vietnam is noble! It was the top song of 1966 because of course it was, but it's obvious propaganda that killing commies and dying for your country is what you should strive for.
157: (You're My) Soul and Inspiration (The Righteous Brothers)
They left Spector, but replicated his style in a song cut from the same cloth as You've Lost That Lovin' Feelin'. It's really hard to top that song, but they manage to come somewhat close.
They left Spector, but replicated his style in a song cut from the same cloth as You've Lost That Lovin' Feelin'. It's really hard to top that song, but they manage to come somewhat close.
158: Good Lovin' (The Young Rascals)
I was a bit surprised to hear these lyrics in 1966. It's rough and dispenses with any sense of sensibilities, but bands like the Rolling Stones have paved the way for such a song to be given airplay.
I was a bit surprised to hear these lyrics in 1966. It's rough and dispenses with any sense of sensibilities, but bands like the Rolling Stones have paved the way for such a song to be given airplay.
159: Monday, Monday (The Mamas and the Papas)
Yep, we can all agree Mondays suck. It has similarities with the California sound of the Beach Boys, though it's a bit more folkish. (I Saw Her Again is their best song, in my opinion.)
Yep, we can all agree Mondays suck. It has similarities with the California sound of the Beach Boys, though it's a bit more folkish. (I Saw Her Again is their best song, in my opinion.)
160: When a Man Loves a Woman (Percy Sledge)
It's a soulful song, and Sledge sings from the heart. It seems like the hype about rock 'n roll has faded somewhat, which is allowing previously big but pushed aside genres to take their turn in the spotlight.
It's a soulful song, and Sledge sings from the heart. It seems like the hype about rock 'n roll has faded somewhat, which is allowing previously big but pushed aside genres to take their turn in the spotlight.
161: Paint It, Black (The Rolling Stones)
Drawing inspiration from the Beatles' Norwegian Wood, this emo-before-emo song makes use of the sitar but in more of a rock setting. It's a different sound, but not so much that it distracts from the song itself.
Drawing inspiration from the Beatles' Norwegian Wood, this emo-before-emo song makes use of the sitar but in more of a rock setting. It's a different sound, but not so much that it distracts from the song itself.
Getting into this, I wasn't really a big fan of the Rolling Stones, but hearing their music in the context of their time period has given me some newfound appreciation for their work. Of course, this is slightly biased by having only heard 3 of their #1s, but still.
162: Paperback Writer (The Beatles)
The Beatles really ventured out of their comfort zone by making a song not about love for once. There's a lot of emphasis on the bass, and the harsher sound works for this record.
The Beatles really ventured out of their comfort zone by making a song not about love for once. There's a lot of emphasis on the bass, and the harsher sound works for this record.
163: Strangers in the Night (Frank Sinatra)
The other Sinatra finally makes the list. I'm not sure the lyrics really suit the song, but then again I'm pretty sure he could make a terms & conditions page sound like a piece of glorious music.
The other Sinatra finally makes the list. I'm not sure the lyrics really suit the song, but then again I'm pretty sure he could make a terms & conditions page sound like a piece of glorious music.
164: Hanky Panky (Tommy James and the Shondells)
This was a song by a local garage band that went unnoticed for a couple years before finally getting airplay. It's amateaurish, it's raunchy, and that's probably why it worked as well as it did.
This was a song by a local garage band that went unnoticed for a couple years before finally getting airplay. It's amateaurish, it's raunchy, and that's probably why it worked as well as it did.
165: Wild Thing (The Troggs)
It's another garage rock song that's definitely just about sex, but this time British. It's raw, but it rocks harder than Hanky Panky. The ocarina was an interesting inclusion to the song, though.
It's another garage rock song that's definitely just about sex, but this time British. It's raw, but it rocks harder than Hanky Panky. The ocarina was an interesting inclusion to the song, though.
166: Summer in the City (The Lovin' Spoonful)
It's your standard structured pop song, but it brings about a sense of New York urgency that is contrasted by the cool summer nights and the promise to dance it all the way.
It's your standard structured pop song, but it brings about a sense of New York urgency that is contrasted by the cool summer nights and the promise to dance it all the way.
167: Sunshine Superman (Donovan)
I think this is the first appearance of psychedelic rock in this list. It's rough and nonsensical and not the greatest, but it's a precursor to a lot of music that'll show up in the next few years.
I think this is the first appearance of psychedelic rock in this list. It's rough and nonsensical and not the greatest, but it's a precursor to a lot of music that'll show up in the next few years.
168: You Can't Hurry Love (The Supremes)
The Supremes are simultaneously giving advice and having trouble accepting it. It's got a more frantic beat than their previous hits, and it fits in well with the music of its time.
The Supremes are simultaneously giving advice and having trouble accepting it. It's got a more frantic beat than their previous hits, and it fits in well with the music of its time.
169: Cherish (The Association)
It's a love song to someone who the singer knows he can't have. It stars slow and builds up, but it feels like it doesn't quite do it right. I think "discount Wall of Sound" is how I'd best describe it.
It's a love song to someone who the singer knows he can't have. It stars slow and builds up, but it feels like it doesn't quite do it right. I think "discount Wall of Sound" is how I'd best describe it.
170: Reach Out I'll Be There (The Four Tops)
The verses are more shouting than singing, but along with their previous #1, this is exactly what the band should be doing. It's definitely pop, but it has the energy of a powerful gospel song.
The verses are more shouting than singing, but along with their previous #1, this is exactly what the band should be doing. It's definitely pop, but it has the energy of a powerful gospel song.
171: 96 Tears (? and the Mysterians)
The most organ-centric #1 since The Happy Organ, the song is carried more by the instrumentation than the less-than-composted vocals. I'm not quite sure I like it, but at least it's easy to pick out from a crowd.
The most organ-centric #1 since The Happy Organ, the song is carried more by the instrumentation than the less-than-composted vocals. I'm not quite sure I like it, but at least it's easy to pick out from a crowd.
172: The Last Train to Clarksville (The Monkees)
It's designed to sound like something the Beatles would write, and despite (or because?) the Monkees being a manufactured sitcom band it actually works even if it's an inoffensive pop song.
It's designed to sound like something the Beatles would write, and despite (or because?) the Monkees being a manufactured sitcom band it actually works even if it's an inoffensive pop song.
173: The Poor Side of Town (Johnny Rivers)
The song's influenced by folk, doo-wop, and maybe even a bit of California sound. The lyrics are fine for a pop song, but it doesn't really carry the tune in the way it needs to.
The song's influenced by folk, doo-wop, and maybe even a bit of California sound. The lyrics are fine for a pop song, but it doesn't really carry the tune in the way it needs to.
174: You Keep Me Hangin' On (The Supremes)
Can someone translate the morse code for me? It sounds like the song is transposed a half-step up from normal, which just adds to the urgency of the Diana Ross's situation of being strung along by an ex.
Can someone translate the morse code for me? It sounds like the song is transposed a half-step up from normal, which just adds to the urgency of the Diana Ross's situation of being strung along by an ex.
175: Winchester Cathedral (The New Vaudeville Band)
I feel like I'm listening to a parody of a song that doesn't exist. The intro lasts half the song, and what lyrics exist don't make much sense. I feel like there exist better songs.
I feel like I'm listening to a parody of a song that doesn't exist. The intro lasts half the song, and what lyrics exist don't make much sense. I feel like there exist better songs.
176: Good Vibrations (The Beach Boys)
Until now, songs were recorded more or less "live", possibly with a separate vocal track or if a lot of instruments were used (see: Sound, Wall of). Good Vibrations completely turned the concept on its head.
Until now, songs were recorded more or less "live", possibly with a separate vocal track or if a lot of instruments were used (see: Sound, Wall of). Good Vibrations completely turned the concept on its head.
Individual sections were recorded and pieced together. This one song cost about $50,000, an absurd amount for its time. It would serve as an inspiration for both prog rock and psychedelic rock. It was marketed as a "pocket symphony", and that's the best way to describe it.
The song itself could have easily been an overproduced mess, but the parts combined to one of the greatest pop songs of all time (and almost as good as God Only Knows). Naturally, it would be knocked off the charts after one week by Winchester Cathedral.
177: I'm a Believer (The Monkees)
This is what I suspect the Beatles would sound like in 1967 had they stuck to their original style. Despite its manufacturedness, it's a good song that doesn't seem fake at all (and is better than the Smash Mouth cover).
This is what I suspect the Beatles would sound like in 1967 had they stuck to their original style. Despite its manufacturedness, it's a good song that doesn't seem fake at all (and is better than the Smash Mouth cover).
178: Kind of a Drag (The Buckinghams)
First the Fleetwoods and now this. Please stop teasing me with these bands that aren't Fleetwood Mac. The vocals are kinda whiny, and the title describes the song well. It just ultimately seems forgettable.
First the Fleetwoods and now this. Please stop teasing me with these bands that aren't Fleetwood Mac. The vocals are kinda whiny, and the title describes the song well. It just ultimately seems forgettable.
179: Ruby Tuesday (The Rolling Stones)
This is a lot less hard rock than their previous #1s, and it mostly works well, but I don't feel like Jagger's vocals fit the song. Its flip side, Let's Spend the Night Together, was a bit too risque for AM radio.
This is a lot less hard rock than their previous #1s, and it mostly works well, but I don't feel like Jagger's vocals fit the song. Its flip side, Let's Spend the Night Together, was a bit too risque for AM radio.
180: Love Is Here and Now You're Gone (The Supremes)
It doesn't feel as catchy or tight as previous Supremes songs, possibly due to it being recorded in LA as opposed to Detroit and without the usual backup musicians, but the spoken-word bits work well.
It doesn't feel as catchy or tight as previous Supremes songs, possibly due to it being recorded in LA as opposed to Detroit and without the usual backup musicians, but the spoken-word bits work well.
181: Penny Lane (The Beatles)
It's about the daily life along a street, but things are slightly off. I think the song only works because of the combination of the lyrics and the unconventional instrumentation and composition (and banger chorus).
It's about the daily life along a street, but things are slightly off. I think the song only works because of the combination of the lyrics and the unconventional instrumentation and composition (and banger chorus).
182: Happy Together (The Turtles)
Yep, psychedelic pop has certainly arrived. The song was offered to many an artist before the Turtles finally picked up the offer. It has a cool contrast between the tense verses and the almost bombastic chorus.
Yep, psychedelic pop has certainly arrived. The song was offered to many an artist before the Turtles finally picked up the offer. It has a cool contrast between the tense verses and the almost bombastic chorus.
183: Somethin' Stupid (Frank and Nancy Sinatra)
Two great singers combine to something less than the sum of its parts. Ignoring that it's a father and daughter singing a love duet, their vocal styles are different and it just doesn't sound good at all.
Two great singers combine to something less than the sum of its parts. Ignoring that it's a father and daughter singing a love duet, their vocal styles are different and it just doesn't sound good at all.
184: The Happening (The Supremes)
If it sounds like a film theme, it's because it was. It feels like a generic uptempo pop song, not a hit from one of the greatest acts of the 60s. Did someone from Motown give them the wrong song or something?
If it sounds like a film theme, it's because it was. It feels like a generic uptempo pop song, not a hit from one of the greatest acts of the 60s. Did someone from Motown give them the wrong song or something?
The Happening was the final Supremes #1 song featuring Florence Ballard and the Holland-Dozier-Holland writing crew. They combined for 10 #1s in under 3 years, an amazing accomplishment even if they weren't a Black female trio in the mid-60s.
This essentially marks the end of the mid-60s in pop music. In addition to above, the Beatles will release the psychedelic Sgt. Pepper's soon, and generally we've moved on from pure rock. Looking ahead, the impact of the height of Vietnam and the Summer of Love is gonna hit hard.
Man, I can't wait to get to listen to some CCR! I'm really curious when one of the greatest groups of the late 60s finally reaches the top of the charts. I'll just take a peek at their discography and see...
Oh.
Oh.
185: Groovin' (The Young Rascals)
Apparently the lyric's "you and me endlessly", not "and Leslie". It's a slower, more soulful, relaxing song than Good Lovin', though it doesn't feel like it does a whole lot of anything.
Apparently the lyric's "you and me endlessly", not "and Leslie". It's a slower, more soulful, relaxing song than Good Lovin', though it doesn't feel like it does a whole lot of anything.
186: Respect (Aretha Franklin)
This song has it all. A stellar gospel-like voice, a great backing track, and most importantly a strong message about a woman demanding respect. It's a shame that Franklin had 73 hits that charted but only 2 #1s.
This song has it all. A stellar gospel-like voice, a great backing track, and most importantly a strong message about a woman demanding respect. It's a shame that Franklin had 73 hits that charted but only 2 #1s.
187: Windy (The Association)
It's better than Cherish and has a decent hook, but the lyrics feel kinda nonsensical and the song kinda feels kinda bubblegum-y. It's not bad, but it doesn't really feel deserving of 4 weeks at #1 in mid-1967.
It's better than Cherish and has a decent hook, but the lyrics feel kinda nonsensical and the song kinda feels kinda bubblegum-y. It's not bad, but it doesn't really feel deserving of 4 weeks at #1 in mid-1967.
188: Light My Fire (The Doors)
The Doors finally broke on through to the pop charts with their keyboards and their sorta jazzy psychedelic take on pop. It probably also helps that it has one of the more recognisable hooks in pop music.
The Doors finally broke on through to the pop charts with their keyboards and their sorta jazzy psychedelic take on pop. It probably also helps that it has one of the more recognisable hooks in pop music.
Yes, the full version is 7 minutes long, but it was cut significantly for radio and singles, and that was the version that charted and the one I gave more attention to. For what it's worth, the album version feels fuller but the middle half really starts to feel self-indulgent.
189: All You Need Is Love (The Beatles)
This doesn't feel like a song as it does the climax of the Summer of Love. The lyrics are super naive and generic, but I guess that's what you sing when you're essentially being ambassadors to the world.
This doesn't feel like a song as it does the climax of the Summer of Love. The lyrics are super naive and generic, but I guess that's what you sing when you're essentially being ambassadors to the world.
190: Ode to Billie Joe (Bobbie Gentry)
Gentry manages to perfectly convey how her family is disturbingly uncaring about the boy's death. There's hardly any instruments, but they would have just taken away from the lyrics.
Gentry manages to perfectly convey how her family is disturbingly uncaring about the boy's death. There's hardly any instruments, but they would have just taken away from the lyrics.
191: The Letter (The Box Tops)
At 1:53, the song just feels too short for me. It's gruff and kinda soul-ish, and I feel like I ought to enjoy it, but it just doesn't really work for me.
At 1:53, the song just feels too short for me. It's gruff and kinda soul-ish, and I feel like I ought to enjoy it, but it just doesn't really work for me.
192: To Sir with Love (Lulu)
It's a sentimental movie title track about a teacher who helped her grow up. It's a pleasant song, but a song honoring authority feels a bit out of place in an increasingly countercultural scene.
It's a sentimental movie title track about a teacher who helped her grow up. It's a pleasant song, but a song honoring authority feels a bit out of place in an increasingly countercultural scene.
193: Incense and Peppermints (Strawberry Alarm Clock)
We've reached the point where the psychedelic songs are poking fun at themselves. It's so over the top, but it knows it and that's what makes it unironically good, somehow.
We've reached the point where the psychedelic songs are poking fun at themselves. It's so over the top, but it knows it and that's what makes it unironically good, somehow.
194: Daydream Believer (The Monkees)
The Monkees' final #1 is their strongest. It was supposed to be a melancholy song, but a lyric change completely flipped the meaning for the worse. It helps that it doesn't feel like they tried to be Beatles-lite.
The Monkees' final #1 is their strongest. It was supposed to be a melancholy song, but a lyric change completely flipped the meaning for the worse. It helps that it doesn't feel like they tried to be Beatles-lite.
In an alternative universe where the Monkees TV show was more popular, I could imagine the music videos on the show would inspire other artists to do the same over a decade before MTV. Their videos aren't the greatest, but you can still see them "play".
195: Hello, Goodbye (The Beatles)
This almost feels like a song that was not considered good enough for Sgt. Pepper and thrown out as a single instead. And because it's the Beatles, it got #1. I'd rather listen to the B-side (I Am the Walrus) instead.
This almost feels like a song that was not considered good enough for Sgt. Pepper and thrown out as a single instead. And because it's the Beatles, it got #1. I'd rather listen to the B-side (I Am the Walrus) instead.
196: Judy in Disguise (with Glasses) (John Fred & His Playboy Band)
It's a parody of a Beatles song, and it hit #1. At least Ringo was a real song in its own right. It probably helped that Lucy in the Sky wasn't released as a single, so this had to do.
It's a parody of a Beatles song, and it hit #1. At least Ringo was a real song in its own right. It probably helped that Lucy in the Sky wasn't released as a single, so this had to do.
In the US, the Beatles released 2 singles in a 4-album span from Rubber Soul-The Beatles. If you wanted to listen to the band's songs, you had to buy the albums, and they were strong enough that people would happily do. Since they weren't released as singles, they couldn't chart.
197: Green Tambourine (The Lemon Pipers)
We're now in 1968, and psychedelic music is starting to get a bit more manufactured. It doesn't mean it's bad, but it feels like it lacks a lot of the creativity of some of the earlier hits of the subgenre.
We're now in 1968, and psychedelic music is starting to get a bit more manufactured. It doesn't mean it's bad, but it feels like it lacks a lot of the creativity of some of the earlier hits of the subgenre.
198: Love is Blue (Paul Mauriat)
This is an instrumental version of Luxembourg's Eurovision entry. Wasn't expecting such a song to show up here, but it's surprisingly good and much better than the other easy-listening songs that have appeared.
This is an instrumental version of Luxembourg's Eurovision entry. Wasn't expecting such a song to show up here, but it's surprisingly good and much better than the other easy-listening songs that have appeared.
199: (Sittin' on) the Dock of the Bay (Otis Redding)
The first posthumous #1, it's a heartfelt song about about going in a new direction and only finding loneliness. The song was considered unfinished, but I find it hard to see how it would be improved.
The first posthumous #1, it's a heartfelt song about about going in a new direction and only finding loneliness. The song was considered unfinished, but I find it hard to see how it would be improved.
200: Honey (Bobby Goldsboro)
It's a really sad song that got big right after MLK's assassination. The problem is that the singer doesn't really establish that loving a relationship between the couple. It also runs way too long at almost 4 minutes.
It's a really sad song that got big right after MLK's assassination. The problem is that the singer doesn't really establish that loving a relationship between the couple. It also runs way too long at almost 4 minutes.
201: Tighten Up (Archie Bell and the Drells)
This is a fun funky song about the namesake dance. It does a good job of at least feeling improvised, though I feel like there isn't a whole lot of actual song there.
This is a fun funky song about the namesake dance. It does a good job of at least feeling improvised, though I feel like there isn't a whole lot of actual song there.
202: Mrs. Robinson (Simon and Garfunkel)
I'm sure the lyrics are supposed to have real meaning, but they just feel like random words. This doesn't stop the song from being carried by the rhythm and vocals, even if it's not one of my favorite S&G songs.
I'm sure the lyrics are supposed to have real meaning, but they just feel like random words. This doesn't stop the song from being carried by the rhythm and vocals, even if it's not one of my favorite S&G songs.
203: This Guy's in Love with You (Herb Alpert)
This is the first song in a long time that I had not heard before. It almost sounds like a cover of a Frank Sinatra record. It's okay, I guess, but not really that inspiring.
This is the first song in a long time that I had not heard before. It almost sounds like a cover of a Frank Sinatra record. It's okay, I guess, but not really that inspiring.
204: Grazing in the Grass (Hugh Masekela)
I got really confused hearing this without lyrics, but apparently the instrumental version was first and hit #1. It's a good enough jazz piece, but I not what I'd expect to be a pop hit.
I got really confused hearing this without lyrics, but apparently the instrumental version was first and hit #1. It's a good enough jazz piece, but I not what I'd expect to be a pop hit.
205: Hello, I Love You (The Doors)
Usually people wait until they know the name before admitting love. The riff sounds like a ripoff of All Day and All of the Night, and I feel like the Doors have a lot better iconic music up their sleeves.
Usually people wait until they know the name before admitting love. The riff sounds like a ripoff of All Day and All of the Night, and I feel like the Doors have a lot better iconic music up their sleeves.
206: People Got to Be Free (The Rascals)
I'm pretty sure this song could only exist in the late 60s. It's very naively opitmistic, and I think that had an appeal to people. I'm not quite sure it holds up over time, but honestly that's not too surprising.
I'm pretty sure this song could only exist in the late 60s. It's very naively opitmistic, and I think that had an appeal to people. I'm not quite sure it holds up over time, but honestly that's not too surprising.
Can we take a moment to acknowledge that this group of people had 4 #1s both pre- and post- Beatles (Peppermint Twist, Good Lovin', Groovin', and People Got to Be Free)? It feels like an unlikely combination of songs, but they were all performed by this now mostly unknown band.
207: Harper Valley PTA (Jeannie C. Riley)
The story of how the idyllic small-town life isn't quite as perfect as it seems. I'm not surprised that pointing out said hypocrisy was really popular in this era. And it helps that it's a fun song, too.
The story of how the idyllic small-town life isn't quite as perfect as it seems. I'm not surprised that pointing out said hypocrisy was really popular in this era. And it helps that it's a fun song, too.
208: Hey Jude (The Beatles)
The Beatles' longest-lasting #1 hit at 9 weeks, tying the record at the time. It's an unheard-of 7 minutes in length, though the second half are basically just na's. It feels like it should be way too long and self-indulgent, but they make it work.
The Beatles' longest-lasting #1 hit at 9 weeks, tying the record at the time. It's an unheard-of 7 minutes in length, though the second half are basically just na's. It feels like it should be way too long and self-indulgent, but they make it work.
That's the advantage of being as big as the Beatles. You can do something excessive like Hey Jude, but have enough goodwill built up such that people are willing to give it a chance. Also it helps that the first half is itself a good "mentoring" song.
209: Love Child (The Supremes)
This is basically a Diana Ross solo hit, since the other two members aren't on the record. It sounds like a Supremes song, but the subject matter is a lot more mature (unwanted pregnancies!), and Ross sells it absolutely.
This is basically a Diana Ross solo hit, since the other two members aren't on the record. It sounds like a Supremes song, but the subject matter is a lot more mature (unwanted pregnancies!), and Ross sells it absolutely.
210: I Heard It Through the Grapevine (Marvin Gaye)
This is probably the most well-known Motown song, and for good reason. Marvin Gaye's emotion shines through magnificently, and I'm convinced he he did overhear his girlfriend planning on leaving him.
This is probably the most well-known Motown song, and for good reason. Marvin Gaye's emotion shines through magnificently, and I'm convinced he he did overhear his girlfriend planning on leaving him.
211: Crimson and Clover (Tommy James and the Shondells)
This is the kind of song I'd make up in a dream. It's nonsensical, but it makes sense in its own way. And then I'd wake up with it stuck in my head, but it's okay because it's a fun song.
This is the kind of song I'd make up in a dream. It's nonsensical, but it makes sense in its own way. And then I'd wake up with it stuck in my head, but it's okay because it's a fun song.
212: Everyday People (Sly and the Family Stone)
The 2nd #1 of 1969 is a call for unity in a time of turbulence. It managed to inspire "Diff'rent Strokes" and "Scooby-Doo" (and a late 90s Toyota ad campaign), so it'll always have that legacy.
The 2nd #1 of 1969 is a call for unity in a time of turbulence. It managed to inspire "Diff'rent Strokes" and "Scooby-Doo" (and a late 90s Toyota ad campaign), so it'll always have that legacy.
213: Dizzy (Tommy Roe)
Give the artist of "Sheila" 7 years' of musical progression, and you'll get this song. It's got that pre-Beatles oldie sound but modernised, and the zillion key changes work for this song.
Give the artist of "Sheila" 7 years' of musical progression, and you'll get this song. It's got that pre-Beatles oldie sound but modernised, and the zillion key changes work for this song.
214: Aquarius/Let the Sunshine In (The 5th Dimension)
It's a mashup of two songs from the hippie musical Hair. The first half works very well as a pop rendition of a showtune, but the second part feels a bit more random and tacked on.
It's a mashup of two songs from the hippie musical Hair. The first half works very well as a pop rendition of a showtune, but the second part feels a bit more random and tacked on.
215: Get Back (The Beatles)
The Beatles are falling apart, and Billy Preston is brought in on this song to relieve tensions. It's an attempt at a return to roots, and it's not bad for a first try at a new direction, but it doesn't feel that innovative.
The Beatles are falling apart, and Billy Preston is brought in on this song to relieve tensions. It's an attempt at a return to roots, and it's not bad for a first try at a new direction, but it doesn't feel that innovative.
216: Love Theme from Romeo and Juliet (Henry Mancini)
Zeffirelli's version of the Shakespeare play was a really popular movie, and I guess that's how this serviceable soft piano tune managed to make it to #1 in mid-1969 while keeping out CCR.
Zeffirelli's version of the Shakespeare play was a really popular movie, and I guess that's how this serviceable soft piano tune managed to make it to #1 in mid-1969 while keeping out CCR.
217: In the Year 2525 (Zager and Evans)
The #1 record during the Moon landing is a fairly pessimistic song about humanity's next 8000 years. They're about as 1-hit-wonder as you can get, given that they never even reached the Hot 100 again.
The #1 record during the Moon landing is a fairly pessimistic song about humanity's next 8000 years. They're about as 1-hit-wonder as you can get, given that they never even reached the Hot 100 again.
218: Honky Tonk Woman (The Rolling Stones)
The Stones' rough, blusish sound is still going strong despite everything. I could definitely hear the start of the transition to 70s rock, though the Stones' star would soon decline due to the Altamont concert.
The Stones' rough, blusish sound is still going strong despite everything. I could definitely hear the start of the transition to 70s rock, though the Stones' star would soon decline due to the Altamont concert.
219: Sugar, Sugar (The Archies)
You don't have to worry about your fictional band demanding creative freedom if they're animated! And yes, the top song of 1969 was an (albeit good) bubblegum pop song credited to a bunch of cartoon characters.
You don't have to worry about your fictional band demanding creative freedom if they're animated! And yes, the top song of 1969 was an (albeit good) bubblegum pop song credited to a bunch of cartoon characters.
220: I Can't Get Next to You (The Temptations)
The Temptations are back after 5 years and a change in lead singer and style. It's a pretty hard funky song, and it actually feels kinda out there for Motown. It's not my favorite, but I can see the appeal.
The Temptations are back after 5 years and a change in lead singer and style. It's a pretty hard funky song, and it actually feels kinda out there for Motown. It's not my favorite, but I can see the appeal.
221: Suspicious Minds (Elvis Presley)
Elvis was staging a comeback after his film career, and he reached #1 for the first time in 7 years with a song that proved he still had it in him. It'd be his last time on top, but at least he went out with a bang.
Elvis was staging a comeback after his film career, and he reached #1 for the first time in 7 years with a song that proved he still had it in him. It'd be his last time on top, but at least he went out with a bang.
222: Wedding Bell Blues (The 5th Dimension)
It's as if they wanted to recreate the success of Aquarius by recording another bombastic showtune, but I'm not sure the lyrics fit. Is she trying to sound desperate? Hopeful? I'm not sure.
It's as if they wanted to recreate the success of Aquarius by recording another bombastic showtune, but I'm not sure the lyrics fit. Is she trying to sound desperate? Hopeful? I'm not sure.
223a: Come Together (The Beatles)
This is a song where you can't think about the lyrics too much. The Beatles were doing the exact opposite of coming together, but they still managed to produce a good bluesy rock song.
This is a song where you can't think about the lyrics too much. The Beatles were doing the exact opposite of coming together, but they still managed to produce a good bluesy rock song.
Programming note: Starting in 1969, Billboard decided to combine both sides of a single in their charts. So while Come Together and Something were both top-10 hits individually, the changes meant that they combined for a #1 double-A-side single for a week.
223b: Something (The Beatles)
This is quite possibly my favorite individual Beatles song. It's a beautiful love song that doesn't try to be too complex, and Harrison's vocals, lyrics, and guitars knock it out of the park.
This is quite possibly my favorite individual Beatles song. It's a beautiful love song that doesn't try to be too complex, and Harrison's vocals, lyrics, and guitars knock it out of the park.
224: Na Na Hey Hey Kiss Him Goodbye (Steam)
The song of pitchers being pulled from games, it basically nothing but the chorus. It has a promising start, but then it gets far too repetitive and lasts far too long.
The song of pitchers being pulled from games, it basically nothing but the chorus. It has a promising start, but then it gets far too repetitive and lasts far too long.
"Na" tracker (according to Genius):
Hey Jude: 222 Na's
Na Na Hey Hey Kiss Him Goodbye: 179 Na's
Hey Jude: 222 Na's
Na Na Hey Hey Kiss Him Goodbye: 179 Na's
225: Leaving on a Jet Plane (Peter, Paul, and Mary)
Peter, Paul, and Mary finally reach #1 after several great songs with one that accidentally became a Vietnam protest song. It's a pretty song and the trio's harmonies work together very well.
Peter, Paul, and Mary finally reach #1 after several great songs with one that accidentally became a Vietnam protest song. It's a pretty song and the trio's harmonies work together very well.
226: Someday We'll Be Together (Diana Ross & The Supremes)
We end the 60s with the 12th and final Supremes #1. It's a fitting song to close out the decade, as it holds the promise of better and brighter times ahead in an era full of uncertainty.
We end the 60s with the 12th and final Supremes #1. It's a fitting song to close out the decade, as it holds the promise of better and brighter times ahead in an era full of uncertainty.
227: Raindrops Keep Fallin' on My Head (B.J. Thomas)
It seems appropriate that we begin the 70s with some (unfortunately uninspiring) soft rock. It won Best Original Song from Butch Cassidy and the Sundance Kid, so it at least had that going for it.
It seems appropriate that we begin the 70s with some (unfortunately uninspiring) soft rock. It won Best Original Song from Butch Cassidy and the Sundance Kid, so it at least had that going for it.
228: I Want You Back (The Jackson 5)
Michael Jackson was 11 when he did vocals for this song. It's a great example of a fun pop song that succeeds in doing what it set out to do and not try to be what it isn't. More stuff like this, please.
Michael Jackson was 11 when he did vocals for this song. It's a great example of a fun pop song that succeeds in doing what it set out to do and not try to be what it isn't. More stuff like this, please.
229: Venus (Shocking Blue)
Thankfully this song has nothing to do with the Frankie Avalon #1 of the same name. It's rough and English is clearly not their first language ("godness"), but it's still a fun if a bit shallow.
Thankfully this song has nothing to do with the Frankie Avalon #1 of the same name. It's rough and English is clearly not their first language ("godness"), but it's still a fun if a bit shallow.
230: Thank You (Falettinme Be Mice Elf Agin) (Sly and the Family Stone)
It's a weird semi-self-indulgent but very funky song. It's a party song where the lyrics are against the idea, so it's basically 1970's version of "Hey Ya".
It's a weird semi-self-indulgent but very funky song. It's a party song where the lyrics are against the idea, so it's basically 1970's version of "Hey Ya".
231: Bridge Over Troubled Water (Simon and Garfunkel)
Simon and Garfunkel's final #1 together is one of the greatest pop songs of the era, and one I could listen to a zillion times. Art's gospely voice is a perfect match, despite Paul's later regret at "giving the song away".
Simon and Garfunkel's final #1 together is one of the greatest pop songs of the era, and one I could listen to a zillion times. Art's gospely voice is a perfect match, despite Paul's later regret at "giving the song away".
It starts off soft and slowly builds up into a bombastic crescendo, but the transition makes perfect sense in terms of the song. At almost 5 minutes, it seems like it should be too slow for radio, but it doesn't feel long at all.
232: Let It Be (The Beatles)
The idea for the song came when Paul's dead mother appeared to him in a dream. It's similar in some ways to Bridge Over Troubled Water, though in this case the guitars and Phil Spector treatment kinda mar it.
The idea for the song came when Paul's dead mother appeared to him in a dream. It's similar in some ways to Bridge Over Troubled Water, though in this case the guitars and Phil Spector treatment kinda mar it.
In 2003, McCartney released a remixed version of the Let It Be album without what he viewed as Phil Spector's meddling. I think this version sounds better, but it feels like it's still missing a piece to make it a great song.
233: ABC (The Jackson 5)
Berry Gordy replicated what he did with the Supremes and gave the Jackson 5 a very similar follow-up song to their first hit to capitalise on their success. And to no one's surprise, it also became a big hit.
Berry Gordy replicated what he did with the Supremes and gave the Jackson 5 a very similar follow-up song to their first hit to capitalise on their success. And to no one's surprise, it also became a big hit.
234: American Woman (The Guess Who)
It's a song that starts to bridge the gap between the blues rock of the Rolling Stones and the album-oriented classic rock of the 70s. It definitely is or is not political about the Canadian band's southern neighbour.
It's a song that starts to bridge the gap between the blues rock of the Rolling Stones and the album-oriented classic rock of the 70s. It definitely is or is not political about the Canadian band's southern neighbour.
235: Everything is Beautiful (Ray Stevens)
This is the type of song you'd get your youth group to sing during Sunday church service. It almost makes All You Need Is Love sound deep. I will admit it's a bit catchy, though not in a good way.
This is the type of song you'd get your youth group to sing during Sunday church service. It almost makes All You Need Is Love sound deep. I will admit it's a bit catchy, though not in a good way.
236: The Long and Winding Road (The Beatles)
Look, Phil Spector's specialty was making even average talents sound good by adding more instruments and noise. That's not what's needed when one is mixing a Beatles record, and this song suffers for it.
Look, Phil Spector's specialty was making even average talents sound good by adding more instruments and noise. That's not what's needed when one is mixing a Beatles record, and this song suffers for it.
And with that, after 20 #1 hits in under 7 years, the Beatles have broken up. They led the charge that brought rock back into the States, and then innovated into the psychedelic era. They're so essential to pop music that trying to rate them sometimes felt like rating the sky.
Pretty much all of the greatest acts of the 60s ceased to be within a fairly short timeframe. There's a opening for pop music to move in a new direction in a new decade, with opportunities for new stars to be born. (And for that matter, the Jackson 5 have already arrived.)
Thanks to growing up listening to oldies on the radio, I was already familiar with 125/133 songs in the Beatles era, including a 79-song stretch from Come See About Me to Mrs. Robinson. That's probably the best stretch I'll have, especially since I'm really bad at anything modern
Onto the 70s!
237: The Love You Save (The Jackson 5)
The lyrics of their third #1 in 6 months has more obviously childish lyrics, presumably to match Michael's age. It feels a bit weird since it's obviously written by grown-ups pretending to be kids.
237: The Love You Save (The Jackson 5)
The lyrics of their third #1 in 6 months has more obviously childish lyrics, presumably to match Michael's age. It feels a bit weird since it's obviously written by grown-ups pretending to be kids.
238: Mama Told Me (Not to Come) (Three Dog Night)
A song about a straight-laced guy going to his first wild late-60s party. The message feels ironic especially given how much of a rock song it is for 1970. Don't think I'd mix whiskey with water though.
A song about a straight-laced guy going to his first wild late-60s party. The message feels ironic especially given how much of a rock song it is for 1970. Don't think I'd mix whiskey with water though.
239: (They Long to Be) Close to You (The Carpenters)
Karen Carpenter's voice is very well suited for this song. It tries to be a combination of pop and easy listening, but I feel like you'd need to be more of a fan of the former to really enjoy it.
Karen Carpenter's voice is very well suited for this song. It tries to be a combination of pop and easy listening, but I feel like you'd need to be more of a fan of the former to really enjoy it.
240: Make It With You (Bread)
I presume this would be a song one would play before "Let's Get It On" was released in order to really set the mood. It feels like a 1970 version of Come Softly to Me, but I'm not motivated enough to check my hunch.
I presume this would be a song one would play before "Let's Get It On" was released in order to really set the mood. It feels like a 1970 version of Come Softly to Me, but I'm not motivated enough to check my hunch.
241: War (Edwin Starr)
Originally a Temptations song, it wasn't initially released as a single due to fear of retribution. It's easily the most viscerally overt protest song of the Vietnam era, but it's broad enough to work for pretty much any war.
Originally a Temptations song, it wasn't initially released as a single due to fear of retribution. It's easily the most viscerally overt protest song of the Vietnam era, but it's broad enough to work for pretty much any war.
242: Ain't No Mountain High Enough (Diana Ross)
Ross had sung a version of this song with the Supremes (which itself wasn't the original, which I prefer, I think). This time around, it's a lot more unorthodoxly-structured and more influenced by soul.
Ross had sung a version of this song with the Supremes (which itself wasn't the original, which I prefer, I think). This time around, it's a lot more unorthodoxly-structured and more influenced by soul.
243: Cracklin' Rosie (Neil Diamond)
Neil Diamond finally lands on top with a high-energy song about a date night with a bottle of wine. It's good, but I'm gonna use this space to tell people to listen to more Neil Diamond songs that aren't Sweet Caroline
Neil Diamond finally lands on top with a high-energy song about a date night with a bottle of wine. It's good, but I'm gonna use this space to tell people to listen to more Neil Diamond songs that aren't Sweet Caroline
244: I'll Be There (The Jackson 5)
The biggest Motown hit to date, it's a ballad promising support sung that works very well with the Jacksons' childish innocence. It's good to see a departure from the norm, and it wound up being a huge success.
The biggest Motown hit to date, it's a ballad promising support sung that works very well with the Jacksons' childish innocence. It's good to see a departure from the norm, and it wound up being a huge success.
We're up to something like 16 weeks' worth of songs promising emotional support reaching #1 over the past year. You guys okay back there, 1970? Do you need a hug or something?
245: I Think I Love You (The Partridge Family)
Another part in the lineage of bands made for TV shows. It's good if you don't listen too many times, but the singer should really seek therapy if he's so afraid of randomly blurting out his feelings.
Another part in the lineage of bands made for TV shows. It's good if you don't listen too many times, but the singer should really seek therapy if he's so afraid of randomly blurting out his feelings.
246: The Tears of a Clown (Smokey Robinson & the Miracles)
Finally they reach #1 with a 3-year-old back catalog song. Robinson nails his role of the sad entertainer perfectly, and the song casually drops a Pagliacci reference that would make Sting blush.
Finally they reach #1 with a 3-year-old back catalog song. Robinson nails his role of the sad entertainer perfectly, and the song casually drops a Pagliacci reference that would make Sting blush.
247: My Sweet Lord (George Harrison)
George Harrison immediately set out to prove himself by quickly releasing a triple(!) album, and its #1 hit was about seeking religion and his belief of their connectedness. And nothing about how "he's so fine".
George Harrison immediately set out to prove himself by quickly releasing a triple(!) album, and its #1 hit was about seeking religion and his belief of their connectedness. And nothing about how "he's so fine".
248: Knock Three Times (Dawn)
Can't you just talk to her like a sane person? Also, like, ceilings are really high up. The song feels a bit over the place, but I guess that's pop for you. The sound effects worked well, at least.
Can't you just talk to her like a sane person? Also, like, ceilings are really high up. The song feels a bit over the place, but I guess that's pop for you. The sound effects worked well, at least.
249: One Bad Apple (The Osmonds)
I feel like I'm listening to a knockoff (and white) version of the Jackson 5. And this song was originally offered to them, which makes a lot of sense. In isolation it's not awful, but why not just listen to the original?
I feel like I'm listening to a knockoff (and white) version of the Jackson 5. And this song was originally offered to them, which makes a lot of sense. In isolation it's not awful, but why not just listen to the original?
250: Me and Bobby McGee (Janis Joplin)
Recorded 3 days before Joplin's death, her unrestrained style really shines in this song about a couple of drifters who met on the road. It's a shame she left us so early, as she had amazing vocal talent.
Recorded 3 days before Joplin's death, her unrestrained style really shines in this song about a couple of drifters who met on the road. It's a shame she left us so early, as she had amazing vocal talent.
Two-hundred-fifty songs down! Just, um, half a century to go.
I really underestimated this, didn't I?
I really underestimated this, didn't I?
251: Just My Imagination (Running Away with Me) (The Temptations)
This was a return-to-roots song for the Motown group. It's incredibly soulful and the instruments accentuate the vocals (which fit the bill to a t, of course) without overwhelming them.
This was a return-to-roots song for the Motown group. It's incredibly soulful and the instruments accentuate the vocals (which fit the bill to a t, of course) without overwhelming them.
252: Joy to the World (Three Dog Night)
The lyrics are in English and the parts of speech are in roughly the right places, but the result is complete nonsense. It's vaguely upbeat which helps, but I'm not sure what to make of it.
The lyrics are in English and the parts of speech are in roughly the right places, but the result is complete nonsense. It's vaguely upbeat which helps, but I'm not sure what to make of it.
253: Brown Sugar (The Rolling Stones)
I'm hearing those lyrics correctly, right? Like, there's pushing the envelope and then there's this. It's as if they're checking off as many taboo boxes as possible. The music's good, but the subject matter is icky.
I'm hearing those lyrics correctly, right? Like, there's pushing the envelope and then there's this. It's as if they're checking off as many taboo boxes as possible. The music's good, but the subject matter is icky.
Oh hey, I should get back to tweeting about 50-year-old pop songs, shouldn't I?
254: Want Ads (Honey Cone)
I feel like I'm listening to a Discount Motown song here. The singers have heart, but it doesn't really land that well. I guess the classifieds were really that important a part of daily life in the early 70s.
I feel like I'm listening to a Discount Motown song here. The singers have heart, but it doesn't really land that well. I guess the classifieds were really that important a part of daily life in the early 70s.
255a: It's Too Late (Carole King)
One of the most successful songwriters of the 60s has come out with one of the biggest albums of the early 70s in Tapestry. This is an honest but not bitter breakup song, and she nails the mood brilliantly.
One of the most successful songwriters of the 60s has come out with one of the biggest albums of the early 70s in Tapestry. This is an honest but not bitter breakup song, and she nails the mood brilliantly.
255b: I Feel the Earth Move (Carole King)
On the other half of the record (and the original A-side), we have King becoming infatuated. She's able to capture the hectic emotion of her life spinning around, but I honestly think the flip side is better.
On the other half of the record (and the original A-side), we have King becoming infatuated. She's able to capture the hectic emotion of her life spinning around, but I honestly think the flip side is better.
256: Indian Reservation (Paul Revere & the Raiders)
It's an improvement over the likes of Running Bear and Mister Custer, but that's not saying much. There's still issues with it and its "origin story", but it's 1971, so I guess I'll take what I can get.
It's an improvement over the likes of Running Bear and Mister Custer, but that's not saying much. There's still issues with it and its "origin story", but it's 1971, so I guess I'll take what I can get.
257: You've Got a Friend (James Taylor)
A cover of a Carole King song inspired by Taylor's Fire and Rain, it's a pure reassurance song. If you're in the state of mind that could use with that, it can be perfect. Otherwise, it's a fine, noble song.
A cover of a Carole King song inspired by Taylor's Fire and Rain, it's a pure reassurance song. If you're in the state of mind that could use with that, it can be perfect. Otherwise, it's a fine, noble song.
258: How Can You Mend a Broken Heart (The Bee Gees)
Don't worry, it's not 1976 yet. Their first of many #1s sounds a bit too melodramatic. It as if the singer is pretending to hold back tears, and it kinda misses. I can hear their potential, though.
Don't worry, it's not 1976 yet. Their first of many #1s sounds a bit too melodramatic. It as if the singer is pretending to hold back tears, and it kinda misses. I can hear their potential, though.
259: Uncle Albert/Admiral Halsey (Paul & Linda McCartney)
McCartney's first post-Beatles #1 follows in their tradition of mashing half-songs together willy-nilly. It's so silly and nonsensical, but it still kinda works?
McCartney's first post-Beatles #1 follows in their tradition of mashing half-songs together willy-nilly. It's so silly and nonsensical, but it still kinda works?
260: Go Away Little Girl (Donny Osmond)
Of all the #1 songs to be covered and reach the top again, it's this one? Really? Did people demand Carole King's songwriting that much? At least it sounds less creepy here, but that's like the lowest bar to clear.
Of all the #1 songs to be covered and reach the top again, it's this one? Really? Did people demand Carole King's songwriting that much? At least it sounds less creepy here, but that's like the lowest bar to clear.
261: Maggie May (Rod Stewart)
When I was growing up, I hated Rod Stewart's voice, though fifteen years later, it's as grating to me. It probably helps that I now know what's happening in the lyrics. I think I get the appeal now, and I do kinda dig it.
When I was growing up, I hated Rod Stewart's voice, though fifteen years later, it's as grating to me. It probably helps that I now know what's happening in the lyrics. I think I get the appeal now, and I do kinda dig it.
262: Gypsys, Tramps, & Thieves (Cher)
Apparently being half-Armenian was enough to sell a Romani persona at the time. Cultural, um, iffyness of the song aside, Cher weaves the story of the vicious cycle and the darker side of love very well.
Apparently being half-Armenian was enough to sell a Romani persona at the time. Cultural, um, iffyness of the song aside, Cher weaves the story of the vicious cycle and the darker side of love very well.
263: Theme from Shaft (Isaac Hayes)
One of the very first blaxploitation films yielded the genre's most iconic song. It's an extremely funky song, and you know that Hayes is exaggerating, but on the other hand, maybe Shaft really is a bad mother-
One of the very first blaxploitation films yielded the genre's most iconic song. It's an extremely funky song, and you know that Hayes is exaggerating, but on the other hand, maybe Shaft really is a bad mother-
264: Family Affair (Sly & the Family Stone)
Outside of a very catchy hook, I'm not sure what to make of this funk song. Like, I feel like I should appreciate it, and apparently Rolling Stone does, but for some reason I have trouble getting into it.
Outside of a very catchy hook, I'm not sure what to make of this funk song. Like, I feel like I should appreciate it, and apparently Rolling Stone does, but for some reason I have trouble getting into it.
265: Brand New Key (Melanie)
I know "quirky" wasn't really a thing in 1971, but that's what comes to mind when I hear this song. It sounds innocent and childish (depending on your definition of "key"), and in that case the lyrics and vocals do match.
I know "quirky" wasn't really a thing in 1971, but that's what comes to mind when I hear this song. It sounds innocent and childish (depending on your definition of "key"), and in that case the lyrics and vocals do match.
266: American Pie (Don McLean)
For those who need a refresher of the past 13 years of pop and really miss high-school English text interpretations, listen to this song. The longest ever #1, the nostalgia-fest somehow doesn't feel like it drags.
For those who need a refresher of the past 13 years of pop and really miss high-school English text interpretations, listen to this song. The longest ever #1, the nostalgia-fest somehow doesn't feel like it drags.
Madonna's cover of American Pie continues to perplex me. It feels slower than the original yet is four minutes shorter, most of the verses are cut out, what's left doesn't match the tone of the music, and she lacks most of the personal connection to the era that Don McLean has.
267: Let's Stay Together (Al Green)
This song is a great opportunity for Al Green to showcase his voice. The lyrics are sweet but not too complex to draw away focus, and his soulful falsetto matches his desire to stay together with his woman.
This song is a great opportunity for Al Green to showcase his voice. The lyrics are sweet but not too complex to draw away focus, and his soulful falsetto matches his desire to stay together with his woman.
268: Without You (Harry Nilsson)
This song's a power ballad before power ballads were really a thing. It's melodramatic to the point of self-awareness, and as such I feel like I can't really take it super seriously. That doesn't mean it's bad, though.
This song's a power ballad before power ballads were really a thing. It's melodramatic to the point of self-awareness, and as such I feel like I can't really take it super seriously. That doesn't mean it's bad, though.
269: Heart of Gold (Neil Young)
I really thought I'd have seen Neil Young in some form by now, but apparently this was his only song to reach the top. It lacks the social commentary of some of his other songs, but it's still him on form.
I really thought I'd have seen Neil Young in some form by now, but apparently this was his only song to reach the top. It lacks the social commentary of some of his other songs, but it's still him on form.
270: A Horse with No Name (America)
A very similar style to Heart of Gold, this song features lyrics that felt like they came from sleep deprivation. It works when I casually listen to it, but I definitely feel like I shouldn't analyze it too much.
A very similar style to Heart of Gold, this song features lyrics that felt like they came from sleep deprivation. It works when I casually listen to it, but I definitely feel like I shouldn't analyze it too much.
271: The First Time Ever I Saw Your Face (Roberta Flack)
The song was 3 years old when it blew up, thanks to Clint Eastwood including it in a film. If you like slower music, it's for you, but it was just far too slow for me personally.
The song was 3 years old when it blew up, thanks to Clint Eastwood including it in a film. If you like slower music, it's for you, but it was just far too slow for me personally.
272: Oh Girl (The Chi-Lites)
If you told me this came out in 1966, I would believe you without hesitation. It's a very tight soul song with some impassioned vocals and is overall very well done. Apparently 1972 was the year of slower music.
If you told me this came out in 1966, I would believe you without hesitation. It's a very tight soul song with some impassioned vocals and is overall very well done. Apparently 1972 was the year of slower music.
273: I'll Take You There (The Staple Singers)
I definitely hear the ingredients of what would later be disco here. It's basically a gospel-funk song without many pop elements. It's also one of the more overtly-religious songs so far on this list.
I definitely hear the ingredients of what would later be disco here. It's basically a gospel-funk song without many pop elements. It's also one of the more overtly-religious songs so far on this list.
274: The Candy Man (Sammy Davis Jr.)
Yep, Sammy Davis Jr's sole #1 was a song from Willy Wonka and the Chocolate Factory. He's a great singer, and it almost feels insulting for him to cover a random movie song that felt filler in the first place.
Yep, Sammy Davis Jr's sole #1 was a song from Willy Wonka and the Chocolate Factory. He's a great singer, and it almost feels insulting for him to cover a random movie song that felt filler in the first place.
275: Song Sung Blue (Neil Diamond)
It's a not really sad song about singing sad songs, with the melody based off a Mozart piano concerto. Neil Diamond somehow makes this fairly bare-bones tune work, though I admit to being biased towards him.
It's a not really sad song about singing sad songs, with the melody based off a Mozart piano concerto. Neil Diamond somehow makes this fairly bare-bones tune work, though I admit to being biased towards him.
276: Lean on Me (Bill Withers)
It's a simple song with a simple, but effective and beautiful message. The bridge shakes things up a bit and adds some needed variety, but not enough to distract from the message that we need to lean on each other.
It's a simple song with a simple, but effective and beautiful message. The bridge shakes things up a bit and adds some needed variety, but not enough to distract from the message that we need to lean on each other.
277: Alone Again (Naturally) (Gilbert O'Sullivan)
Wow, this is a really dark song. He really needs to find someone to lean on. Is America that depressed in 1972 that such a song would be #1 for 6 full weeks? I guess the tune's a bit catchy.
Wow, this is a really dark song. He really needs to find someone to lean on. Is America that depressed in 1972 that such a song would be #1 for 6 full weeks? I guess the tune's a bit catchy.
278: Brandy (You're a Fine Girl) (Looking Glass)
This song feels like a breath of fresh air compared to its downer predecessors. It's not anything earth-shattering, but it's loud enough to work and as a bonus it has a decent story for a pop song.
This song feels like a breath of fresh air compared to its downer predecessors. It's not anything earth-shattering, but it's loud enough to work and as a bonus it has a decent story for a pop song.
279: Black and White (Three Dog Night)
It's a very inoffensive and optimistic song about racial equality. "We will all get along now," is its message, which feels very premature even 50 years later. It's a shame the lyric about Brown v. Board got cut.
It's a very inoffensive and optimistic song about racial equality. "We will all get along now," is its message, which feels very premature even 50 years later. It's a shame the lyric about Brown v. Board got cut.
280: Baby, Don't Get Hooked on Me (Mac Davis)
I dunno, telling a girl that she better not fall in love with you *wink, wink* doesn't really work that well with me. It definitely fills the early 70s easy-listening formula, but those lyrics, though.
I dunno, telling a girl that she better not fall in love with you *wink, wink* doesn't really work that well with me. It definitely fills the early 70s easy-listening formula, but those lyrics, though.
281: Ben (Michael Jackson)
The greatest song ever made about a killer rat. Michael Jackson, who at 14 has already spent a majority of his life in the spotlight, does a great job of nailing the sincerity of his friendship. Towards a killer rat.
The greatest song ever made about a killer rat. Michael Jackson, who at 14 has already spent a majority of his life in the spotlight, does a great job of nailing the sincerity of his friendship. Towards a killer rat.
282: My Ding-a-Ling (Chuck Berry)
This a live recording of an old song, and it's about half random concert ad-libs. The joke is that it's innuendo! Is there some rule that classic mid-50s artists can only reach #1 with absolutely awful songs?
This a live recording of an old song, and it's about half random concert ad-libs. The joke is that it's innuendo! Is there some rule that classic mid-50s artists can only reach #1 with absolutely awful songs?
283: I Can See Clearly Now (Johnny Nash)
There's a blend of reggae and pop in this song, which kinda makes sense from an America living in Jamaica. It starts out fine, but there's an amazing hook halfway through which sells the song for me.
There's a blend of reggae and pop in this song, which kinda makes sense from an America living in Jamaica. It starts out fine, but there's an amazing hook halfway through which sells the song for me.
284: Papa Was a Rollin' Stone (The Temptations)
This 7-minute single (half-the length of the album version) is a far cry from the assembly-line production of earlier Motown. It's psychedelic progressive soul to its greatest extent while still being pop.
This 7-minute single (half-the length of the album version) is a far cry from the assembly-line production of earlier Motown. It's psychedelic progressive soul to its greatest extent while still being pop.
285: I Am Woman (Helen Reddy)
It's a female empowerment song in the style of the early 70s. It seems to do a good job of being a catchy anthem for its era in music, even if "I am woman, hear me roar" has kinda lost all meaning nowadays.
It's a female empowerment song in the style of the early 70s. It seems to do a good job of being a catchy anthem for its era in music, even if "I am woman, hear me roar" has kinda lost all meaning nowadays.
286: Me and Mrs. Jones (Billy Paul)
Soul continues to be big at the end of 1972, though this time there seems to be more of a jazzy influence. It has its strong parts, but at almost five minutes it feels like it drags on a bit too long for my tastes.
Soul continues to be big at the end of 1972, though this time there seems to be more of a jazzy influence. It has its strong parts, but at almost five minutes it feels like it drags on a bit too long for my tastes.
287: You're So Vain (Carly Simon)
Despite the song coming from the album No Secrets, the subject of the song is one of the big mysteries of pop music. This song rocks, mostly thanks to Simon coming across as neither too bitter or too detached.
Despite the song coming from the album No Secrets, the subject of the song is one of the big mysteries of pop music. This song rocks, mostly thanks to Simon coming across as neither too bitter or too detached.
288: Supersition (Stevie Wonder)
A decade after Fingertips, Stevie Wonder is back with a lasting classic and one of the most iconic riffs of the era. Beck was supposed to release his version of this song first, but it fell through for various reasons.
A decade after Fingertips, Stevie Wonder is back with a lasting classic and one of the most iconic riffs of the era. Beck was supposed to release his version of this song first, but it fell through for various reasons.
289: Crocodile Rock (Elton John)
Elton John has sung many songs that deserve to be #1. I don't think this deserves to be one of them. It's feels too kitschy and silly. Don't get me wrong, it's good, but why not, say, Tiny Dancer or Your Song instead?
Elton John has sung many songs that deserve to be #1. I don't think this deserves to be one of them. It's feels too kitschy and silly. Don't get me wrong, it's good, but why not, say, Tiny Dancer or Your Song instead?
290: Killing Me Softly with His Song (Roberta Flack)
It may or may not have been inspired by listening to Don McLean singing Empty Chairs, depending on who you ask and which answer makes them look better. It definitely sounds authentic, at least.
It may or may not have been inspired by listening to Don McLean singing Empty Chairs, depending on who you ask and which answer makes them look better. It definitely sounds authentic, at least.
In 1996, the Fugees would record a cover of that song which almost certainly should have hit #1. The catch was that it never got released as a single due to executive meddling, so by Billboard rules at the time it wasn't allowed to chart. Thanks music industry!
291: Love Train (The O'Jays)
The Philly soul sound is pushing full steam ahead. It's simple, it's cheerful, and it's just a fun song. It also wouldn't feel out of place in the disco era, which is only a couple years out now.
The Philly soul sound is pushing full steam ahead. It's simple, it's cheerful, and it's just a fun song. It also wouldn't feel out of place in the disco era, which is only a couple years out now.
292: The Night the Lights Went Out in Georgia (Vicki Lawrence)
Remember when murder ballads were big in the late 50s? I guess they're back. It actually works well in the style of early 70s pop, and the story itself is quite the ride for a pop song.
Remember when murder ballads were big in the late 50s? I guess they're back. It actually works well in the style of early 70s pop, and the story itself is quite the ride for a pop song.
293: Tie A Yellow Ribbon Round The Ole Oak Tree (Dawn ft. Tony Orlando)
It's written about a released prisoner, but it sorta fits for troops finally coming home from Vietnam. The song itself isn't great, but y'know, right place right time and all that.
It's written about a released prisoner, but it sorta fits for troops finally coming home from Vietnam. The song itself isn't great, but y'know, right place right time and all that.
294: You Are the Sunshine of My Life (Stevie Wonder)
This song falls squarely into the category of songs I ought to like, but for some reason I don't. It's Stevie Wonder being very tender and soulful, and it really does sound straight from the heart.
This song falls squarely into the category of songs I ought to like, but for some reason I don't. It's Stevie Wonder being very tender and soulful, and it really does sound straight from the heart.
295: Frankenstein (The Edgar Winter Group)
It's three-and-a-half minutes of mostly Edgar Winter showing off and playing lots of different instruments. It's a cool display of talent and I'm pleasantly surprised this rock instrumental made this list.
It's three-and-a-half minutes of mostly Edgar Winter showing off and playing lots of different instruments. It's a cool display of talent and I'm pleasantly surprised this rock instrumental made this list.
296: My Love (Paul McCartney & Wings)
It's supposed to be a tender ballad, but the song just feels too slow, which is probably emphasized by the random guitar solo. Also the wo-wo-wo-wo's just sound bad. I know you can do better than that, Paul!
It's supposed to be a tender ballad, but the song just feels too slow, which is probably emphasized by the random guitar solo. Also the wo-wo-wo-wo's just sound bad. I know you can do better than that, Paul!
297: Give Me Love (Give Me Peace on Earth) (George Harrison)
Paul and George now have a 2-2-0-0 lead over John and Ringo with post-Beatle #1s. Like My Sweet Lord, this song's very spiritual, though here it feels a lot looser and stream-of-consciousness.
Paul and George now have a 2-2-0-0 lead over John and Ringo with post-Beatle #1s. Like My Sweet Lord, this song's very spiritual, though here it feels a lot looser and stream-of-consciousness.
298: Will It Go Round in Circles (Billy Preston)
Does Billy Preston count as a former Beatle? You decide. You can tell that he had fun singing about silly contradictions and going round in circles. I definitely get some Stevie Wonder vibes from him.
Does Billy Preston count as a former Beatle? You decide. You can tell that he had fun singing about silly contradictions and going round in circles. I definitely get some Stevie Wonder vibes from him.
299: Bad, Bad Leroy Brown (Jim Croce)
This song is like Stagger Lee, if it had been made in the 70s and if he lost. It's got a catchy chorus, but I feel like the story has too much setup and too little payoff for the song to really succeed.
This song is like Stagger Lee, if it had been made in the 70s and if he lost. It's got a catchy chorus, but I feel like the story has too much setup and too little payoff for the song to really succeed.
300: The Morning After (Maureen McGovern)
It's the love song from The Poseidon Adventure, so it's basically 1973's My Heart Will Go On. I definitely get the sentiment here, but I feel like the vocals don't really land that well, especially near the end.
It's the love song from The Poseidon Adventure, so it's basically 1973's My Heart Will Go On. I definitely get the sentiment here, but I feel like the vocals don't really land that well, especially near the end.
We are now 300 songs in, or just over a quarter of the way there. It definitely feels like lately there isn't a dominant musical force like there was in the 60s, though the Philadelphia Soul sound (which would eventually feed into disco) is probably the closest.
By the way, I hope you like the mid-70s, because there are 151 #1 hits from 1973-1977, which is more than there were from 1992-2004.
And yeah, certain years being overrepresented and music post-1991 being underrepresented is definitely a flaw with this plan, but oh well.
And yeah, certain years being overrepresented and music post-1991 being underrepresented is definitely a flaw with this plan, but oh well.
301: Touch Me in the Morning (Diana Ross)
Diana Ross spent an three whole years away from the top spot, but she's back with a song that definitely sounds like her trying to transition to the new musical sound. It's fine, but she can definitely do better.
Diana Ross spent an three whole years away from the top spot, but she's back with a song that definitely sounds like her trying to transition to the new musical sound. It's fine, but she can definitely do better.
302: Brother Louie (Stories)
This is more or less a proto-disco song, featuring a man who could make a great Rod Stewart impression. Even as late as 1973 interracial dating was considered heinous to enough people for this song to relate, it seems.
This is more or less a proto-disco song, featuring a man who could make a great Rod Stewart impression. Even as late as 1973 interracial dating was considered heinous to enough people for this song to relate, it seems.
303: Let's Get It On (Marvin Gaye)
This song manages to overshadow Marvin Gaye's career, which is very impressive given his body of work. The opening bars has become cliche for sexytimes, though the rest of the song is still pretty good soul.
This song manages to overshadow Marvin Gaye's career, which is very impressive given his body of work. The opening bars has become cliche for sexytimes, though the rest of the song is still pretty good soul.
304: Delta Dawn (Helen Reddy)
It starts as kinda a pop-gospel song, but it slowly builds up and has an explosive chorus that gives it the energy it needed to reach #1. It relies a lot on half-step key changes, which can feel cliche at times.
It starts as kinda a pop-gospel song, but it slowly builds up and has an explosive chorus that gives it the energy it needed to reach #1. It relies a lot on half-step key changes, which can feel cliche at times.
305: We're an American Band (Grand Funk)
Don't be fooled by their name. There's no subtlety; they're here to rock, party, and live the lifestyle. The song exists to be fun, indulgent and to hype up how awesome they are, and that's exactly why it works.
Don't be fooled by their name. There's no subtlety; they're here to rock, party, and live the lifestyle. The song exists to be fun, indulgent and to hype up how awesome they are, and that's exactly why it works.
306: Half-Breed (Cher)
Apparently Cher's formula for success was to sing songs about being a different ethnicity than she actually is. The song and lyrics themselves are decent and work well with her voice, but can we please stop doing this?
Apparently Cher's formula for success was to sing songs about being a different ethnicity than she actually is. The song and lyrics themselves are decent and work well with her voice, but can we please stop doing this?
307: Angie (The Rolling Stones)
A ballad that may or may not have been written because Keith Richards got caught in bed with David Bowie, Angela's husband. It still has the Stones' style, even if it doesn't go as hard as their other top hits.
A ballad that may or may not have been written because Keith Richards got caught in bed with David Bowie, Angela's husband. It still has the Stones' style, even if it doesn't go as hard as their other top hits.
308: Midnight Train to Georgia (Gladys Knight & the Pips)
The destination was Houston until Whitney Houston's mom changed it in her version for obvious reason. The lead and backup singers each put in a great effort to make the song sound wonderful.
The destination was Houston until Whitney Houston's mom changed it in her version for obvious reason. The lead and backup singers each put in a great effort to make the song sound wonderful.
309: Keep on Truckin' (Eddie Kendricks)
This is basically the first disco #1, even though it isn't really its own genre yet. The former Temptation fully leans into the new sound, and the song, especially the 8-minute album version, is quite the journey.
This is basically the first disco #1, even though it isn't really its own genre yet. The former Temptation fully leans into the new sound, and the song, especially the 8-minute album version, is quite the journey.
310: Photograph (Ringo Starr)
Yep, even Ringo Starr got a solo #1 before Lennon. It's appropriately a very nostalgic song, and it's more or less carried by the wall-of-sound-esque production which basically drown out his honestly kinda flat vocals.
Yep, even Ringo Starr got a solo #1 before Lennon. It's appropriately a very nostalgic song, and it's more or less carried by the wall-of-sound-esque production which basically drown out his honestly kinda flat vocals.
311: Top of the World (The Carpenters)
We get it, the first half of the 70s is really fond of inoffensive easy-listening music and soft rock. The song's got a good hook and nice vocals, but outside of that it feels very plain and cheesy.
We get it, the first half of the 70s is really fond of inoffensive easy-listening music and soft rock. The song's got a good hook and nice vocals, but outside of that it feels very plain and cheesy.
312: The Most Beautiful Girl (Charlie Rich)
Oh hey pop country, how are you doing? Seems like an appropriate time to show up. The singer's trying to keep his head held high after he was walked out on, and I see why it became a crossover hit in this era.
Oh hey pop country, how are you doing? Seems like an appropriate time to show up. The singer's trying to keep his head held high after he was walked out on, and I see why it became a crossover hit in this era.
313: Time in a Bottle (Jim Croce)
The song about wanting to freeze and preserve a moment in time for eternity took on new meaning after Jim Croce died in a plane crash at age 30. It would have been touching on its own, but the context adds so much more.
The song about wanting to freeze and preserve a moment in time for eternity took on new meaning after Jim Croce died in a plane crash at age 30. It would have been touching on its own, but the context adds so much more.
Supposedly 1974 is considered one of the worst years for pop music. Hopefully we don't have to spend too much time there...
Whelp, let's see if it's as awful as everyone says it is, I guess, cause we're gonna be here for a while.
Whelp, let's see if it's as awful as everyone says it is, I guess, cause we're gonna be here for a while.
314: The Joker (Steve Miller Band)
Growing up, I hated this song. It wanted to be silly, but it was just dumb and the random musical interjections just made things worse. I figured time would give me a better opinion about it, but nope, it still sucks.
Growing up, I hated this song. It wanted to be silly, but it was just dumb and the random musical interjections just made things worse. I figured time would give me a better opinion about it, but nope, it still sucks.
315: Show and Tell (Al Wilson)
Yep, this is definitely a 70s soul song. It's a bit more bubblegum-y than a lot of the other offerings here, and it's not bad, but it doesn't really stand out to me in the way the more memorable hits of the era do.
Yep, this is definitely a 70s soul song. It's a bit more bubblegum-y than a lot of the other offerings here, and it's not bad, but it doesn't really stand out to me in the way the more memorable hits of the era do.
316: You're Sixteen (Ringo Starr)
Ringo Starr, you're thirty-three, and that's creepy. I'm sure he covered it because he liked the original 1960 recording, but there are plenty of other songs to do instead! And it doesn't even work as a 70s song anyhow.
Ringo Starr, you're thirty-three, and that's creepy. I'm sure he covered it because he liked the original 1960 recording, but there are plenty of other songs to do instead! And it doesn't even work as a 70s song anyhow.
317: The Way We Were (Barbra Streisand)
The top song of 1974 also won two Oscars for a movie that got multi-medium talent Streisand a Best Actress nomination. It's the title track to a romance film, and it's basically exactly what it says on the tin.
The top song of 1974 also won two Oscars for a movie that got multi-medium talent Streisand a Best Actress nomination. It's the title track to a romance film, and it's basically exactly what it says on the tin.
318: Love's Theme (The Love Unlimited Orchestra)
Barry White's first #1 is an instrumental? I definitely hear elements of disco-like composition, as well as something that reminds me a lot of The Hustle, but there's a lot of older influences there too.
Barry White's first #1 is an instrumental? I definitely hear elements of disco-like composition, as well as something that reminds me a lot of The Hustle, but there's a lot of older influences there too.
319: Seasons in the Sun (Terry Jacks)
The verses are supposed to be very sad, but the choruses have a catchy hook and even a key change for good measure. The two parts don't mesh well, but I guess the latter takes off enough edge for the song to chart.
The verses are supposed to be very sad, but the choruses have a catchy hook and even a key change for good measure. The two parts don't mesh well, but I guess the latter takes off enough edge for the song to chart.
320: Dark Lady (Cher)
Why would the fortune teller in this song inform Cher that her guy is having an affair? That seems horribly unwise! It's got a catchy chorus, but I feel like this is the weakest of Cher's #1 hits so far. She will return, eventually.
Why would the fortune teller in this song inform Cher that her guy is having an affair? That seems horribly unwise! It's got a catchy chorus, but I feel like this is the weakest of Cher's #1 hits so far. She will return, eventually.
321: Sunshine on My Shoulders (John Denver)
It's a simple but pleasant folk song by a guy who has a great voice for these sorts of tunes. I guess it makes up for Take Me Home, Country Roads failing to hit #1 thanks to the Bee Gees.
It's a simple but pleasant folk song by a guy who has a great voice for these sorts of tunes. I guess it makes up for Take Me Home, Country Roads failing to hit #1 thanks to the Bee Gees.
322: Hooked on a Feeling (Blue Swede)
I still haven't forgiven my local oldies station for switching from the B.J. Thomas version of this song to the Blue Swede one. The "Ooga-Chaka"s just sound so silly and the cover sacrifices sincerity for bombast.
I still haven't forgiven my local oldies station for switching from the B.J. Thomas version of this song to the Blue Swede one. The "Ooga-Chaka"s just sound so silly and the cover sacrifices sincerity for bombast.
TIL that the band's Blue Swede, as in the country, and not Blue Suede.
Y'know, Waterloo won Eurovision that very same week. Couldn't ABBA have been the Swedish #1 representative? I would have loved to talk about their songs instead!
Y'know, Waterloo won Eurovision that very same week. Couldn't ABBA have been the Swedish #1 representative? I would have loved to talk about their songs instead!
323: Bennie and the Jets (Elton John)
I love Elton John, but this faux-live heavily distorted song just doesn't cut it for me. Goodbye Yellow Brick Road's an amazing album and features some incredible music, but this song happens to be just okay.
I love Elton John, but this faux-live heavily distorted song just doesn't cut it for me. Goodbye Yellow Brick Road's an amazing album and features some incredible music, but this song happens to be just okay.
324: TSOP (The Sound of Philadelphia) (MFSB feat. The Three Degrees)
If any show's theme song's gonna hit #1, Soul Train's the natural choice. The transition from soul to disco is going strong, and this mostly-instrumental serves as a prime example.
If any show's theme song's gonna hit #1, Soul Train's the natural choice. The transition from soul to disco is going strong, and this mostly-instrumental serves as a prime example.
325: The Loco-Motion (Grand Funk)
It's not "brand-new" if you're covering a 12-year-old song. Still, Grand Funk is having a lot of fun with their version and it sounds different enough from Little Eva's original to make it work as a distinct entity.
It's not "brand-new" if you're covering a 12-year-old song. Still, Grand Funk is having a lot of fun with their version and it sounds different enough from Little Eva's original to make it work as a distinct entity.
Judging by and , I think one can conclude that the Loco-Motion is Homer Simpson's #1 rock song of all time. (It's Raining Men, naturally, is his favorite.)
326: The Streak (Ray Stevens)
This is more of an awful stand-up routine than a song. How did this reach #1 for three full weeks? I know 1974 has a bad reputation for pop music, but I didn't think things would get this awful! Just skip this one, please.
This is more of an awful stand-up routine than a song. How did this reach #1 for three full weeks? I know 1974 has a bad reputation for pop music, but I didn't think things would get this awful! Just skip this one, please.
327: Band on the Run (Paul McCartney & Wings)
It's another McCartney record that's multiple half-songs, but this one has more of a cohesive theme. It also gives an excuse for the song to start with a slow burn but suddenly turn the dial up near the end.
It's another McCartney record that's multiple half-songs, but this one has more of a cohesive theme. It also gives an excuse for the song to start with a slow burn but suddenly turn the dial up near the end.
328: Billy, Don't Be a Hero (Bo Donaldson and The Heywoods)
We're up to a decade of Vietnam inspiring people to buy records about non-Vietnam things. This song feels too upbeat for its predictable story, but y'know, this is pop so that's what you do.
We're up to a decade of Vietnam inspiring people to buy records about non-Vietnam things. This song feels too upbeat for its predictable story, but y'know, this is pop so that's what you do.
329: Sundown (Gordon Lightfoot)
Gordon Lightfoot is basically a gritty John Denver. This is a bitter country rock song, unusual for its time, and he sings it well enough to make his resentment show through while not overselling it.
Gordon Lightfoot is basically a gritty John Denver. This is a bitter country rock song, unusual for its time, and he sings it well enough to make his resentment show through while not overselling it.
330: Rock the Boat (Hues Corporation)
I'm starting to think this "disco" might actually become a thing. It's a fresh change of pace compared to a lot of the slow, sadder pop music of the time, and it's fun and enjoyable without being too cheesy.
I'm starting to think this "disco" might actually become a thing. It's a fresh change of pace compared to a lot of the slow, sadder pop music of the time, and it's fun and enjoyable without being too cheesy.
331: Rock Your Baby (George McCrae)
I think it's the first drum machine to hit #1. This feels to me more like a song that works far better played at a disco than just giving it a straight listen. Funny how we have two disco songs in a row named "rock".
I think it's the first drum machine to hit #1. This feels to me more like a song that works far better played at a disco than just giving it a straight listen. Funny how we have two disco songs in a row named "rock".
332: Annie's Song (John Denver)
I can't accuse John Denver of being insincere. It sounds like he's singing from the heart, and that's what makes this song work. Supposedly it was written in 10 minutes, and not overthinking things was the right call here.
I can't accuse John Denver of being insincere. It sounds like he's singing from the heart, and that's what makes this song work. Supposedly it was written in 10 minutes, and not overthinking things was the right call here.
333: Feel Like Makin' Love (Roberta Flack)
Wait, this isn't Bad Company! After listening to three Roberta Flack songs, I feel like she's got talent, but she's just not really my style. Still, three #1s in consecutive years is pretty impressive.
Wait, this isn't Bad Company! After listening to three Roberta Flack songs, I feel like she's got talent, but she's just not really my style. Still, three #1s in consecutive years is pretty impressive.
334: The Night Chicago Died (Paper Lace)
This song takes place on the East Side, AKA in Lake Michigan. Is this what it's like when Americans try to sing about other countries? Also, why is anyone's reaction to a gang war "Glory be!" What an odd song.
This song takes place on the East Side, AKA in Lake Michigan. Is this what it's like when Americans try to sing about other countries? Also, why is anyone's reaction to a gang war "Glory be!" What an odd song.
This was actually Paper Lace's second #1 hit in the UK, as they had originally recorded Billy, Don't Be a Hero. However, they were beaten to the punch with their American release, so instead they get to be known as a one-hit wonder here. The music industry, ladies and gentlemen!
335: (You're) Having My Baby (Paul Anka)
Paul Anka's back after 15 years now as a parent with a very self-centered song. Is her not getting an abortion how he thinks she shows her love? Who writes lyrics like that? And the tune itself isn't great either.
Paul Anka's back after 15 years now as a parent with a very self-centered song. Is her not getting an abortion how he thinks she shows her love? Who writes lyrics like that? And the tune itself isn't great either.
336: I Shot the Sheriff (Eric Clapton)
This song is the sole contribution by music legends Bob Marley and Eric Clapton on this list, and the combo doesn't really work out that well. Pop reggae isn't really Clapton's style. Give me Layla any day instead.
This song is the sole contribution by music legends Bob Marley and Eric Clapton on this list, and the combo doesn't really work out that well. Pop reggae isn't really Clapton's style. Give me Layla any day instead.
337: Can't Get Enough of Your Love, Babe (Barry White)
Ah, there's his voice. Naturally it carries the song, but the kinda orchestral backing deserves a lot of credit too. It's nice to have a song about being madly in love without being weird about it.
Ah, there's his voice. Naturally it carries the song, but the kinda orchestral backing deserves a lot of credit too. It's nice to have a song about being madly in love without being weird about it.
338: Rock me Gently (Andy Kim)
The comeback single for one of the minds behind Sugar, Sugar is unsurprisingly a bubblegum rock song. It's not exactly the deepest thing in the world, but it's fun song with a cool synth hook to boot.
The comeback single for one of the minds behind Sugar, Sugar is unsurprisingly a bubblegum rock song. It's not exactly the deepest thing in the world, but it's fun song with a cool synth hook to boot.
339: I Honestly Love You (Olivia Newton-John)
Huh, I wasn't expecting her to show up this early. It comes across as a sincere ballad about "if we weren't already with other people". It's not really that special, but fine if a bit cheesy at times.
Huh, I wasn't expecting her to show up this early. It comes across as a sincere ballad about "if we weren't already with other people". It's not really that special, but fine if a bit cheesy at times.
Can we take a second to appreciate how the official Olivia Newton-John Youtube account has an "unregistered version" watermark on their song uploads?
340: Nothing from Nothing (Billy Preston)
Like Preston's previous #1, it's a very fun song. I kinda like this one better -- it leans more into the carefreeness of the song and the horns especially emphasize that we're supposed to enjoy this tune.
Like Preston's previous #1, it's a very fun song. I kinda like this one better -- it leans more into the carefreeness of the song and the horns especially emphasize that we're supposed to enjoy this tune.
341: Then Came You (Dionne Warwicke and the Spinners)
Two successful acts came together for a Philadelphia soul song, which definitely sounds a lot like older Motown at times. The combination of the two sounds really natural and doesn't seem odd at all.
Two successful acts came together for a Philadelphia soul song, which definitely sounds a lot like older Motown at times. The combination of the two sounds really natural and doesn't seem odd at all.
342: You Haven't Done Nothin' (Stevie Wonder)
I'm not surprised an anti-Nixon song hit #1 in 1974, but it coming from from Stevie Wonder of all people was unexpected. He put a lot of force behind it, but it definitely wasn't made to be timeless.
I'm not surprised an anti-Nixon song hit #1 in 1974, but it coming from from Stevie Wonder of all people was unexpected. He put a lot of force behind it, but it definitely wasn't made to be timeless.
343: You Ain't Seen Nothing Yet (Bachman-Turner Overdrive)
It's a rock song with memorable hooks, horny lyrics, and an imitation of the songwriter's brother's stutter. It's the second #1 with a doctor prescribing sex, which is really odd medical advice.
It's a rock song with memorable hooks, horny lyrics, and an imitation of the songwriter's brother's stutter. It's the second #1 with a doctor prescribing sex, which is really odd medical advice.
344: Whatever Gets You Thru the Night (John Lennon)
John Lennon finally has a #1! It's closer to a duet with Elton John (so a John/Lennon song), and it's a fun, fast song which is a bit of a departure from most of Lennon's activist post-Beatles music.
John Lennon finally has a #1! It's closer to a duet with Elton John (so a John/Lennon song), and it's a fun, fast song which is a bit of a departure from most of Lennon's activist post-Beatles music.
345: I Can Help (Billy Swan)
Seems like there's an above-average number of country crossover hits lately. I know he's saying he can help, but he seems to be rather self-serving with that offer. The song itself isn't spectacular, but it's not bad either.
Seems like there's an above-average number of country crossover hits lately. I know he's saying he can help, but he seems to be rather self-serving with that offer. The song itself isn't spectacular, but it's not bad either.
346: Kung Fu Fighting (Carl Douglas)
It was supposed to be a throwaway B-side, but someone correctly realised this ridiculously over-the-top disco song should be the single. It's a one-hit wonder if I've ever heard one, but it's too goofy to dislike.
It was supposed to be a throwaway B-side, but someone correctly realised this ridiculously over-the-top disco song should be the single. It's a one-hit wonder if I've ever heard one, but it's too goofy to dislike.
347: Cat's in the Cradle (Harry Chapin)
It's a well-composed folk rock song with a memorable chorus that's either cheesy melodrama or a massive emotional gut punch depending on your situation in life. I feel like there's not much middle ground here.
It's a well-composed folk rock song with a memorable chorus that's either cheesy melodrama or a massive emotional gut punch depending on your situation in life. I feel like there's not much middle ground here.
348: Angie Baby (Helen Reddy)
Well, that took a turn for the weird. In this episode of Twin Peaks, Angie can turn creepy guys into her imaginary radio characters. The lyrics are memorable, and that's basically the main thing carrying Reddy's final #1.
Well, that took a turn for the weird. In this episode of Twin Peaks, Angie can turn creepy guys into her imaginary radio characters. The lyrics are memorable, and that's basically the main thing carrying Reddy's final #1.
349: Lucy in the Sky with Diamonds (elton John)
He tries his best to make psychedelic rock relevant in 1975, and it sorta works, but ultimately it's missing something from the Beatles original. But it was released as a single, so it was allowed to chart.
He tries his best to make psychedelic rock relevant in 1975, and it sorta works, but ultimately it's missing something from the Beatles original. But it was released as a single, so it was allowed to chart.
These next 12 songs each only hit #1 for a single week, the longest such streak in chart history. I hope you have very fond memories of the winter of 1975, because we're gonna be here for a while!
350: Mandy (Barry Manilow)
Renamed from Brandy due to that Looking Glass song, it's a loud ballad that's just asking to be butchered at karaoke. Manilow served his role very well, but ultimately the song feels like it was built on an assembly line.
Renamed from Brandy due to that Looking Glass song, it's a loud ballad that's just asking to be butchered at karaoke. Manilow served his role very well, but ultimately the song feels like it was built on an assembly line.
351: Please Mr. Postman (The Carpenters)
This is probably the third-most famous version of the song, which goes to show how forgettable it is. The Carpenters' cover doesn't add much except for an unnecessary guitar solo and maybe production quality.
This is probably the third-most famous version of the song, which goes to show how forgettable it is. The Carpenters' cover doesn't add much except for an unnecessary guitar solo and maybe production quality.
352: Laughter in the Rain (Neil Sedaka)
Speaking of pre-Beatles music, here's Neil Sedaka again, somehow. The song's about as inoffensive as you can get, but that seems to be what lots of people really wanted in the mid-70s for some reason.
Speaking of pre-Beatles music, here's Neil Sedaka again, somehow. The song's about as inoffensive as you can get, but that seems to be what lots of people really wanted in the mid-70s for some reason.
353: Fire (Ohio Players)
This is appropriately enough about the exact opposite of Laughter in the Rain. It's an unapologetically unstructured funky song that's chock full of innuendo, if the cover art didn't tip you off first.
This is appropriately enough about the exact opposite of Laughter in the Rain. It's an unapologetically unstructured funky song that's chock full of innuendo, if the cover art didn't tip you off first.
354: You're No Good (Linda Ronstadt)
Apparently this was yet another cover of a 60s song, but I would not have guessed just from listening to it. It packs a bit more of a punch than its contemporaries, and it helps that Linda Ronstadt has a great voice.
Apparently this was yet another cover of a 60s song, but I would not have guessed just from listening to it. It packs a bit more of a punch than its contemporaries, and it helps that Linda Ronstadt has a great voice.
355: Pick up the Pieces (Average White Band)
It's a jazzy funk instrumental (plus a title drop) by a bunch of Scots of all people (Hamish Stuart and Malcolm Duncan being members kinda gives it away) that has enough hooks to easily last the entire song.
It's a jazzy funk instrumental (plus a title drop) by a bunch of Scots of all people (Hamish Stuart and Malcolm Duncan being members kinda gives it away) that has enough hooks to easily last the entire song.
356: The Best of My Love (The Eagles)
The Eagles have landed. The first of many #1s from Linda Ronstadt's former backing band doesn't really make that many waves, but at least they show they have potential with this fairly slow soft rock song.
The Eagles have landed. The first of many #1s from Linda Ronstadt's former backing band doesn't really make that many waves, but at least they show they have potential with this fairly slow soft rock song.
357: Have You Never Been Mellow (Olivia Newton-John)
Have you never seen the pop charts? There's mellowness in spades! I've not heard much Olivia Newton-John, but I can't imagine this is the same style that'll push her into stardom in a few years' time.
Have you never seen the pop charts? There's mellowness in spades! I've not heard much Olivia Newton-John, but I can't imagine this is the same style that'll push her into stardom in a few years' time.
358: Black Water (Doobie Brothers)
Y'know, I can see how they got their name. The song is about enjoying life while floating downstream to an idealistic New Orleans. It's got a surprising number of hooks and it'll probably get stuck in my head.
Y'know, I can see how they got their name. The song is about enjoying life while floating downstream to an idealistic New Orleans. It's got a surprising number of hooks and it'll probably get stuck in my head.
359: My Eyes Adored You (Frankie Valli)
Another resurgence of an early 60s legend. He's matured a bit, but still got the falsetto. Having a crush and being in love from afar is a very common feeling, and Valli does a fine job of of expressing that mood.
Another resurgence of an early 60s legend. He's matured a bit, but still got the falsetto. Having a crush and being in love from afar is a very common feeling, and Valli does a fine job of of expressing that mood.
360: Lady Marmalade (Labelle)
The lead singer claimed to not know the song's meaning. I don't believe that, especially with how well she nailed the vocals. You don't need to know French to know it's about having unforgettable sex with a prostitute.
The lead singer claimed to not know the song's meaning. I don't believe that, especially with how well she nailed the vocals. You don't need to know French to know it's about having unforgettable sex with a prostitute.
361: Lovin' You (Minnie Riperton)
Welcome to 1975, where literal lullabys reach #1. Admittedly, that's being kinda unfair, since Riperton gets a chance to exhibit quite the vocal range. I guess if a lullaby's gonna hit #1, it might as well be this one.
Welcome to 1975, where literal lullabys reach #1. Admittedly, that's being kinda unfair, since Riperton gets a chance to exhibit quite the vocal range. I guess if a lullaby's gonna hit #1, it might as well be this one.
362: Philadelphia Freedom (Elton John Band)
A song reaching #1 for multiple weeks? It's a dedication to Billie Jean King, who played for the Freedoms, and the Philly soul sound, and he does well by paying an homage to soul rather than imitating it.
A song reaching #1 for multiple weeks? It's a dedication to Billie Jean King, who played for the Freedoms, and the Philly soul sound, and he does well by paying an homage to soul rather than imitating it.
363: (Hey Won't You Play) Another Somebody Done Somebody Wrong Song (B.J. Thomas)
It's yet another country crossover, this time being a song about sad songs. It's got a really long title, but that's probably the most notable thing I'll remember about it.
It's yet another country crossover, this time being a song about sad songs. It's got a really long title, but that's probably the most notable thing I'll remember about it.
364: He Don't Love You (Like I Love You) (Tony Orlando & Dawn)
Oh look, it's a Tony Orlando song *and* a cover of an early 60s song. It's the worst of both worlds in 1975. Even if the lyrics matched with the music at all, the latter is still uninspiring.
Oh look, it's a Tony Orlando song *and* a cover of an early 60s song. It's the worst of both worlds in 1975. Even if the lyrics matched with the music at all, the latter is still uninspiring.
365: Shining Star (Earth, Wind, and Fire)
They only had one #1, and it is a dance classic. We're still in the pre-disco era, but it's got a more refined flavor of funk and a positive message that I suspect I'm going to be hearing a lot more of soon.
They only had one #1, and it is a dance classic. We're still in the pre-disco era, but it's got a more refined flavor of funk and a positive message that I suspect I'm going to be hearing a lot more of soon.
366: Before the Next Teardrop Falls (Freddy Fender)
Not many top country songs feature a Spanish verse, yet this Tex-Mex hit proved the exception. It's a heartbreak song, but I appreciate that the singer doesn't appear to be taking it too hard.
Not many top country songs feature a Spanish verse, yet this Tex-Mex hit proved the exception. It's a heartbreak song, but I appreciate that the singer doesn't appear to be taking it too hard.
367: Thank God I'm a Country Boy (John Denver)
It's not a country song as much as it's John Denver making a pop song about pretending to be country. I'm not sure if he was intentionally trying to be hokey, but it does kinda come across that way.
It's not a country song as much as it's John Denver making a pop song about pretending to be country. I'm not sure if he was intentionally trying to be hokey, but it does kinda come across that way.
368: Sister Golden Hair (America)
Eagles-style soft/country rock is in right now, and America has joined the trend. The lyrics make at least some sense this time, though the narrator isn't exactly someone to look up to. It's fine classic rock filler.
Eagles-style soft/country rock is in right now, and America has joined the trend. The lyrics make at least some sense this time, though the narrator isn't exactly someone to look up to. It's fine classic rock filler.
369: Love Will Keep Us Together (Captain & Tennille)
This song features an early use of synths, which sounds strange for 1975. They'll figure out the technology in time. Otherwise, it's just fine. Joy Division's antonym of this song is much better.
This song features an early use of synths, which sounds strange for 1975. They'll figure out the technology in time. Otherwise, it's just fine. Joy Division's antonym of this song is much better.
370: Listen To What The Man Said (Wings)
Is the title not supposed to be ironic? It's a fine song with a bit more pep than a lot of its fellow soft rock hits, but it doesn't really add much to the table in the same way that, say, Band on the Run did.
Is the title not supposed to be ironic? It's a fine song with a bit more pep than a lot of its fellow soft rock hits, but it doesn't really add much to the table in the same way that, say, Band on the Run did.
We're halfway through the 70s, and the first half of the decade has been rather uninspiring at times. There's been a few cool innovations, especially with soul and funk, but the top of the charts have been mostly dominated by soft rock and nostalgia.
It's telling to me how so many hits from this era have been covers (Please Mr. Postman) or older artists getting a resurgence (Neil Sedaka). I see that as a sign that mainstream artists have been struggling to come up with new music that would appeal to a broad audience.
That being said, it's not like there's a lack of good music, it's just that they tend to be in more niche genres. It also means that conditions are ripe for disco to finally take center stage and be the sound of the next few years.
I was only familiar with 90 of the last 134 songs, which to me is probably a decent enough average given how forgettable a lot of them are. That puts me at 270/370 overall, but I continue to expect that ratio to go down.
371: The Hustle (Van McCoy)
We start the disco era in earnest with one of the most iconic grooves of the entire genre. The dance had already existed, but it's this version that pushed it (and many others like it) into the mainstream.
We start the disco era in earnest with one of the most iconic grooves of the entire genre. The dance had already existed, but it's this version that pushed it (and many others like it) into the mainstream.
I don't profess to be well-versed in disco. I was born a dozen years after it had faded away and grew up when it was still generally considered to be an embarrassing time in music history. Opinions seem to have mellowed out somewhat over the years, perhaps for various reasons.
Disco came from a mix of Motown, psychedelic pop, funk, and Philly soul, and songs of those genres would become accidental disco hits (see Keep on Truckin'). It incubated in underground clubs where gay and Black people especially could enjoy themselves without fear of prejudice.
Having listened to a lot of forgettable or just plain bad hits from the prior couple of years, it's no wonder disco took off. There's not a lot of fresh ideas in pop music, and there's a definite opening for a new sound to become the new big thing.
372: One of These Nights (The Eagles)
They've changed around their sound somewhat, eschewing their more country roots and adding some inspiration from the Bee Gees. The song at times feels like a transition between eras, appropriately enough for 1975.
They've changed around their sound somewhat, eschewing their more country roots and adding some inspiration from the Bee Gees. The song at times feels like a transition between eras, appropriately enough for 1975.
373: Jive Talkin' (The Bee Gees)
Speaking of the Bee Gees, here they are having fully leaned into the disco sound with a cool synth hook to boot. Apparently the white British band didn't know what the title meant when they started to write the song.
Speaking of the Bee Gees, here they are having fully leaned into the disco sound with a cool synth hook to boot. Apparently the white British band didn't know what the title meant when they started to write the song.
374: Fallin' in Love (Hamilton, Joe Frank & Reynolds)
Can we talk about how ungainly their name is? Joe Frank gets two names, Frank's his middle name, and Reynolds isn't even in the band! The song's serviceable soft rock, but that's besides the point.
Can we talk about how ungainly their name is? Joe Frank gets two names, Frank's his middle name, and Reynolds isn't even in the band! The song's serviceable soft rock, but that's besides the point.
375: Get Down Tonight (KC & the Sunshine Band)
This is a song to party to. The bare-bones lyrics are so memorable, and there's a persistent groove that just makes you want to dance. I feel like I ought to be reviewing this song in a club, not at home.
This is a song to party to. The bare-bones lyrics are so memorable, and there's a persistent groove that just makes you want to dance. I feel like I ought to be reviewing this song in a club, not at home.
376: Rhinestone Cowboy (Glen Campbell)
He crossed over into the pop charts with a bombastic chorus, a confident voice, and a song about kinda making it. This is easily my favorite of the several country songs that's shown up here over the past year.
He crossed over into the pop charts with a bombastic chorus, a confident voice, and a song about kinda making it. This is easily my favorite of the several country songs that's shown up here over the past year.
377: Fame (David Bowie)
I mean of course David Bowie would get into funk rock. The only surprise was that this was the song that made it big in the US. It's a scathing look at stardom in collaboration with John Lennon, and of course it's amazing.
I mean of course David Bowie would get into funk rock. The only surprise was that this was the song that made it big in the US. It's a scathing look at stardom in collaboration with John Lennon, and of course it's amazing.
378: I'm Sorry (John Denver)
Wait, hold on, John Denver had 5 #1 hits? He's come across as the gentle dork that honestly we could use more of, but I would not have pictured him as being that mainstream popular in the mid-70s. Good for him, though.
Wait, hold on, John Denver had 5 #1 hits? He's come across as the gentle dork that honestly we could use more of, but I would not have pictured him as being that mainstream popular in the mid-70s. Good for him, though.
379: Bad Blood (Neil Sedaka)
Sedaka's doing his best Elton John impression (including the use of "bitch"), even having him on backing vocals. It's actually kinda decent, which I was not expecting about the guy, even if it feels a bit derivative at times.
Sedaka's doing his best Elton John impression (including the use of "bitch"), even having him on backing vocals. It's actually kinda decent, which I was not expecting about the guy, even if it feels a bit derivative at times.
380: Island Girl (Elton John)
Does this count as replacing yourself at #1? It's an okay song, though it doesn't age that well. Once again, his best music isn't the stuff that reached the top spot. Give Someone Saved My Life Tonight a listen instead.
Does this count as replacing yourself at #1? It's an okay song, though it doesn't age that well. Once again, his best music isn't the stuff that reached the top spot. Give Someone Saved My Life Tonight a listen instead.
Elton John was an absolute rock powerhouse in the mid-70s. He had two consecutive albums debut at #1, which just did not happen at the time, and 7 #1s in a row in a 3-year span. During that time he released 11 top-5 singles and sang on two more #1s.
The big reason he didn't have even more #1s was because his hits were too long for a normal pop single (usually in the 3:45-6:00 range) and much of his sales were of albums, not singles. To be fair, Tiny Dancer would not be nearly as good if it were half the length, for instance.
381: That's the Way (I Like It) (KC and the Sunshine Band)
They found a formula for success, which here happened to be taking an amazing hook and running with it for the entire song. And you know what? It kinda works, and now it's stuck in my head.
They found a formula for success, which here happened to be taking an amazing hook and running with it for the entire song. And you know what? It kinda works, and now it's stuck in my head.
382: Fly Robin Fly (Silver Convention)
This German take on disco feels very stripped down, to the point where it doesn't feel like there's enough of a song left. I'm sure it works better on a dance floor where there's a lot more going on in the moment.
This German take on disco feels very stripped down, to the point where it doesn't feel like there's enough of a song left. I'm sure it works better on a dance floor where there's a lot more going on in the moment.
383: Let's Do It Again (The Staple Singers)
Not quite what I was expecting from the group that sang the very gospel-y "I'll Take You There" a couple years earlier. It gets kinda repetitive near the end, which makes it feel like it lasts too long.
Not quite what I was expecting from the group that sang the very gospel-y "I'll Take You There" a couple years earlier. It gets kinda repetitive near the end, which makes it feel like it lasts too long.
384: Saturday Night (Bay City Rollers)
It's a fun, innocent-sounding song about taking your gal to the rock and roll show. The chant is the obvious hook, but outside of that it's an enjoyable piece of pop glam rock that made it to the States.
It's a fun, innocent-sounding song about taking your gal to the rock and roll show. The chant is the obvious hook, but outside of that it's an enjoyable piece of pop glam rock that made it to the States.
385: Convoy (C.W. McCall)
Imagine if Flo from Progressive had a #1. It's a decently-told story spoken to music, during the brief CB radio craze. It shouldn't have succeeded as a novelty song, but it did, and it even inspired a mediocre film.
Imagine if Flo from Progressive had a #1. It's a decently-told story spoken to music, during the brief CB radio craze. It shouldn't have succeeded as a novelty song, but it did, and it even inspired a mediocre film.
386: I Write the Songs (Barry Manilow)
It's supposed to be about God providing inspiration to songwriters everywhere, right? It feels a bit too grandiose for anyone to give it the treatment it would require. And of course, Manilow did not write the song.
It's supposed to be about God providing inspiration to songwriters everywhere, right? It feels a bit too grandiose for anyone to give it the treatment it would require. And of course, Manilow did not write the song.
387: Theme from Mahogany (Do You Know Where You're Going To) (Diana Ross)
It would be a forgettable song from a bad movie if it weren't for Diana Ross's vocals pulling their weight and then some. She'll be back soon but with a completely different style.
It would be a forgettable song from a bad movie if it weren't for Diana Ross's vocals pulling their weight and then some. She'll be back soon but with a completely different style.
388: Love Rollercoaster (Ohio Players)
Any publicity is good publicity, so they didn't deny that one could hear a woman being murdered on the track. Even without that marketing, a passionate, groovy funk song would naturally do very well in 1976.
Any publicity is good publicity, so they didn't deny that one could hear a woman being murdered on the track. Even without that marketing, a passionate, groovy funk song would naturally do very well in 1976.
389: 50 Ways to Leave Your Lover (Paul Simon)
Paul Simon had an amazing solo career, but his only #1 was a not serious divorce song. It's simple musically but not too slow, which serves his style very well, and it has a clever rhyme scheme in the chorus.
Paul Simon had an amazing solo career, but his only #1 was a not serious divorce song. It's simple musically but not too slow, which serves his style very well, and it has a clever rhyme scheme in the chorus.
390: Theme from S.W.A.T (Rhythm Heritage)
It's a TV theme song that got extended to over 3 minutes and discofied. And you know what, it's actually kinda good. It manages to keep the soul of the original theme without making it feel too stretched out.
It's a TV theme song that got extended to over 3 minutes and discofied. And you know what, it's actually kinda good. It manages to keep the soul of the original theme without making it feel too stretched out.
391: Love Machine (The Miracles)
Smokey Robinson's not there anymore, but his former backing band is still around. It basically sounds like what you'd expect if you told a Motown group to record a disco song about a sex bot. It's dumb, but in a fun way.
Smokey Robinson's not there anymore, but his former backing band is still around. It basically sounds like what you'd expect if you told a Motown group to record a disco song about a sex bot. It's dumb, but in a fun way.
392: December, 1963 (Oh What a Night) (The Four Seasons)
Speaking of older acts adapting to the new sound, it's the Four Seasons biggest hit! It's the song you play when you want to sneak disco into an oldies playlist, and the nostalgia factor helps.
Speaking of older acts adapting to the new sound, it's the Four Seasons biggest hit! It's the song you play when you want to sneak disco into an oldies playlist, and the nostalgia factor helps.
For those wondering, Frankie Valli might have been listening to Dominique by the Singing Nun, as that was the #1 hit late December back in '63. Times have changed since then.
393: Disco Lady (Johnnie Taylor)
This is more of a soul song (with a Soul Train shoutout) than a disco song, but I guess what matters is that the lady is discoing. I'm sure the girl he took to the dance is not too happy he keeps staring at this woman.
This is more of a soul song (with a Soul Train shoutout) than a disco song, but I guess what matters is that the lady is discoing. I'm sure the girl he took to the dance is not too happy he keeps staring at this woman.
394: Let Your Love Flow (The Bellamy Brothers)
Pop/country hybrids are still here, but with more competition. This song, like your potential love, has a great flow to it. It also happened to be a huge hit in Europe, thanks to a couple of Dutch tourists.
Pop/country hybrids are still here, but with more competition. This song, like your potential love, has a great flow to it. It also happened to be a huge hit in Europe, thanks to a couple of Dutch tourists.
395: Welcome Back (John Sebastian)
Yep, two TV theme songs hit #1 in 1976. The theme to the show that launched John Travolta's career doesn't really have enough stuff to last the full three minutes, but I can see why people would like the opening titles.
Yep, two TV theme songs hit #1 in 1976. The theme to the show that launched John Travolta's career doesn't really have enough stuff to last the full three minutes, but I can see why people would like the opening titles.
396: Boogie Fever (The Sylvers)
From what I've gathered, according to this song love for disco is actually a sexually-transmitted disease. I assume that's not what they were going for, but regardless it does well as a disco song, beats and everything.
From what I've gathered, according to this song love for disco is actually a sexually-transmitted disease. I assume that's not what they were going for, but regardless it does well as a disco song, beats and everything.
397: Silly Love Songs (Wings)
Oh yeah, the #1 song of 1976 was a McCartney song about how awesome silly love songs are. Pop music be like that sometimes. It's a dig on John Lennon's criticism of him, not that the former was making music anymore.
Oh yeah, the #1 song of 1976 was a McCartney song about how awesome silly love songs are. Pop music be like that sometimes. It's a dig on John Lennon's criticism of him, not that the former was making music anymore.
398: Love Hangover (Diana Ross)
It takes 80 seconds, but then Diana Ross goes completely disco. It's a far cry from the carefully-constructed tunes of her earlier work, but she allows herself to get lost in the groove, as I bet a lot of other people did.
It takes 80 seconds, but then Diana Ross goes completely disco. It's a far cry from the carefully-constructed tunes of her earlier work, but she allows herself to get lost in the groove, as I bet a lot of other people did.
399: Afternoon Delight (Starland Vocal Band)
It's a very cheesy bubblegum song, and yes it's about having midday sex. It's far too catchy for its own good, but it's not as awful as people like to claim. Though it being sung by a quartet is kinda odd.
It's a very cheesy bubblegum song, and yes it's about having midday sex. It's far too catchy for its own good, but it's not as awful as people like to claim. Though it being sung by a quartet is kinda odd.
400: Kiss and Say Goodbye (The Manhattans)
This song would fit in very well in 1972. It's a pretty good piece of soul music about breaking off an affair. It does sound very weird hearing it surrounded by essentially the music that replaced it.
This song would fit in very well in 1972. It's a pretty good piece of soul music about breaking off an affair. It does sound very weird hearing it surrounded by essentially the music that replaced it.
As we reach 400(!) songs, I would like to give a shoutout to BTS for staying at #1 for 6 weeks running, which means less work for me for when I get there. Though I'm really curious what a song named "Butter" is like.
401: Don't Go Breaking My Heart (Elton John and Kiki Dee)
Apparently it's supposed to be inspired by Motown, but I don't really hear it that much. Kiki Dee doesn't get as much of a chance to shine, but this is one of the better executed duets I've heard.
Apparently it's supposed to be inspired by Motown, but I don't really hear it that much. Kiki Dee doesn't get as much of a chance to shine, but this is one of the better executed duets I've heard.
402: You Should Be Dancing (Bee Gees)
Ah, there's that falsetto we all know, love, and can't understand. With that groove, of course you should be dancing! I think this is also Stephen Stills' only #1 appearance, as CSN(Y) didn't make it as an act.
Ah, there's that falsetto we all know, love, and can't understand. With that groove, of course you should be dancing! I think this is also Stephen Stills' only #1 appearance, as CSN(Y) didn't make it as an act.
403: (Shake, Shake, Shake) Shake Your Booty (KC and the Sunshine Band)
It's a song about how you should shake your booty. It's hard to miss; they mention it about 400 times. The band loves to sing pure hooks, though I'll admit it's starting to get old.
It's a song about how you should shake your booty. It's hard to miss; they mention it about 400 times. The band loves to sing pure hooks, though I'll admit it's starting to get old.
404: Play That Funky Music (Wild Cherry)
Beyond the killer riff that never lets up, there's quite a bit going on in this song. Wild Cherry doesn't fully give up on rock, as there is a pretty decent guitar solo in there, but it's a cool hybrid song.
Beyond the killer riff that never lets up, there's quite a bit going on in this song. Wild Cherry doesn't fully give up on rock, as there is a pretty decent guitar solo in there, but it's a cool hybrid song.
Younger me really didn't like that song, but after giving it a good listen for the first time in a long time, I've come around on it. I think I initially dismissed it because I liked rock 'n roll and here comes Wild Cherry trashing it.
405: A Fifth of Beethoven (Walter Murphy)
Yep, that's a disco version of Beethoven's 5th, or at least just the bit that everyone knows. It's probably one of the better classical pieces to use, since it does have a strong hook to use as a starting point.
Yep, that's a disco version of Beethoven's 5th, or at least just the bit that everyone knows. It's probably one of the better classical pieces to use, since it does have a strong hook to use as a starting point.
406: Disco Duck (Rick Dees and His Cast of Idiots)
There's been a lot of good novelty music and disco music lately, but this excuse for someone's Donald Duck impression was a mistake. Then to top it off, there's a random Elvis impersonator at the end.
There's been a lot of good novelty music and disco music lately, but this excuse for someone's Donald Duck impression was a mistake. Then to top it off, there's a random Elvis impersonator at the end.
407: If You Leave Me Now (Chicago)
Chicago's first #1 is basically soft rock, but with horns. Honestly, that makes it significantly more bearable. It's not their greatest work, though at least it has more creativity than their album titles.
Chicago's first #1 is basically soft rock, but with horns. Honestly, that makes it significantly more bearable. It's not their greatest work, though at least it has more creativity than their album titles.
408: Rock'n Me (Steve Miller Band)
2020 was the first time in 36 years in which a Presidential candidate won all the places mentioned in Rock'n Me. As for the song, it mainly has an intro going for it, but there's not really too much of note otherwise.
2020 was the first time in 36 years in which a Presidential candidate won all the places mentioned in Rock'n Me. As for the song, it mainly has an intro going for it, but there's not really too much of note otherwise.
409: Tonight's the Night (Gonna Be Alright) (Rod Stewart)
For two straight months, the #1 song was about how Rod Stewart's about to have sex with his (pretending to be French) girlfriend. Did people think he was that hot at the end of 1976 or something?
For two straight months, the #1 song was about how Rod Stewart's about to have sex with his (pretending to be French) girlfriend. Did people think he was that hot at the end of 1976 or something?
It's been interesting seeing the changes in what people consider being too risque for radio. "Let me come inside" is about as direct as you can get with a G-rated vocabulary, but I still don't think I've heard the word "sexy" come up once in a #1 song.
410: You Don't Have to Be a Star (To Be in My Show) (Marilyn McCoo and Billy Davis Jr.)
The former 5th Dimension couple hit #1 with a Motown-like song with a hint of disco. If they didn't sing the title so often, I think I would have really liked it.
The former 5th Dimension couple hit #1 with a Motown-like song with a hint of disco. If they didn't sing the title so often, I think I would have really liked it.
411: You Make Me Feel Like Dancing (Leo Sayer)
The verses don't really make me feel like dancing, which feels like an important issue with this song. It's part of an increasingly larger club of songs that aren't really disco but are about disco.
The verses don't really make me feel like dancing, which feels like an important issue with this song. It's part of an increasingly larger club of songs that aren't really disco but are about disco.
412: I Wish (Stevie Wonder)
After generously allowing someone else to win Album of the Year for once, Stevie Wonder is back bigger than ever. I feel like this song is better suited as part of the whole, but it still stands out on its own fairly well.
After generously allowing someone else to win Album of the Year for once, Stevie Wonder is back bigger than ever. I feel like this song is better suited as part of the whole, but it still stands out on its own fairly well.
413: Car Wash (Rose Royce)
I had no idea this was a movie theme song, but it totally makes sense in context. Car Wash relies a lot on its hook, but there's more stuff besides that going on, as opposed to, say, a KC and the Sunshine Band song.
I had no idea this was a movie theme song, but it totally makes sense in context. Car Wash relies a lot on its hook, but there's more stuff besides that going on, as opposed to, say, a KC and the Sunshine Band song.
414: Torn Between Two Lovers (Mary MacGregor)
It's a soft, tender-sounding love song about, um, how she's actively cheating on him with another guy? Am I hearing the lyrics right? It being written by a convicted pedophile is just icing on the cake.
It's a soft, tender-sounding love song about, um, how she's actively cheating on him with another guy? Am I hearing the lyrics right? It being written by a convicted pedophile is just icing on the cake.
415: Blinded by the Light (Manfred Mann's Earth Band)
It's the closest Bruce Springsteen will get to #1, as a songwriter. This cover is a prog-ish rock song that I personally quite enjoy. The oddly-pronounced "deuce" probably helped them in the charts.
It's the closest Bruce Springsteen will get to #1, as a songwriter. This cover is a prog-ish rock song that I personally quite enjoy. The oddly-pronounced "deuce" probably helped them in the charts.
416: New Kid in Town (Eagles)
The song's about how they're worried some new band will take their place and grab people's attention. Given that the album went 26x Platinum, I think it's safe to say they'll be okay for a while.
The song's about how they're worried some new band will take their place and grab people's attention. Given that the album went 26x Platinum, I think it's safe to say they'll be okay for a while.
In 1976, in the middle of the disco era, the Eagles released the best-selling album of all time (Their Greatest Hits (1971-1975)) and the third best-selling album of all time (Hotel California). Disco may have had a ton of #1 singles, but rock was producing massive album stars.
417: Evergreen (Love Theme from A Star Is Born) (Barbra Streisand)
It's an apt title for an evergreen film. It's a vehicle for Steisand to show off, and that she does. I'm not sure it stands as well on its own without the movie to give context, though.
It's an apt title for an evergreen film. It's a vehicle for Steisand to show off, and that she does. I'm not sure it stands as well on its own without the movie to give context, though.
418: Rich Girl (Hall and Oates)
Their first of six (!) #1s is kind of a Philly soul/rock mix about a spoiled brat. It's not a bad mix of genres, but sometimes the song feels like it wants to go in one direction but ends up not doing so.
Their first of six (!) #1s is kind of a Philly soul/rock mix about a spoiled brat. It's not a bad mix of genres, but sometimes the song feels like it wants to go in one direction but ends up not doing so.
419: Dancing Queen (ABBA)
ABBA does an amazing job of encapsulating the feeling of being lost in the moment on the dancefloor. Dancing Queen is loud when it needs to be, but it doesn't overdo it. There's no way I can't love this song.
ABBA does an amazing job of encapsulating the feeling of being lost in the moment on the dancefloor. Dancing Queen is loud when it needs to be, but it doesn't overdo it. There's no way I can't love this song.
It's criminal that ABBA only had a single #1 in the US. There's easily a half-dozen songs that should have made it here, but I guess Europe and the US had different pop trends. Seriously, find a Greatest Hits album and give it a listen if you haven't already.
420: Don't Give Up on Us (David Soul)
Don't be fooled, it's not a soul song, that's just his name. It's basically your generic 70s soft rock song, but since it was sung by the second half of Starsky and Hutch, it had enough legs to make it to #1.
Don't be fooled, it's not a soul song, that's just his name. It's basically your generic 70s soft rock song, but since it was sung by the second half of Starsky and Hutch, it had enough legs to make it to #1.
421: Don't Leave Me This Way (Thelma Houston)
It takes a while, but when the song kicks into gear, it goes hard. It's got a great groove and hook, and there's enough to the song to make it feel not overly repetitive. It's definitely a song to dance to.
It takes a while, but when the song kicks into gear, it goes hard. It's got a great groove and hook, and there's enough to the song to make it feel not overly repetitive. It's definitely a song to dance to.
422: Southern Nights (Glen Campbell)
It's your standard country song reminiscing about the past, though he adds enough of a backing track to make it pop-friendly enough to have it be a crossover hit. It's not super-special, but it's not bad either.
It's your standard country song reminiscing about the past, though he adds enough of a backing track to make it pop-friendly enough to have it be a crossover hit. It's not super-special, but it's not bad either.
423: Hotel California (Eagles)
The lyrics tempt interpretation which make the song that much more appealing, even if they're basically meaningless. The Eagles' iconic song has a bit of everything, though perhaps too much, clocking in at 6:31.
The lyrics tempt interpretation which make the song that much more appealing, even if they're basically meaningless. The Eagles' iconic song has a bit of everything, though perhaps too much, clocking in at 6:31.
424: When I Need You (Leo Sayer)
This is apparently the same guy who did You Make Me Feel Like Dancing, but I don't believe it. It's a slow, inoffensive, uninspiring song. It exists, which is about the strongest take I can have on it.
This is apparently the same guy who did You Make Me Feel Like Dancing, but I don't believe it. It's a slow, inoffensive, uninspiring song. It exists, which is about the strongest take I can have on it.
425: Sir Duke (Stevie Wonder)
It's a tribute to Wonder's jazz heroes, and the song itself takes inspiration from them. It's very musically dense, but it all comes together very well. I feel like my musical brain is too simple to fully appreciate it.
It's a tribute to Wonder's jazz heroes, and the song itself takes inspiration from them. It's very musically dense, but it all comes together very well. I feel like my musical brain is too simple to fully appreciate it.
426: I'm Your Boogie Man (KC and the Sunshine Band)
Wow, they discovered verses! This song's not as in-your-face as their other top hits, but it feels like a more complete song. Musically, it's their best hit so far, but it's not nearly as memorable.
Wow, they discovered verses! This song's not as in-your-face as their other top hits, but it feels like a more complete song. Musically, it's their best hit so far, but it's not nearly as memorable.
427: Dreams (Fleetwood Mac)
This is a bitter breakup song, and her ex is singing harmony. For the other side of the story, listen to Go Your Own Way. It's a beautifully-composed song that deserves #1, but it's also the 6th-best song on the album.
This is a bitter breakup song, and her ex is singing harmony. For the other side of the story, listen to Go Your Own Way. It's a beautifully-composed song that deserves #1, but it's also the 6th-best song on the album.
Rumours was an insane success, topping the album charts for more than half a year. It's its own greatest hits album. The album spawned 4 top 10 singles, and it could easily have been more had they released The Chain. (And that's even with so many people already owning the LP!)
Funnily enough, thanks to a TikTok meme whose virality I'm too boomer to really understand, Dreams resurfaced at #12 last October. It makes me wonder if and when some old song gets new life via memes and somehow makes it to #1.
428: Got to Give It Up (Marvin Gaye)
Marvin Gaye finally gave into label pressure and released his version of a disco song. It sounds intentionally off-beat, and it's designed to be more of a meta song. It's not bad, but it's not really his style either.
Marvin Gaye finally gave into label pressure and released his version of a disco song. It sounds intentionally off-beat, and it's designed to be more of a meta song. It's not bad, but it's not really his style either.
429: Gonna Fly Now (Bill Conti)
The progenitor of the training montage. It's a song meant to hype you up and in that it succeeds, but it's also become so cliched over the years it's lost a lot of meaning. Still, when it came out, it was the real deal.
The progenitor of the training montage. It's a song meant to hype you up and in that it succeeds, but it's also become so cliched over the years it's lost a lot of meaning. Still, when it came out, it was the real deal.
430: Undercover Angel (Alan O'Day)
So this guy's attempt to get a girl to sleep with him is to claim that an angel appeared and had sex with him and that he sees the angel in her eyes as well? That's certainly a way to try to pick up people, I guess.
So this guy's attempt to get a girl to sleep with him is to claim that an angel appeared and had sex with him and that he sees the angel in her eyes as well? That's certainly a way to try to pick up people, I guess.
431: Da Doo Ron Ron (Shaun Cassidy)
The original Crystals version is a wonderful early Wall of Sound song. This one is just a sloppy 70s soft-rock imitation that did not have to exist. Not to mention, the gender-flipping makes it sound even sillier.
The original Crystals version is a wonderful early Wall of Sound song. This one is just a sloppy 70s soft-rock imitation that did not have to exist. Not to mention, the gender-flipping makes it sound even sillier.
432: Looks Like We Made It (Barry Manilow)
It's supposed to sound like a grand love ballad, but the twist is that they actually made it with different people in different relationships! It sounds basically exactly what you'd expect from Barry Manilow.
It's supposed to sound like a grand love ballad, but the twist is that they actually made it with different people in different relationships! It sounds basically exactly what you'd expect from Barry Manilow.
433: I Just Want to Be Your Everything (Andy Gibb)
Combine Andy's teen idol status with the musical behemoths of his brothers the Bee Gees, and you have the recipe for a song that lasted 16 weeks in the top 10. I'd definitely take it over Da Doo Ron Ron.
Combine Andy's teen idol status with the musical behemoths of his brothers the Bee Gees, and you have the recipe for a song that lasted 16 weeks in the top 10. I'd definitely take it over Da Doo Ron Ron.
434: Best of My Love (The Emotions)
No, this isn't the Eagles again. This song is closer to soul than disco, though there's definitely influence from the latter. The vocals are quite good, but it's the horns that really make the song stand out.
No, this isn't the Eagles again. This song is closer to soul than disco, though there's definitely influence from the latter. The vocals are quite good, but it's the horns that really make the song stand out.
435: Star Wars Theme/Cantina Band (Meco)
The main Star Wars theme only reached #10. This is the disco remix. I guess it's kinda danceable, especially the cantina bit, but really people just wanted an excuse to groove to Star Wars in 1977.
The main Star Wars theme only reached #10. This is the disco remix. I guess it's kinda danceable, especially the cantina bit, but really people just wanted an excuse to groove to Star Wars in 1977.
436: You Light Up My Life (Debby Boone)
After almost 20 years of the Hot 100, a song has finally reached #1 for 10 full weeks, setting a record that would last over a decade. And of course, lying smack dab in the middle of the disco era, an overdubbed sappy love song is on top.
After almost 20 years of the Hot 100, a song has finally reached #1 for 10 full weeks, setting a record that would last over a decade. And of course, lying smack dab in the middle of the disco era, an overdubbed sappy love song is on top.
To be fair, Debby Boone, who to her said it was about loving God, sings it fairly well. I'd totally see it be a top hit for a couple weeks. But for over two months? I feel like it would get old long before then! But I guess that's what the people wanted.
If you think Debby Boone dominating the charts for 10 week straight is a really long time, tune in next time for 1978, the year of Barry, Robin, and Maurice, with special guest Andy.
437: How Deep Is Your Love (Bee Gees)
The first single from Saturday Night Fever is a soft rock ballad of all things. It's more of a return to roots for the group, and their harmonies add enough depth for the song to be interesting.
The first single from Saturday Night Fever is a soft rock ballad of all things. It's more of a return to roots for the group, and their harmonies add enough depth for the song to be interesting.
438: Baby Come Back (Player)
Huh, I guess that's an actual song and not just a chorus played as part of an intentional cliche. It's perfectly sewrvicable yacht rock, but there's not enough going on for me to go out of my way to seek it out.
Huh, I guess that's an actual song and not just a chorus played as part of an intentional cliche. It's perfectly sewrvicable yacht rock, but there's not enough going on for me to go out of my way to seek it out.
439: Stayin' Alive (Bee Gees)
Over the years, it's basically become *the* disco song. The looped drum sample helps form an infectious groove, and the song has one of the better falsetto uses. You can easily overlook that it's a very gritty song.
Over the years, it's basically become *the* disco song. The looped drum sample helps form an infectious groove, and the song has one of the better falsetto uses. You can easily overlook that it's a very gritty song.
While Saturday Night Fever easily had the most influential movie soundtracks in pop history, the film itself is actually quite bleak and a big downer. But it also showed off John Travolta being the king of the dance floor, and that got people buying records by the truckload.
440: (Love Is) Thicker Than Water (Andy Gibb)
They only person standing between the Bee Gees and the Beatles' record streak atop the Hot 100 was their little bro. The song's a decent youthful love song, but it's definitely helped by its circumstances.
They only person standing between the Bee Gees and the Beatles' record streak atop the Hot 100 was their little bro. The song's a decent youthful love song, but it's definitely helped by its circumstances.
441: Night Fever (Bee Gees)
Though it's a song about disco and getting lost in the moment, there's a decent amount of rock elements going on. It's still an appropriate title track, and it does do a good job of capturing the feeling.
Though it's a song about disco and getting lost in the moment, there's a decent amount of rock elements going on. It's still an appropriate title track, and it does do a good job of capturing the feeling.
1978 was the year of the Bee Gees. In March, they were responsible for 4 of the top 5 spots on the Hot 100, and Barry Gibb wrote four consecutive #1s over a span of 15 weeks, a record that still stands to this day. 22 of the first 30 weeks of the year had #1s sung by the Gibbs.
A straight, white band becoming the face of a genre developed by Black and gay communities is certainly worth noting, and it sort of reminds me of Elvis' ascension a good 20 years prior. It also feels like the Bee Gees' brand of disco is more pop-influenced than earlier acts.
442: If I Can't Have You (Yvonne Elliman)
Elliman was originally supposed to get How Deep Is Your Love, but instead ended up with this song. That was probably the correct decision. Like a lot of Saturday Night Fever songs, it's well-executed pop-disco.
Elliman was originally supposed to get How Deep Is Your Love, but instead ended up with this song. That was probably the correct decision. Like a lot of Saturday Night Fever songs, it's well-executed pop-disco.
443: With a Little Luck (Wings)
I guess we can have a non-Bee Gees song at #1. I'm sure Paul McCartney has something good up his sleeve, right? Ah, it's generic soft-rock song but with an over-reliance on synths? Not exactly the most inspiring music.
I guess we can have a non-Bee Gees song at #1. I'm sure Paul McCartney has something good up his sleeve, right? Ah, it's generic soft-rock song but with an over-reliance on synths? Not exactly the most inspiring music.
444: Too Much, Too Little, Too Late (Johnny Mathis)
Johnny Mathis was a force to be reckoned with in the pre-Hot 100 days, but his comeback just doesn't quite have the stuff that made him a big star. The duet works well, but it lacks a certain passion.
Johnny Mathis was a force to be reckoned with in the pre-Hot 100 days, but his comeback just doesn't quite have the stuff that made him a big star. The duet works well, but it lacks a certain passion.
445: You're the One That I Want (John Travolta & Olivia Newton-John)
Grease isn't the greatest movie, but it generated an amazingly catchy song despite its flaws. Newton-John is certainly the better half here, and this is her best song to date.
Grease isn't the greatest movie, but it generated an amazingly catchy song despite its flaws. Newton-John is certainly the better half here, and this is her best song to date.
446: Shadow Dancing (Andy Gibb)
I feel like this song tries too hard to be disco at times but not hard enough at others. It's catchy and I can see why it was the #1 hit of 1978, but I also understand why it doesn't have quite the legacy nowadays.
I feel like this song tries too hard to be disco at times but not hard enough at others. It's catchy and I can see why it was the #1 hit of 1978, but I also understand why it doesn't have quite the legacy nowadays.
Time to be meta for a bit. The Hot 100 during that time was calculated by a mix of airplay and record sales, but those numbers were self-reported. Ultimately, Billboard crunched the numbers, and the more conspiratorial-minded people might note there's room to fudge things a bit.
In July 1978, Baker Street was initially listed as #1 before a correction was issued, giving Shadow Dancing its 7th week atop the charts. It could have been a simple mistake, or it could have been Billboard's exec being chummy with RSO records. (I'd have no idea which is true.)
The main takeaway is that the Billboard charts weren't an exact science at the time, and what was listed as #1 might not have been the case simply due to inaccurate or fudged numbers being reported. Also, I really wanted a reason to talk about Baker Street.
446B: Baker Street (Gerry Rafferty)
Yeah, it has verses, but the real reason you'd listen to this song is the killer saxophone solo. Rafferty knows that's what sells the song, and he does well by making it the focal point of the record.
Yeah, it has verses, but the real reason you'd listen to this song is the killer saxophone solo. Rafferty knows that's what sells the song, and he does well by making it the focal point of the record.
447: Miss You (The Rolling Stones)
This is the Stones' attempt at incorporating disco into their music. It's not a bad combination and they seem to know what they're doing, but I honestly don't like this song. It just sounds grating to my ears.
This is the Stones' attempt at incorporating disco into their music. It's not a bad combination and they seem to know what they're doing, but I honestly don't like this song. It just sounds grating to my ears.
448: Three Times a Lady (Commodores)
This is probably the most lovey-dovey song I've heard so far. If you're with the right person, I'm sure it's great. If you're bitter and jaded like me, well I hope they can appreciate it for what it is.
This is probably the most lovey-dovey song I've heard so far. If you're with the right person, I'm sure it's great. If you're bitter and jaded like me, well I hope they can appreciate it for what it is.
449: Grease (Frankie Valli)
Frankie Valli sings the title track to a movie about 50's rock nostalgia, and it's a disco song. The lyrics seem to lack all meaning, but at least it has an okay-enough groove. It definitely made #1 solely because of the film.
Frankie Valli sings the title track to a movie about 50's rock nostalgia, and it's a disco song. The lyrics seem to lack all meaning, but at least it has an okay-enough groove. It definitely made #1 solely because of the film.
450: Boogie Oogie Oogie (A Taste of Honey)
This song feels like a callback to the earlier days of disco where the groove was its sole driving force. It's definitely a change of pace, even if it's not the greatest disco hit in the world.
This song feels like a callback to the earlier days of disco where the groove was its sole driving force. It's definitely a change of pace, even if it's not the greatest disco hit in the world.
451: Kiss You All Over (Exile)
I keep expecting there to be a drop or something like that, but it's just a soft-rock/disco hybrid all the way through. It has a bit of everything, but the genres aren't mixed in a way that makes the sound interesting.
I keep expecting there to be a drop or something like that, but it's just a soft-rock/disco hybrid all the way through. It has a bit of everything, but the genres aren't mixed in a way that makes the sound interesting.
452: Hot Child in the City (Nick Glider)
Gilder claimed it was a social call to arms about child prostitution, but that sounds like what you'd make up to look good to Casey Kasem. The song sounds almost new wave-ish, even if it's not a thing yet.
Gilder claimed it was a social call to arms about child prostitution, but that sounds like what you'd make up to look good to Casey Kasem. The song sounds almost new wave-ish, even if it's not a thing yet.
453: You Needed Me (Anne Murray)
Ah, is it time for another slow, tender love song? Murray's vocals are good for the tune, but outside of that the song just sounds so generic soft rock. I just don't have that much to say here.
Ah, is it time for another slow, tender love song? Murray's vocals are good for the tune, but outside of that the song just sounds so generic soft rock. I just don't have that much to say here.
454: MacArthur Park (Donna Summer)
Richard Harris (aka Dumbledore) took this song to #2, but Donna Summer's disco version reached the top. It translates fairly well, but in my opinion it loses some of the etherialness that made the 7:30 original so good.
Richard Harris (aka Dumbledore) took this song to #2, but Donna Summer's disco version reached the top. It translates fairly well, but in my opinion it loses some of the etherialness that made the 7:30 original so good.
455: You Don't Bring Me Flowers (Barbra Streisand and Neil Diamond)
They each had their own versions of this song, but a spliced "duet" got popular on the radio, so they made an official version. They're great singers, but they don't mesh well together.
They each had their own versions of this song, but a spliced "duet" got popular on the radio, so they made an official version. They're great singers, but they don't mesh well together.
456: Le Freak (Chic)
This song has a monster groove, and Chic knew that it was all it really needed. It was inspired by not being let into the club, not that one could tell from the lyrics. Instead, it sounds more like they would have heard from inside.
This song has a monster groove, and Chic knew that it was all it really needed. It was inspired by not being let into the club, not that one could tell from the lyrics. Instead, it sounds more like they would have heard from inside.
457: Too Much Heaven (Bee Gees)
The Bee Gees would like to remind you that they are more than just a disco act. Their charity single does have some charm, but there's a bit of an over-reliance on Barry's falsetto and it doesn't offer too much else.
The Bee Gees would like to remind you that they are more than just a disco act. Their charity single does have some charm, but there's a bit of an over-reliance on Barry's falsetto and it doesn't offer too much else.
458: Do Ya Think I'm Sexy (Rod Stewart)
By 1979, Rod Stewart had gotten into disco the only way he knew how: By being as horny as possible. The song's actually not that bad, even if it feels like he's chasing a fad because it would sell him more records.
By 1979, Rod Stewart had gotten into disco the only way he knew how: By being as horny as possible. The song's actually not that bad, even if it feels like he's chasing a fad because it would sell him more records.
459: I Will Survive (Gloria Gaynor)
It's another song that's been played to oblivion, but deservedly so. It's got a good disco beat, but more importantly a well-executed strong message of perseverance which really resonates with a lot of people.
It's another song that's been played to oblivion, but deservedly so. It's got a good disco beat, but more importantly a well-executed strong message of perseverance which really resonates with a lot of people.
460: Tragedy (Bee Gees)
If disco had survived into the 80s, I'd imagine it would sound a lot like this. The beat's still there, but it relies a lot on synths to create a ABBA-like dance rock sound that makes me wish there were more pop songs like this.
If disco had survived into the 80s, I'd imagine it would sound a lot like this. The beat's still there, but it relies a lot on synths to create a ABBA-like dance rock sound that makes me wish there were more pop songs like this.
461: What a Fool Believes (Doobie Brothers)
Despite this being a rare non-disco song in the first half of 1979, we still can't get away from the falsetto. There's a lot going on here, but ultimately I can't exactly get into it the way I'd really want to.
Despite this being a rare non-disco song in the first half of 1979, we still can't get away from the falsetto. There's a lot going on here, but ultimately I can't exactly get into it the way I'd really want to.
462: Knock on Wood (Amii Stewart)
I'm sure she had a lot of fun with this song, but maybe she had a bit too much fun messing around on the record. There's a whole lot going here, to the point where it feels almost overwhelming at times.
I'm sure she had a lot of fun with this song, but maybe she had a bit too much fun messing around on the record. There's a whole lot going here, to the point where it feels almost overwhelming at times.
463: Heart of Glass (Blondie)
It's not quite disco, but not quite new wave either. Blondie combines their more traditional rock with the newer European disco sound as well as one of the first uses of a drum machine in pop, and it's a banger of a song.
It's not quite disco, but not quite new wave either. Blondie combines their more traditional rock with the newer European disco sound as well as one of the first uses of a drum machine in pop, and it's a banger of a song.
464: Reunited (Peaches & Herb)
This is kinda the sleepy R&B ballad that I would expect to hear in 1974. They certainly don't sound excited as they claim. It also really doesn't help that it goes much longer than the song has any reason to.
This is kinda the sleepy R&B ballad that I would expect to hear in 1974. They certainly don't sound excited as they claim. It also really doesn't help that it goes much longer than the song has any reason to.
465: Hot Stuff (Donna Summer)
The summer of Summer kicks off with a mostly-disco song, save for the guitar solo. It's been a lot of fun hearing the latest experimentation within the genre, and they seem to be quite effective, including this one here.
The summer of Summer kicks off with a mostly-disco song, save for the guitar solo. It's been a lot of fun hearing the latest experimentation within the genre, and they seem to be quite effective, including this one here.
466: Love You Inside Out (Bee Gees)
The Bee Gees' 6th #1 hit in a row (tying the Beatles' record) honestly sounds like one of their weaker ones from this era. It's about still being in love despite her cheating, but the tone of the song doesn't match.
The Bee Gees' 6th #1 hit in a row (tying the Beatles' record) honestly sounds like one of their weaker ones from this era. It's about still being in love despite her cheating, but the tone of the song doesn't match.
The Bee Gees were an unstoppable juggernaut in the late 70s, but then suddenly they vanished from the charts. They predated disco and had many hits before then, but their fates ultimately were tied to the genre, as they wouldn't break the top 20 for a decade.
As a band, the Bee Gees had 9 #1 hits, behind only the Beatles and Supremes at the time. Barry Gibb wrote 16(!) #1 hits, including 7 in 1978 alone, which was second only to Lennon and/or McCartney. They were big, but then they shaped the course of pop music for almost two years.
467: Ring My Bell (Anita Ward)
There's not enough going on for it to be a full pop song, and it doesn't serve that well as a dance tune to me. It's disco, so it's got a hook. I'm sure you're talking about ringing on the telephone. Yep, that's exactly it.
There's not enough going on for it to be a full pop song, and it doesn't serve that well as a dance tune to me. It's disco, so it's got a hook. I'm sure you're talking about ringing on the telephone. Yep, that's exactly it.
On July 12, 1979, anti-disco sentiment came to a head with Disco Demolition Night, a White Sox promotion in which stacks of records were detonated in the outfield between games of a doubleheader. It was a disaster for the team, as the chaos forced them to forfeit their next game.
Disco Demolition Night didn't kill disco, but it was the biggest symptom of what was going on within a certain subculture in the middle of 1979. Looking back on the event from 2021, it's striking to me that there was that much of an identity based around hating a music genre.
I don't pretend to know a lot about music nor society a dozen years before I was born. The full causes of the anti-disco movement seems to be a messy matter which I'd rather not get into, as I'd be talking out of my ass, but there seems to be some really dumb reasons behind it.
468: Bad Girls (Donna Summer)
It's a song about prostitution, but it doesn't really glorify or villainise the job. The last-minute addition of the "toot-toot beep-beep"s definitely make the song feel a lot more complete in a way that Ring My Bell didn't.
It's a song about prostitution, but it doesn't really glorify or villainise the job. The last-minute addition of the "toot-toot beep-beep"s definitely make the song feel a lot more complete in a way that Ring My Bell didn't.
469: Good Times (Chic)
Disco's twilight led to hip-hop's dawn, as Good Times' baseline would be recreated for Rapper's Delight, the first ever rap hit (and many others to follow). I don't exactly blame them; it's a good groove to base a genre off of.
Disco's twilight led to hip-hop's dawn, as Good Times' baseline would be recreated for Rapper's Delight, the first ever rap hit (and many others to follow). I don't exactly blame them; it's a good groove to base a genre off of.
And with that, we have reached the end of the disco era. It dominated four years' worth of pop, but then vanished as quickly as it ascended. The genre would inspire a lot of musical elements in the future, but the disco scene itself is basically gone.
I was certainly aware of disco and familiar with its bigger hits, but listening to the origins and evolution of the sound over time has been a very fascinating experience, especially since I hadn't really paid that much attention to that era previously.
And y'know, I mostly liked what I heard. Certainly towards the end it was getting a bit overwhelming, but I really enjoyed listening to music that was very fun and danceable. It also helped their case that the mid-70s weren't that happy an era musically.
As a testament to unfamiliar I was with disco (or how little it gets played on the radio), I was only familiar with 50 out of the 99 songs since The Hustle. That brings my total to 320/469, which I still feel like is a decent fraction after 21 years of pop music.
470: My Sharona (The Knack)
This might be a rock song, but it's still carried by a massive bass hook. Sharona was a real person, though I can't imagine his girlfriend being pleased. The melody's super-catchy, and the lyrics are mostly secondary filler.
This might be a rock song, but it's still carried by a massive bass hook. Sharona was a real person, though I can't imagine his girlfriend being pleased. The melody's super-catchy, and the lyrics are mostly secondary filler.
471: Sad Eyes (Robert John)
We've all agreed that disco was a mistake, so let's see what we can come up with instead. Unfortunately the best we would get for a week would be a generic soft rock song with vocals by a Barry Gibb impersonator. Sigh.
We've all agreed that disco was a mistake, so let's see what we can come up with instead. Unfortunately the best we would get for a week would be a generic soft rock song with vocals by a Barry Gibb impersonator. Sigh.
472: Don't Stop 'Til You Get Enough (Michael Jackson)
Michael Jackson is coming of age, and he's not letting a little thing like disco backlash keep him from the top. The instrumentation has a great groove to it, and his vocals are a perfect fit.
Michael Jackson is coming of age, and he's not letting a little thing like disco backlash keep him from the top. The instrumentation has a great groove to it, and his vocals are a perfect fit.
473: Rise (Herb Alpert)
Ah yes, the guy from *checks notes* This Guy's in Love with You. It started as a disco instrumental, but was slowed down somewhere in the composition process. I guess it's fine easy-listening background music. It's not the worst.
Ah yes, the guy from *checks notes* This Guy's in Love with You. It started as a disco instrumental, but was slowed down somewhere in the composition process. I guess it's fine easy-listening background music. It's not the worst.
474: Pop Music (M)
If you asked a new wave band in 1979 to make a song in the style of what they think 2000's music would sound like, you'd get this song. It's such a weird song, and I'm honestly not sure what to make of it. I appreciate the uniqueness.
If you asked a new wave band in 1979 to make a song in the style of what they think 2000's music would sound like, you'd get this song. It's such a weird song, and I'm honestly not sure what to make of it. I appreciate the uniqueness.
475: Heartache Tonight (Eagles)
This song about trying to angle for some breakup sex is perfect classic rock radio fodder. It has a famous band, big guitar and drums, but it's too hard or fast to offend anyone. It's not inspiring, but not bad either.
This song about trying to angle for some breakup sex is perfect classic rock radio fodder. It has a famous band, big guitar and drums, but it's too hard or fast to offend anyone. It's not inspiring, but not bad either.
476: Still (Commodores)
Are these really the same people who did Brick House? I find that hard to believe. I guess whenever there's a vacuum in pop music trends it gets filled with sleepy, inoffensive ballads until something better can come along.
Are these really the same people who did Brick House? I find that hard to believe. I guess whenever there's a vacuum in pop music trends it gets filled with sleepy, inoffensive ballads until something better can come along.
477: No More Tears (Enough is Enough) (Barbra Streisand, Donna Summer)
It takes a while to get going, but once it does two of the biggest female pop stars of the decade combine for quite the disco hit. It really helps that both their voices mesh well.
It takes a while to get going, but once it does two of the biggest female pop stars of the decade combine for quite the disco hit. It really helps that both their voices mesh well.
478: Babe (Styx)
I will gladly listen to a lot of Styx, but Babe isn't really emblematic of their style. It's too slow for their style of arena rock. It comes across as honest at least, but songs like Come Sail Away and Suite Madame Blue are much better.
I will gladly listen to a lot of Styx, but Babe isn't really emblematic of their style. It's too slow for their style of arena rock. It comes across as honest at least, but songs like Come Sail Away and Suite Madame Blue are much better.
479: Escape (The Pina Colada Song) (Rupert Holmes)
The song has an interesting story for a pop hit until you think about it for any amount of time. How are those two so awful at communication? How'd all these common interests never get talked about?
The song has an interesting story for a pop hit until you think about it for any amount of time. How are those two so awful at communication? How'd all these common interests never get talked about?
480: Please Don't Go (KC and the Sunshine Band)
We start the 80s with KC trying to change with the times. There's enough going on in this soft rock ballad to make it interesting, though I can't help but imagine it's them singing about the disco era.
We start the 80s with KC trying to change with the times. There's enough going on in this soft rock ballad to make it interesting, though I can't help but imagine it's them singing about the disco era.
481: Rock with You (Michael Jackson)
Don't tell Michael Jackson that disco is dead. This song is a bit ballad-y, and while I enjoy his voice, it feels a bit too off to me. It's still a quality song, but I'd take Don't Stop 'Til You Get Enough any day.
Don't tell Michael Jackson that disco is dead. This song is a bit ballad-y, and while I enjoy his voice, it feels a bit too off to me. It's still a quality song, but I'd take Don't Stop 'Til You Get Enough any day.
482: Do That to Me One More Time (Captain and Tennille)
From its Wikipedia article: "According to Billboard, the song is about sex." Gee, I never would have figured. The song itself is very unmemorable yacht rock that doesn't really do anything.
From its Wikipedia article: "According to Billboard, the song is about sex." Gee, I never would have figured. The song itself is very unmemorable yacht rock that doesn't really do anything.
483: Crazy Little Thing Called Love (Queen)
Queen's first #1 is a short and simple (for them) Elvis tribute. Bohemian Rhapsody, by the way, only hit #9. It's a fun song, but I wouldn't consider it one of their very best. It's good pop music, at least!
Queen's first #1 is a short and simple (for them) Elvis tribute. Bohemian Rhapsody, by the way, only hit #9. It's a fun song, but I wouldn't consider it one of their very best. It's good pop music, at least!
484: Another Brick in the Wall, Part II (Pink Floyd)
The Wall is an amazing album, but the songs aren't really designed to be singles. I don't think this works as well on its own. (Plus, Comfortably Numb is so much better, if a bit long for a single.)
The Wall is an amazing album, but the songs aren't really designed to be singles. I don't think this works as well on its own. (Plus, Comfortably Numb is so much better, if a bit long for a single.)
I think the past few artists drive home the fact that the Hot 100 isn't going to have the greatest music of all time, but rather the songs that work best as singles and radio plays. After all, Captain and Tennille had as many #1s as Queen, and more than Pink Floyd.
And y'know, that kinda makes sense in a way. A concept album can sell a gazillion copies but not have any good singles because they were the goal. That's still success, just not in a way that will show up here (to my sadness at times).
485: Call Me (Blondie)
The opening track to American Gigilo is a bombastic piece of dance rock. The song never lets up for one moment, and in the true fashion of the 1980s even features a keyboard solo. I can also tell you it's amazing driving music.
The opening track to American Gigilo is a bombastic piece of dance rock. The song never lets up for one moment, and in the true fashion of the 1980s even features a keyboard solo. I can also tell you it's amazing driving music.
486: Funkytown (Lipps Inc.)
I guess this 4-minute compilation of pure electronic hooks is going to be stuck in my head for the next month. Ironically, the song's about getting out of boring Minneapolis, right before Prince would get big.
I guess this 4-minute compilation of pure electronic hooks is going to be stuck in my head for the next month. Ironically, the song's about getting out of boring Minneapolis, right before Prince would get big.
487: Coming Up (Live at Glasgow) (Paul McCartney and Wings)
Columbia Records pushed the live version, which I wish they hadn't. The recorded cut features a lot of studio work, but I guess they preferred McCartney's voice instead of something interesting.
Columbia Records pushed the live version, which I wish they hadn't. The recorded cut features a lot of studio work, but I guess they preferred McCartney's voice instead of something interesting.
488: It's Still Rock and Roll to Me (Billy Joel)
Billy Joel finally reaches #1 with a song criticising the new sound that's popping up while playing in that style. It's not my pick for a Joel #1, but I am a fan of the dance craze/anyways rhyme.
Billy Joel finally reaches #1 with a song criticising the new sound that's popping up while playing in that style. It's not my pick for a Joel #1, but I am a fan of the dance craze/anyways rhyme.
Billy Joel is one of my favorite artists of all time, and I've listened to his songs many times over. I would say the three that I'd highly encourage people to listen to are Scenes from an Italian Restaurant, Miami 2017, and The Longest Time.
489: Magic (Olivia Newton-John)
Coming from the soundtrack of Xanadu, the film that helped inspire the Golden Raspberries, Magic is designed to have a mystical sound to it. Newton-John doesn't get to show off that much, so instead it kinda falls flat.
Coming from the soundtrack of Xanadu, the film that helped inspire the Golden Raspberries, Magic is designed to have a mystical sound to it. Newton-John doesn't get to show off that much, so instead it kinda falls flat.
490: Sailing (Christopher Cross)
Not to be confused with Kris Kross. This is an etherial-sounding song that probably earned favor by virtue of being digitally recorded in 1980. Four decades later, it isn't nearly as special, but I respect the effort.
Not to be confused with Kris Kross. This is an etherial-sounding song that probably earned favor by virtue of being digitally recorded in 1980. Four decades later, it isn't nearly as special, but I respect the effort.
491: Upside Down (Diana Ross)
Upside Down -- Her biggest solo hit is a teamup with Chic, and you can definitely hear their work on the backing track. It's not really a disco song, but a lot of elements are there. And of course, Ross' vocals are great.
Upside Down -- Her biggest solo hit is a teamup with Chic, and you can definitely hear their work on the backing track. It's not really a disco song, but a lot of elements are there. And of course, Ross' vocals are great.
492: Another One Bites the Dust (Queen)
The iconic baseline was inspired by Good Times, but Queen made it their own. Their second and final #1 is yet again a unique take on a form of popular music, and as a result it stands out (but in a good way!)
The iconic baseline was inspired by Good Times, but Queen made it their own. Their second and final #1 is yet again a unique take on a form of popular music, and as a result it stands out (but in a good way!)
493: Woman in Love (Barbra Streisand)
If this sounds like it could be a Bee Gees song, it's because it half is. The brothers Gibb wrote and sang backing vocals on the album, and Streisand put forth strong vocals in a teamup that feels natural.
If this sounds like it could be a Bee Gees song, it's because it half is. The brothers Gibb wrote and sang backing vocals on the album, and Streisand put forth strong vocals in a teamup that feels natural.
494: Lady (Kenny Rogers)
The Commodores' Lionel Richie wrote what I can only describe as an R&B/country/pop crossover song. The record itself probably wouldn't have made much waves, except that Rogers' voice is perfect for the track.
The Commodores' Lionel Richie wrote what I can only describe as an R&B/country/pop crossover song. The record itself probably wouldn't have made much waves, except that Rogers' voice is perfect for the track.
495: (Just Like) Starting Over (John Lennon)
It was supposed to be Lennon's comeback after taking 5 years off to raise his son. Instead, his life was tragically cut short when he was assassinated, and his song about looking ahead became his farewell.
It was supposed to be Lennon's comeback after taking 5 years off to raise his son. Instead, his life was tragically cut short when he was assassinated, and his song about looking ahead became his farewell.
496: The Tide Is High (Blondie)
We enter 1981 with Blondie's take on reggae, and the very much non-Jamaican group does a great job of producing an homage of the sound without it sounding like a parody of itself (looking at you, Island Girl).
We enter 1981 with Blondie's take on reggae, and the very much non-Jamaican group does a great job of producing an homage of the sound without it sounding like a parody of itself (looking at you, Island Girl).
497: Celebration (Kool and the Gang)
Oh yeah, I guess that's an actual song and not a clip that's played whenever your team wins. It's an extremely simplistic song, but it still works provided that you're actually in the mood to celebrate good times.
Oh yeah, I guess that's an actual song and not a clip that's played whenever your team wins. It's an extremely simplistic song, but it still works provided that you're actually in the mood to celebrate good times.
498: 9 to 5 (Dolly Parton)
Dolly Parton finally tops the pop charts with a very upbeat song about how much corporate office work sucks. I hadn't actually listened to this song all the way through before, and I gotta say I really enjoyed it.
Dolly Parton finally tops the pop charts with a very upbeat song about how much corporate office work sucks. I hadn't actually listened to this song all the way through before, and I gotta say I really enjoyed it.
499: I Love a Rainy Night (Eddie Rabbitt)
People must have loved pop country in the winter of 1981. This song sounds like country trying to pull off pop rock, and while it's fine, I'd much rather listen to the real thing instead.
People must have loved pop country in the winter of 1981. This song sounds like country trying to pull off pop rock, and while it's fine, I'd much rather listen to the real thing instead.
500: Keep on Loving You (REO Speedwagon)
Welcome to the land of the 80s power ballad, made possible by the FM radio. I know it's not the greatest musical genre in the world, but I still enjoy it when the song's good, and this one certainly is.
Welcome to the land of the 80s power ballad, made possible by the FM radio. I know it's not the greatest musical genre in the world, but I still enjoy it when the song's good, and this one certainly is.
Five hundred songs done! I really didn't think I'd manage to keep this project going for this long, but here we are. It's certainly been fun listening to how musical trends change and evolve over the years, and I'm really interested in seeing where things will go in the MTV era.
501: Rapture (Blondie)
It starts off as a standard new wave song, but suddenly Debbie Harry raps for the entire second half. You'd think it'd come across as a weird novelty, but the whole thing works surprisingly well. I seriously was not expecting this.
It starts off as a standard new wave song, but suddenly Debbie Harry raps for the entire second half. You'd think it'd come across as a weird novelty, but the whole thing works surprisingly well. I seriously was not expecting this.
502: Kiss on My List (Hall and Oates)
The best way I can describe this song is "overprocessed". It's well-crafted and has a catchy chorus, but it's too clean and it lacks anything that makes it super special. At least it's a good background music song.
The best way I can describe this song is "overprocessed". It's well-crafted and has a catchy chorus, but it's too clean and it lacks anything that makes it super special. At least it's a good background music song.
503: Morning Train (Nine to Five) Sheena Easton)
Renamed due to the Dolly Parton song, this is basically the exact opposite song. She's a loyal housewife while her guy works 9 to 5, and then they do couples things together. It's so stereotypical 50s.
Renamed due to the Dolly Parton song, this is basically the exact opposite song. She's a loyal housewife while her guy works 9 to 5, and then they do couples things together. It's so stereotypical 50s.
504: Bette Davis Eyes (Kim Carnes)
I'm normally not a big fan of raspy voices, but in this case it works almost perfectly with the clean synths and drum machines. "Pure as New York snow" is a great lyric, though the actors are mostly unfamiliar to me.
I'm normally not a big fan of raspy voices, but in this case it works almost perfectly with the clean synths and drum machines. "Pure as New York snow" is a great lyric, though the actors are mostly unfamiliar to me.
505: Medley: Intro 'Venus' / Sugar Sugar / No Reply / I'll Be Back / Drive My Car / Do You Want to Know a Secret / We Can Work It Out / I Should Have Known Better / Nowhere Man / You're Going to Lose That Girl / Stars on 45 (Stars on 45)
There's no room!
There's no room!
Okay, for real this time. Bootleg disco mixes were a big thing, so why not make an official version and make money? It was an easy way of taping into that Beatles nostalgia, with a danceable four-on-the-floor beat And yes, that was the official title for copyright reasons.
506: The One That You Love (Air Supply)
Air Supply squarely fits into the Barry Manilow school of soft rock ballads. The harmonies are nice, but I feel like it's begging to be more melodramatic. Making Love Out of Nothing At All's so much better.
Air Supply squarely fits into the Barry Manilow school of soft rock ballads. The harmonies are nice, but I feel like it's begging to be more melodramatic. Making Love Out of Nothing At All's so much better.
Happy (belated) 40th birthday to MTV and the music format that would define the 80s! Suddenly, you had a new way of promoting your music, and having a good face for television and a memorable video meant a whole lot.
In the 70s, artists that couldn't attend their performance on UK's Top of the Pops would record music videos instead. Since British artists had a lot of content already recorded, MTV would play a lot of their music and this resulted in a second British Invasion in a few years.
Honestly, though, I'm just excited I get to watch a bunch of music videos instead of only getting to listen to the songs on Spotify.
507: Jesse's Girl (Rick Springfield)
The song starts off slow, but then the chorus bursts out rocking. It's a great combination of guitars and synths. The music video itself has a very early-80s style and I love it, possibly because of how dated it is.
The song starts off slow, but then the chorus bursts out rocking. It's a great combination of guitars and synths. The music video itself has a very early-80s style and I love it, possibly because of how dated it is.
508: Endless Love (Diana Ross & Lionel Richie)
Ross and Richie have amazing voices, though they don't quite have the chemistry to make it shine. Billboard claimed this the greatest duet of all time and it was #1 for 9 weeks, which I don't fully get.
Ross and Richie have amazing voices, though they don't quite have the chemistry to make it shine. Billboard claimed this the greatest duet of all time and it was #1 for 9 weeks, which I don't fully get.
Diana Ross ultimately sang in 18 songs that topped the Hot 100 over 17 years, spanning a total of 42 weeks. For female singers, that's second only to Mariah Carey and a pre-SoundScan record. She helped make Motown what it was and was able to keep up with the times for long after.
509: Arthur's Theme (Best That You Can Do) (Christopher Cross)
Why were movie themes so popular in 1981? The backing band is loud and complex, but it has to be because Cross just doesn't really have the force needed to make this song really work.
Why were movie themes so popular in 1981? The backing band is loud and complex, but it has to be because Cross just doesn't really have the force needed to make this song really work.
510: Private Eyes (Hall and Oates)
They certainly didn't mess with the formula. This is the first song to hit #1 helped by MTV, and their video is simple but silly with their backing band in far-too-serious matching suits.
(Epilepsy warning!)
They certainly didn't mess with the formula. This is the first song to hit #1 helped by MTV, and their video is simple but silly with their backing band in far-too-serious matching suits.
(Epilepsy warning!)
511: Physical (Olivia Newton-John)
This song was #1 for 10 weeks straight, tying the record, and was the top song of the 80s. It's pre-Madonna and very overtly sexual, though overall Newton-John just needs a little more passion to make it really work. It's definitely not mellow.
This song was #1 for 10 weeks straight, tying the record, and was the top song of the 80s. It's pre-Madonna and very overtly sexual, though overall Newton-John just needs a little more passion to make it really work. It's definitely not mellow.
The music video is certainly memorable. It has the workout video aesthetic, and she's working to get them into shape (presumably so she can get "physical" with them), but it turns out they're all gay except for the one remaining overweight guy.
511B: Waiting for a Girl Like You (Foreigner)
During Physical's monster run, one song was stuck at #2. Foreigner would set an all-time record with 10 weeks there with a song that adds distinct vocals and enough synths to soft rock to make it sound good.
During Physical's monster run, one song was stuck at #2. Foreigner would set an all-time record with 10 weeks there with a song that adds distinct vocals and enough synths to soft rock to make it sound good.
512: I Can't Go for That (No Can Do) (Hall and Oates)
The song's about the music industry, though it seems intentionally ambiguous. The drum machine preset is almost overbearing, but the rest of the song is fine. It feels like it needs a bit more polish.
The song's about the music industry, though it seems intentionally ambiguous. The drum machine preset is almost overbearing, but the rest of the song is fine. It feels like it needs a bit more polish.
513: Centerfold (J. Giles Band)
This song could have gone wrong in so many different ways, but the band has so much fun with it it's hard for me not to enjoy the music. The music video of course just adds to the silliness that makes the whole thing work.
This song could have gone wrong in so many different ways, but the band has so much fun with it it's hard for me not to enjoy the music. The music video of course just adds to the silliness that makes the whole thing work.
514: I Love Rock 'N Roll (Joan Jett & The Blackhearts)
Joan Jett rocks. This song is no exception. It's loud, it's confident, and I can't imagine anyone else singing it (even though it is a cover). The video also very much fits the style of the song.
Joan Jett rocks. This song is no exception. It's loud, it's confident, and I can't imagine anyone else singing it (even though it is a cover). The video also very much fits the style of the song.
515: Chariots of Fire (Vangelis)
It's that song that you set any slow-motion running to! How am I supposed to listen to the song on its own merits nowadays? That feels like an impossible task. It obviously did a good job, or else it wouldn't last.
It's that song that you set any slow-motion running to! How am I supposed to listen to the song on its own merits nowadays? That feels like an impossible task. It obviously did a good job, or else it wouldn't last.
516: Ebony and Ivory (Paul McCartney & Stevie Wonder)
This is the musical equivalent of saying you would have voted for Obama a third time if you could. I was expecting a lot more from two of the biggest forces of pop music, especially Stevie Wonder.
This is the musical equivalent of saying you would have voted for Obama a third time if you could. I was expecting a lot more from two of the biggest forces of pop music, especially Stevie Wonder.
517: Don't You Want Me (The Human League)
British 80s synthpop is here in full force, and it is literally a sight to behold. The synths and drum machines are done amazingly well, and the lyrics also have a great theme to them. More of this, please!
British 80s synthpop is here in full force, and it is literally a sight to behold. The synths and drum machines are done amazingly well, and the lyrics also have a great theme to them. More of this, please!
518: Eye of the Tiger (Survivor)
We all know this song. It hypes you up and never lets up for the entire four minutes. Survivor did a great job making a song that fit the theme of Rocky III while also working well as a stand-alone hit.
We all know this song. It hypes you up and never lets up for the entire four minutes. Survivor did a great job making a song that fit the theme of Rocky III while also working well as a stand-alone hit.
We're 7.5 songs into 1982, and it's the end of August already. Starting from Physical, those songs were #1 for a total of 41 weeks, which is really high for its era. It also meant that what did chart would be really memorable.
519: Abracadabra (Steve Miller Band)
The music video is worth watching because of all the hilarious early-80s special effects going on. I'm still not a fan of the Steve Miller Band, but at least they gave us one bit of silliness before leaving us.
The music video is worth watching because of all the hilarious early-80s special effects going on. I'm still not a fan of the Steve Miller Band, but at least they gave us one bit of silliness before leaving us.
520: Hard to Say I'm Sorry (Chicago)
Chicago changed their style (but not their album names!) to adapt with the times, and the result isn't that bad. It's a kinda generic power ballad, but at least it sounds good even if it's not memorable.
Chicago changed their style (but not their album names!) to adapt with the times, and the result isn't that bad. It's a kinda generic power ballad, but at least it sounds good even if it's not memorable.
521: Jack & Diane (John Cougar)
John Mellencamp does an effective job of capturing the feeling of small-town America along with the fear of change and growing up. The song is just 80s enough to keep up with the trends but still sounding "authentic".
John Mellencamp does an effective job of capturing the feeling of small-town America along with the fear of change and growing up. The song is just 80s enough to keep up with the trends but still sounding "authentic".
522: Who Can It Be Now? (Men at Work)
Anxiety about someone strange at the door? This song speaks to me. The sax and the Aussie accents help the song stand out, but moreso than that they absolutely nailed the music video.
Anxiety about someone strange at the door? This song speaks to me. The sax and the Aussie accents help the song stand out, but moreso than that they absolutely nailed the music video.
523: Up Where We Belong (Joe Cocker & Jennifer Warnes)
Somehow this song, Generic Movie Duet #632, won Best Original Song at the Oscars instead of Eye of the Tiger. Are people buying records because they liked the movie? Because the song is forgettable.
Somehow this song, Generic Movie Duet #632, won Best Original Song at the Oscars instead of Eye of the Tiger. Are people buying records because they liked the movie? Because the song is forgettable.
524: Truly (Lionel Richie)
The biggest song named after an alcohol since Tequila is another inoffensive adult-contemporary ballad from the former Commodore. Still though, it's impressive that he made #1 despite not releasing a music video.
The biggest song named after an alcohol since Tequila is another inoffensive adult-contemporary ballad from the former Commodore. Still though, it's impressive that he made #1 despite not releasing a music video.
525: Mickey (Toni Basil)
I'm convinced this song exists because Basil wanted an excuse to dance around in her old cheerleader costume. I really cannot decide if it's a surprisingly fun example of the MTV era or if it's super obnoxious.
I'm convinced this song exists because Basil wanted an excuse to dance around in her old cheerleader costume. I really cannot decide if it's a surprisingly fun example of the MTV era or if it's super obnoxious.
For some reason, "Mickey" has been renamed to "Hey Mickey" on Spotify and Youtube, and for the life of me I can not figure out why. It's not exactly something easily Googlable.
526 : Maneater (Hall & Oates)
I feel like I ought to like the duo more than I do, but after listening to a bunch of their stuff they don't really do it for me. I can't really pick out why, either. At least the panther was cool, if a bit reckless.
I feel like I ought to like the duo more than I do, but after listening to a bunch of their stuff they don't really do it for me. I can't really pick out why, either. At least the panther was cool, if a bit reckless.
527: Down Under (Men at Work)
The most Australian song on the list by far is a fun tune on its own, but the music video being very literal to the song makes me love the whole thing even more. Not bad from the band that held its ground against Thriller.
The most Australian song on the list by far is a fun tune on its own, but the music video being very literal to the song makes me love the whole thing even more. Not bad from the band that held its ground against Thriller.
528: Africa (Toto)
The session musicians from many, many hits finally have a #1 of their own! Despite its meme status, it's a legitimately good song despite all the (possibly intentional) geographical inaccuracies.
The session musicians from many, many hits finally have a #1 of their own! Despite its meme status, it's a legitimately good song despite all the (possibly intentional) geographical inaccuracies.
Just to be clear, Rosanna is the best Toto song.
529: Baby, Come to Me (Patti Austin & James Ingram)
This is a serviceable R&B song that was a minor hit until it was heavily featured on General Hospital of all things, which put it to #1. It's such an unlikely entry in the otherwise MTV-centric world.
This is a serviceable R&B song that was a minor hit until it was heavily featured on General Hospital of all things, which put it to #1. It's such an unlikely entry in the otherwise MTV-centric world.
530: Billie Jean (Michael Jackson)
The Thriller album changed the face of pop music. It sold 70 million copies, topped the album charts for 37 weeks, and had 7 out of 9 tracks become top 10 singles. It helped make the music video an art form and forced MTV to show Black artists.
The Thriller album changed the face of pop music. It sold 70 million copies, topped the album charts for 37 weeks, and had 7 out of 9 tracks become top 10 singles. It helped make the music video an art form and forced MTV to show Black artists.
The song itself starts off with its famous bass and synth lines for 30 seconds, while Jackson's ad-libs also contribute to its ability to be a classic 80s dance-pop song. Also, you gotta love Wikipedia for having no idea what genre to list it under.
Of course, we have to talk about the music video. Inspired by Don't You Want Me, it has just enough light-up special effects and Jackson dancing to keep one interested, and it comes across more like a mini-story than a promotional video.
531: Come on Eileen (Dexy's Midnight Runners)
This is the fun sort of tune you sing along with your mates at the pub. It's very distinctly northern English in style with a bit of Celtic inspiration. Notably, there aren't any synths, a rare feat for 1983.
This is the fun sort of tune you sing along with your mates at the pub. It's very distinctly northern English in style with a bit of Celtic inspiration. Notably, there aren't any synths, a rare feat for 1983.
532: Beat It (Michael Jackson)
This is Michael Jackson's version of rock, featuring Eddie Van Halen's guitar, and of course the song is designed to be danceable. The video features a big group dance number, which I'm fairly certain I hadn't seen yet.
This is Michael Jackson's version of rock, featuring Eddie Van Halen's guitar, and of course the song is designed to be danceable. The video features a big group dance number, which I'm fairly certain I hadn't seen yet.
Actually, since three members of Toto performed on Beat It, does it make that the best Toto song?
533: Let's Dance (David Bowie)
This is funk, David Bowie style. Chic was involved in its production, and I do hear it somewhat. It had some inspiration from the fable The Red Shoes, and said objects features very heavily in the video.
This is funk, David Bowie style. Chic was involved in its production, and I do hear it somewhat. It had some inspiration from the fable The Red Shoes, and said objects features very heavily in the video.
534: Flashdance... What a Feeling (Irene Cara)
A very 80s song for a very 80s movie. It honestly wouldn't sound that out of place in a disco playlist. I could easily imagine Donna Summer singing it. It's a case of a song that I like more than I ought to.
A very 80s song for a very 80s movie. It honestly wouldn't sound that out of place in a disco playlist. I could easily imagine Donna Summer singing it. It's a case of a song that I like more than I ought to.
535: Every Breath You Take (The Police)
This song was on the radio so many times during my awkward high school years I can't help but associate it with that. The biggest hit of 1983 has a very tight production, but I could never really get into it.
This song was on the radio so many times during my awkward high school years I can't help but associate it with that. The biggest hit of 1983 has a very tight production, but I could never really get into it.
536: Sweet Dreams (Are Made of This) (Eurythmics)
It's about as synthy and new wave as you can get (Pop Muzik aside), and the lyrics are about 50% the same catchy line. The video featuring a very androgynous Annie Lennox certainly helped fit the theme.
It's about as synthy and new wave as you can get (Pop Muzik aside), and the lyrics are about 50% the same catchy line. The video featuring a very androgynous Annie Lennox certainly helped fit the theme.
537: Maniac (Michael Sembello)
The lyrics were originally about a serial killer before being changed to fit the less-murderous Flashdance. The song is mostly known for its hook and Jennifer Beals' dancing to it, and it's okay.
(Flashing lights warning)
The lyrics were originally about a serial killer before being changed to fit the less-murderous Flashdance. The song is mostly known for its hook and Jennifer Beals' dancing to it, and it's okay.
(Flashing lights warning)
538: Tell Her About It (Billy Joel)
An Innocent Man was Joel's homage to his childhood influences, and this song was a nod to Motown. The video is one in a long line of people spoofing Ed Sullivan appearances, and it's honestly not half-bad.
An Innocent Man was Joel's homage to his childhood influences, and this song was a nod to Motown. The video is one in a long line of people spoofing Ed Sullivan appearances, and it's honestly not half-bad.
539: Total Eclipse of the Heart (Bonnie Tyler)
This song is an epic. It's so bombastic not even Spinal Tap has a dial that goes high enough. Melodramatic doesn't come close to describing this song. It is easily one of the best hits of the 80s.
This song is an epic. It's so bombastic not even Spinal Tap has a dial that goes high enough. Melodramatic doesn't come close to describing this song. It is easily one of the best hits of the 80s.
I have no idea what's going on in the music video, but it's excessive enough to match the tone of the song. Someone created a literal video version of song, and I love it.
540: Islands in the Stream (Kenny Rogers, Dolly Parton)
1983 isn't the easiest era for country crossover hits, but the combination of two legends of the genre plus the Bee Gees' songwriting is gonna get you there. It helps that it's a duet that works.
1983 isn't the easiest era for country crossover hits, but the combination of two legends of the genre plus the Bee Gees' songwriting is gonna get you there. It helps that it's a duet that works.
541: All Night Long (All Night) (Lionel Richie)
Richie's successfully pulls off a fake-Jamacian accent in this song which is entirely about escapism and having a good time. It does feel slower than what I would expect from such a theme, though.
Richie's successfully pulls off a fake-Jamacian accent in this song which is entirely about escapism and having a good time. It does feel slower than what I would expect from such a theme, though.
542: Say Say Say (Paul McCartney, Michael Jackson)
It could have been worse (see: This Girl Is Mine), but it feels like a half-step down from the monster that was Thriller. Still, glad to see McCartney can still have good songs, and the video did help.
It could have been worse (see: This Girl Is Mine), but it feels like a half-step down from the monster that was Thriller. Still, glad to see McCartney can still have good songs, and the video did help.
543: Owner of a Lonely Heart (Yes)
Yes has a complicated history, including a breakup and accidentally reuniting. The song's just commercial enough to be a pop hit but still has their unique sound, while the video feels like I'm watching a bad trip.
Yes has a complicated history, including a breakup and accidentally reuniting. The song's just commercial enough to be a pop hit but still has their unique sound, while the video feels like I'm watching a bad trip.
544: Karma Chameleon (Culture Club)
So I was familiar with this song before and knew it was a fun new-wave bop, but I knew basically nothing about Boy George. I can definitely see why he'd be popular and why he'd be the butt of (awful) jokes in 1984.
So I was familiar with this song before and knew it was a fun new-wave bop, but I knew basically nothing about Boy George. I can definitely see why he'd be popular and why he'd be the butt of (awful) jokes in 1984.
545: Jump (Van Halen)
Hard rock usually has a hard time making this list, but if you add in a killer synth line you have a recipe for success. The video, basically the band playing, is proof that it's impossible to look badass while playing keyboards.
Hard rock usually has a hard time making this list, but if you add in a killer synth line you have a recipe for success. The video, basically the band playing, is proof that it's impossible to look badass while playing keyboards.
546: Footloose (Kenny Loggins)
Another year, another title song from a very 80s movie about dancing. The beat goes hard and never lets up, and while it can be excessive at times, I still really enjoy it if I'm in the mood to get loose.
Another year, another title song from a very 80s movie about dancing. The beat goes hard and never lets up, and while it can be excessive at times, I still really enjoy it if I'm in the mood to get loose.
547: Against All Odds (Take a Look at Me Now) (Phil Collins)
1984 was a good year for movie music, and it brought the most successful pop drummer his first of 7 #1s. You can kinda tell he just went through a divorce while writing this song.
1984 was a good year for movie music, and it brought the most successful pop drummer his first of 7 #1s. You can kinda tell he just went through a divorce while writing this song.
548: Hello (Lionel Richie)
It's a love-from-afar ballad, which makes it slightly more interesting than the average Richie #1. The music video is highly-produced and is about a teacher creeping on a student, which is just as yucky as it sounds.
It's a love-from-afar ballad, which makes it slightly more interesting than the average Richie #1. The music video is highly-produced and is about a teacher creeping on a student, which is just as yucky as it sounds.
549: Let's Hear It for the Boy (Deniece Williams)
The other Footloose #1 is more R&B in style, and it almost feels like it could do decently without the movie. I can't help but laugh at the comically small football field used in the video, though.
The other Footloose #1 is more R&B in style, and it almost feels like it could do decently without the movie. I can't help but laugh at the comically small football field used in the video, though.
550: Time After Time (Cyndi Lauper)
This song sounds far more intimate than any 80s pop ballad has any right to be, but it is an absolutely wonderful tune about the insecurities that love brings. You can hardly tell it's not her normal style of music.
This song sounds far more intimate than any 80s pop ballad has any right to be, but it is an absolutely wonderful tune about the insecurities that love brings. You can hardly tell it's not her normal style of music.
551: The Reflex (Duran Duran)
Duran Duran had some great songs (Rio and Hungry Like the Wolf, for example), but this one feels far too overproduced and a bit obnoxious. It also denied Bruce Springsteen a #1, which is an unforgivable sin.
Duran Duran had some great songs (Rio and Hungry Like the Wolf, for example), but this one feels far too overproduced and a bit obnoxious. It also denied Bruce Springsteen a #1, which is an unforgivable sin.
552: When Doves Cry (Prince)
Prince's first #1 is fairly stripped-down and doesn't even feature a bassline. I think I like it but not love it, but I probably won't tire of it after hearing it a lot. Also, was totally not expecting to see a naked Prince.
Prince's first #1 is fairly stripped-down and doesn't even feature a bassline. I think I like it but not love it, but I probably won't tire of it after hearing it a lot. Also, was totally not expecting to see a naked Prince.
553: Ghostbusters (Ray Parker, Jr.)
This is the 5th movie song out of the past 8 #1s. Like a good ad jingle, it's full of catchy hooks, and it will probably outlive us all. Also, I was impressed by the sheer number of cameos in the music video.
This is the 5th movie song out of the past 8 #1s. Like a good ad jingle, it's full of catchy hooks, and it will probably outlive us all. Also, I was impressed by the sheer number of cameos in the music video.
554: What's Love Got to Do with It (Tina Turner)
Tina Turner's comeback is complete after having to flee her husband with 36 cents in her pocket. It's not a super-fancy song about how love isn't the greatest thing, but her vocals are very strong here.
Tina Turner's comeback is complete after having to flee her husband with 36 cents in her pocket. It's not a super-fancy song about how love isn't the greatest thing, but her vocals are very strong here.
555: Missing You (John Waite)
10 years prior, this would have been an anonymous gloopy soft-rock song. Instead, we get a pretty decent studio-rock power ballad about Waite being completely unable to let go of his ex.
10 years prior, this would have been an anonymous gloopy soft-rock song. Instead, we get a pretty decent studio-rock power ballad about Waite being completely unable to let go of his ex.
556: Let's Go Crazy (Prince and the Revolution)
There's the sermon-y intro, but afterwards it rocks and never lets up for a moment. This is probably the hardest rock song I've heard to reach #1 so far (unless I'm missing something), and it's great.
There's the sermon-y intro, but afterwards it rocks and never lets up for a moment. This is probably the hardest rock song I've heard to reach #1 so far (unless I'm missing something), and it's great.
557: I Just Called to Say I Love You (Stevie Wonder)
Comparing this song to Wonder's classic period does it a disservice, but I can't help but think that it's no Sir Duke. Still, he does a great job of producing what could have been a generic love song.
Comparing this song to Wonder's classic period does it a disservice, but I can't help but think that it's no Sir Duke. Still, he does a great job of producing what could have been a generic love song.
558: Caribbean Queen (No More Love on the Run) (Billy Ocean)
More evidence that disco didn't die as much as it evolved. It's got a catchy chorus. There were definitely times where the video was taking the lyrics too literally.
(Warning: Flashing lights)
More evidence that disco didn't die as much as it evolved. It's got a catchy chorus. There were definitely times where the video was taking the lyrics too literally.
(Warning: Flashing lights)
Hold on one sec, gotta unblock Wham! from my Spotify because I had blocked them last December to try to survive Whamageddon.
559: Wake Me Up Before You Go-Go (Wham!)
This song is about as silly as you can get without crossing the line into ridiculousness. It's not super-deep, but it's fun and that's what matters. Also, apparently "CHOOSE LIFE" had a different meaning in 1984.
This song is about as silly as you can get without crossing the line into ridiculousness. It's not super-deep, but it's fun and that's what matters. Also, apparently "CHOOSE LIFE" had a different meaning in 1984.
560: Out of Touch (Hall & Oates)
This sounds like the duo trying to adapt themselves to the bigger and louder sound of the mid-80s so they won't seem as out of touch. I'm not sure it really works for them, and I'm not on nearly enough coke for the video.
This sounds like the duo trying to adapt themselves to the bigger and louder sound of the mid-80s so they won't seem as out of touch. I'm not sure it really works for them, and I'm not on nearly enough coke for the video.
I am declaring this to be the halfway point of the list of #1 songs. It's not exact (560/1127 at the current moment), but given that we just had the final Hall & Oates #1 and the introduction of a new pop star next, this seems like a fitting place as any.
The first half of the 80s had some growing pains, but eventually people started to figure out their new electronic toys and the whole music video thing, and we ended up with quite a strong list of songs, possibly competing with the mid-60s in terms of lack of complete duds.
Of course, it really helped that the charts were far less volatile. Only 82 songs reached #1 in the first half of the decade, the lowest in any 5-year stretch before Soundscan. Compare that with the 149 on the back half.
This leads into my one major disappointment with listening to every #1 in that some years get a lot more attention than others, even if they don't really deserve it. I guess one could listen to the Billboard top 10 singles from each year, but that would lose a lot of the magic.
Still, though, this has been a very enjoyable and educational experience, even if this is taking far more time than I had anticipated. But that's probably partially my fault for eagerly chasing down tangents.
I'm still really excited to finally be able to venture into eras of music that are largely unknown to me, and to be honest a big reason for all this was to force me to venture out of my comfort zone and actually know what the big pop hits are.
As an example of my musical ignorance, since February 2016, among the list of #1 songs, the only ones I actually recognise at least partially are Closer, Shape of You (unfortunately), This Is America, All I Want for Christmas Is You, and maybe Blinding Lights.
561: Like a Virgin (Madonna)
This is about the most image-defining pop song she could have, from the overtly sexual lyrics to the religious iconography (TIL that Madonna's her real first name) to the personality in her vocals to her humping the floor live at the VMAs.
This is about the most image-defining pop song she could have, from the overtly sexual lyrics to the religious iconography (TIL that Madonna's her real first name) to the personality in her vocals to her humping the floor live at the VMAs.
The song itself is listed as "dance-pop", though it's not really as dance-y as post-disco. It's got a decent hook, but it definitely relies (successfully) on Madonna's vocals. That being said, it wouldn't be so famous if it weren't so out there.
562: I Want to Know What Love Is (Foreigner)
This is a more power ballad version of Waiting for a Girl Like You, but it actually hit #1. The chorus drives the song and is basically perfect for the arena rock genre, which is why they sing it 1000 times.
This is a more power ballad version of Waiting for a Girl Like You, but it actually hit #1. The chorus drives the song and is basically perfect for the arena rock genre, which is why they sing it 1000 times.
563: Careless Whisper (Wham! feat. George Michael)
Look, that's what Billboard lists the artist as. It's known for having the most famous sax solo in pop outside of Moldova, though the rest of the song is an effective pop/soul song, odd lyrics aside.
Look, that's what Billboard lists the artist as. It's known for having the most famous sax solo in pop outside of Moldova, though the rest of the song is an effective pop/soul song, odd lyrics aside.
564: Can't Fight This Feeling (REO Speedwagon)
Power ballads must be in this year. It's not a super-special song, but after a slow buildup it becomes wonderfully melodramatic, but it's a bit short of something I feel like I'd want to sing out loud with.
Power ballads must be in this year. It's not a super-special song, but after a slow buildup it becomes wonderfully melodramatic, but it's a bit short of something I feel like I'd want to sing out loud with.
565: One More Night (Phil Collins)
It's a very sad, self-pitiful ballad from someone who was known for such things. It also doesn't need to be 5 minutes long. It's thankfully a fuller song than the 70s soft-rock trite, but it's just so long.
It's a very sad, self-pitiful ballad from someone who was known for such things. It also doesn't need to be 5 minutes long. It's thankfully a fuller song than the 70s soft-rock trite, but it's just so long.
566: We Are the World (USA for Africa)
It's the grand American charity single, but it feels like a lot of musical talent isn't used to nearly their potential. Also I'm not sure how I feel about the whole rich people telling regular people to give money.
It's the grand American charity single, but it feels like a lot of musical talent isn't used to nearly their potential. Also I'm not sure how I feel about the whole rich people telling regular people to give money.
567: Crazy for You (Madonna)
Her second #1 is a movie soundtrack ballad, but since it's Madonna, it's more of a lust song than a love song. She sings it well, but it's not quite the thing that makes her the massive musical force that she is.
Her second #1 is a movie soundtrack ballad, but since it's Madonna, it's more of a lust song than a love song. She sings it well, but it's not quite the thing that makes her the massive musical force that she is.
568: Don't You (Forget About Me) (Simple Minds)
It's the big song of the quintessential 80s coming of age movie. I don't know if it's because I can't not associate it with The Breakfast Club, but to me the song is perfect at what it's trying to achieve.
It's the big song of the quintessential 80s coming of age movie. I don't know if it's because I can't not associate it with The Breakfast Club, but to me the song is perfect at what it's trying to achieve.
569: Everything She Wants (Wham!)
Dude, you need to go to marriage counseling. It's a much more serious song from the duo, but on a synth-disco backing track. It's a well-done song, but the lyrical-musical dissonance feels a bit off to me.
Dude, you need to go to marriage counseling. It's a much more serious song from the duo, but on a synth-disco backing track. It's a well-done song, but the lyrical-musical dissonance feels a bit off to me.
Several months ago, 36 years after its release, the other side of the 45 finally hit #1 in the United Kingdom after only peaking at #2 in its initial release. That song, of course, is Last Christmas.
570: Everybody Wants to Rule the World (Tears for Fears)
It's been a while since we've had British synth-pop here. There's definitely arena-rock influence in their chorus and guitars, but the combo meshes well, even if the song doesn't really stand out.
It's been a while since we've had British synth-pop here. There's definitely arena-rock influence in their chorus and guitars, but the combo meshes well, even if the song doesn't really stand out.
571: Heaven (Bryan Adams)
The song fits the 80s power-ballad formula to a T. It's also a bit of a guilty pleasure song for me. I gotta say, the "girl leaves drunk driver for Bryan Adams" plot of the music video doesn't exactly endear me to him.
The song fits the 80s power-ballad formula to a T. It's also a bit of a guilty pleasure song for me. I gotta say, the "girl leaves drunk driver for Bryan Adams" plot of the music video doesn't exactly endear me to him.
572: Sussudio (Phil Collins)
Phil Collins got tired of being a sadboi, and released a song that seemed to borrow quite a bit from Prince's 1999. It's a fun, silly song, but I suspect thinking about the song for too long would make it lose its magic.
Phil Collins got tired of being a sadboi, and released a song that seemed to borrow quite a bit from Prince's 1999. It's a fun, silly song, but I suspect thinking about the song for too long would make it lose its magic.
573: A View to a Kill (Duran Duran)
The only Bond theme #1 is far too excessively 80s to be good, and the sampling of the main theme is the only way you'd know it was part of the franchise. They made good music, but this isn't one of them.
The only Bond theme #1 is far too excessively 80s to be good, and the sampling of the main theme is the only way you'd know it was part of the franchise. They made good music, but this isn't one of them.
By the way, while we're in the middle of 1985, can we talk about how in that Bowling for Soup song the subject complains about "who's that other guy singing in Van Halen" when Sammy Hagar joined the group in 1985? Gary Cherone left in 2000, so he certainly wasn't the "new guy".
574: Everytime You Go Away (Paul Young)
It's a cover of a Hall and Oates album track, and it's honestly not that bad, even if it lacks a strong hook. Two weeks prior it was performed at Live Aid, and having a billion eyes on you does help your chart run.
It's a cover of a Hall and Oates album track, and it's honestly not that bad, even if it lacks a strong hook. Two weeks prior it was performed at Live Aid, and having a billion eyes on you does help your chart run.
575: Shout (Tears for Fears)
Because sometimes you just want to scream into the void. Rock continues to make its influence in pop music, and you can in fact combo it with new wave if you know what you're doing (and have a a really catchy hook).
Because sometimes you just want to scream into the void. Rock continues to make its influence in pop music, and you can in fact combo it with new wave if you know what you're doing (and have a a really catchy hook).
576: The Power of Love (Huey Lewis and the News)
The hit song from the hit movie of 1985. It's not a 50s throwback with its keyboards, but it unapologetically rocks. For those wondering, the thing that matches their descriptions of love is tungsten.
The hit song from the hit movie of 1985. It's not a 50s throwback with its keyboards, but it unapologetically rocks. For those wondering, the thing that matches their descriptions of love is tungsten.
577: St. Elmo's Fire (Man in Motion) (John Parr)
Even more movie music! John Parr's lone good hit is the pinnacle of high-tempo 80s motivational rock. I'd add it to my jogging playlist except I'd feel a desire to run at full sprint for the whole song.
Even more movie music! John Parr's lone good hit is the pinnacle of high-tempo 80s motivational rock. I'd add it to my jogging playlist except I'd feel a desire to run at full sprint for the whole song.
578: Money for Nothing (Dire Straits)
It's a song critical of MTV that owes its success to MTV. The video has one of the first uses of computer animation, and it has a bit of (dated) retro charm to it. It also helps that it's a pretty decent rock song.
It's a song critical of MTV that owes its success to MTV. The video has one of the first uses of computer animation, and it has a bit of (dated) retro charm to it. It also helps that it's a pretty decent rock song.
579: Oh Sheila (Ready for the World)
It's hard to go wrong with the strategy of sounding like Prince. I feel like it lacks some of the charm that some of his hits have and the keyboards are a bit too prominent, but in the end I still found it enjoyable.
It's hard to go wrong with the strategy of sounding like Prince. I feel like it lacks some of the charm that some of his hits have and the keyboards are a bit too prominent, but in the end I still found it enjoyable.
580: Take on Me (a-ha)
It's a great synth-pop song with a falsetto just begging to be sung along to, but its fame comes from the timeless and extremely well-done music video that manages to tell its story entirely within the length of the song.
It's a great synth-pop song with a falsetto just begging to be sung along to, but its fame comes from the timeless and extremely well-done music video that manages to tell its story entirely within the length of the song.
581: Saving All My Love for You (Whitney Houston)
I can't imagine this song being anything but generic if it didn't have Houston's vocal ability, but on the other hand it's almost as if her talents are wasted on this song. I'm sure she'll be back.
I can't imagine this song being anything but generic if it didn't have Houston's vocal ability, but on the other hand it's almost as if her talents are wasted on this song. I'm sure she'll be back.
I knew very little of Whitney Houston's work coming into this, so I'm honestly looking forward to going through her zillion #1s.
582: Part-Time Lover (Stevie Wonder)
It's a fun song about infidelity, which apparently was all the rage 36 years ago. Once again Wonder does all the instruments, and while it may not have the soul that his earlier hit did, it's still very well-done.
It's a fun song about infidelity, which apparently was all the rage 36 years ago. Once again Wonder does all the instruments, and while it may not have the soul that his earlier hit did, it's still very well-done.
583: Miami Vice Theme (Jan Hammer)
Pack it up guys, we've hit peak 80s. It's all downhill from here. It's pretty much everything I expected from MTV Cops: The TV Show. It does not disappoint one bit.
Pack it up guys, we've hit peak 80s. It's all downhill from here. It's pretty much everything I expected from MTV Cops: The TV Show. It does not disappoint one bit.
584: We Built This City (Starship)
I'm not gonna pretend it's a great piece of music, but anyone who claims it's the "worst song of all time" needs to give Mister Custer or (You're) Having My Baby another listen. It's a fine song, if a bit overproduced.
I'm not gonna pretend it's a great piece of music, but anyone who claims it's the "worst song of all time" needs to give Mister Custer or (You're) Having My Baby another listen. It's a fine song, if a bit overproduced.
585: Separate Lives (Phil Collins and Marilyn Martin)
It seems like it should be yet another Phil Collins sad song, but then it becomes this loud ballad. I think it would help if the dueters actually played the roles of the breaking-up couple.
It seems like it should be yet another Phil Collins sad song, but then it becomes this loud ballad. I think it would help if the dueters actually played the roles of the breaking-up couple.
586: Broken Wings (Mr. Mister)
Look, I really enjoy the 80s, but I think we've gone too 80s lately. Maybe ease off the coke a little bit? It definitely has a lot of potential, but I could probably use with a palate cleanser right around now.
Look, I really enjoy the 80s, but I think we've gone too 80s lately. Maybe ease off the coke a little bit? It definitely has a lot of potential, but I could probably use with a palate cleanser right around now.
587: Say You, Say Me (Lionel Richie)
It's a Lionel Richie track, but his final #1 has more synths and a really out-of-place bridge. Among the countless #1 movie songs, this one did win Best Original Song for White Nights, so it'll always have that.
It's a Lionel Richie track, but his final #1 has more synths and a really out-of-place bridge. Among the countless #1 movie songs, this one did win Best Original Song for White Nights, so it'll always have that.
588: That's What Friends Are For (Dionne and Friends)
This is what a charity single should be. It brings awareness to a suppressed issue (AIDS) with a star-studded quartet that gives its performers room to do their stuff without being overwhelmed.
This is what a charity single should be. It brings awareness to a suppressed issue (AIDS) with a star-studded quartet that gives its performers room to do their stuff without being overwhelmed.
Stevie Wonder had 10 #1 hits in a career that predated the British Invasion, but perhaps more impressively he managed to bridge the gap between pop music and music as an art form with his classic period and his studio innovations that made the rest of the industry play catch-up.
589: How Will I Know (Whitney Houston)
This is a well-done and very 80s dance-pop song, which I feel like we've lacked lately. Her gospel influences shine through a bit, and I definitely like this song better than Saving All My Love for You.
This is a well-done and very 80s dance-pop song, which I feel like we've lacked lately. Her gospel influences shine through a bit, and I definitely like this song better than Saving All My Love for You.
590: Kyrie (Mr. Mister)
This is almost certainly the most Eastern Orthodox song on this list ("Kyrie eleison" meaning "Lord, have mercy"). It also happens to be a fairly good upbeat rock song that does basically what you'd expect from a tune in 1986.
This is almost certainly the most Eastern Orthodox song on this list ("Kyrie eleison" meaning "Lord, have mercy"). It also happens to be a fairly good upbeat rock song that does basically what you'd expect from a tune in 1986.
591: Sara (Starship)
Starship have fallen a long way from when they were music pioneers in the 60s as Jefferson Airplane. This sounds like a generic overproduced 80s adult-contemporary song and doesn't really set the mood for being a breakup song.
Starship have fallen a long way from when they were music pioneers in the 60s as Jefferson Airplane. This sounds like a generic overproduced 80s adult-contemporary song and doesn't really set the mood for being a breakup song.
592: These Dreams (Heart)
Heart rocked hard in the 70s, but they finally reached pop success by adapting to the mainstream. Nancy Wilson has a great voice, and I like the song, but there's half a dozen others by them that I'd recommend first.
Heart rocked hard in the 70s, but they finally reached pop success by adapting to the mainstream. Nancy Wilson has a great voice, and I like the song, but there's half a dozen others by them that I'd recommend first.
593: Rock Me Amadeus (Falco)
Amadeus was a big movie a year earlier and inspired this insanely ridiculous Deutchlish song which had absolutely no business being #1 for three weeks. It is amazing new wave and I love every moment of it.
Amadeus was a big movie a year earlier and inspired this insanely ridiculous Deutchlish song which had absolutely no business being #1 for three weeks. It is amazing new wave and I love every moment of it.
594: Kiss (Prince & the Revolution)
Not to be confused with the hypothetical Kiss song named Prince. It's a very stripped-down, funky song, especially compared with its pop contemporaries. It also has the least-clothed video since the last Prince #1.
Not to be confused with the hypothetical Kiss song named Prince. It's a very stripped-down, funky song, especially compared with its pop contemporaries. It also has the least-clothed video since the last Prince #1.
595: Addicted to Love (Robert Palmer)
How did Palmer get developmental versions of the Stepford Wives for his music video? It's a bit unsettling. It's got some good hooks and does rock somewhat, but I think ultimately it's just decent background music.
How did Palmer get developmental versions of the Stepford Wives for his music video? It's a bit unsettling. It's got some good hooks and does rock somewhat, but I think ultimately it's just decent background music.
596: West End Girls (Pet Shop Boys)
The song isn't so much sung or rapped (though it was inspired by rap) as much as it is narrated. The duo does a great job of pulling you into the world of East End boys getting with the West End girls in 80s London.
The song isn't so much sung or rapped (though it was inspired by rap) as much as it is narrated. The duo does a great job of pulling you into the world of East End boys getting with the West End girls in 80s London.
I was actually supposed to see Pet Shop Boys and New Order in concert before it was cancelled. Since this was their sole #1, I'm gonna take the moment to insist that people listen to It's a Sin and watch their music video for Go West because of its sheer early-90s CGI absurdity.
597: Greatest Love of All (Whitney Houston)
It requires a lot of vocal talent to pull off this song, and she nails it. It's a cover of Muhammad Ali's auto-biopic's title track, but I can't imagine anyone else singing this. I think I get why she's so big.
It requires a lot of vocal talent to pull off this song, and she nails it. It's a cover of Muhammad Ali's auto-biopic's title track, but I can't imagine anyone else singing this. I think I get why she's so big.
598: Live to Tell (Madonna)
This isn't the kind of music that put her on the map, but her ability to act vulnerable for this song seems almost more natural. These soft ballads usually aren't my type of thing, but I have to respect how sincere it sounds.
This isn't the kind of music that put her on the map, but her ability to act vulnerable for this song seems almost more natural. These soft ballads usually aren't my type of thing, but I have to respect how sincere it sounds.
599: On My Own (Patti LaBelle and Michael McDonald)
Not to be confused with On My Own from Les Miserables, which had just debuted. Unfortunately I'm stuck with this one, which feels like replacement-level pop to me. The video's a cool concept, at least.
Not to be confused with On My Own from Les Miserables, which had just debuted. Unfortunately I'm stuck with this one, which feels like replacement-level pop to me. The video's a cool concept, at least.
600: There'll Be Sad Songs (To Make You Cry) (Billy Ocean)
This song is supposedly inspired by another Billy Ocean song that made someone cry. He sounds like he's trying too hard to sound sad. Elton John did it better with Sad Songs (Say So Much).
This song is supposedly inspired by another Billy Ocean song that made someone cry. He sounds like he's trying too hard to sound sad. Elton John did it better with Sad Songs (Say So Much).
601: Holding Back the Years (Simply Red)
Wikipedia claims this song is "Sophisti-pop", which sounds completely made-up. It's a pleasant soul-y jazzy tune, though a bit slower than usual for pop. It helps that the video conveys the song's message well.
Wikipedia claims this song is "Sophisti-pop", which sounds completely made-up. It's a pleasant soul-y jazzy tune, though a bit slower than usual for pop. It helps that the video conveys the song's message well.
602: Invisible Touch (Genesis)
The (former?) prog rock group's sole #1 hit is a fun piece of synth-pop with some good hooks and what sounds like could be part of an old Nokia ringtone at 1:01. Also, it's hard to look cool while on keyboards.
The (former?) prog rock group's sole #1 hit is a fun piece of synth-pop with some good hooks and what sounds like could be part of an old Nokia ringtone at 1:01. Also, it's hard to look cool while on keyboards.
603: Sledgehammer (Peter Gabriel)
After his exodus from Genesis, Gabriel supplanted his former band at number one with Phallic Innuendos: The Song. The video is a really weird piece of half-live half-clay stop-motion that I just can't look away from.
After his exodus from Genesis, Gabriel supplanted his former band at number one with Phallic Innuendos: The Song. The video is a really weird piece of half-live half-clay stop-motion that I just can't look away from.
604: Glory of Love (Peter Cetera)
Did you think we'd make it through the 80s without a Karate Kid song? This basically sounds like a polished to the point of sterile version of Chicago's songs where Cetera was lead, before he gotkicked out of the band.
Did you think we'd make it through the 80s without a Karate Kid song? This basically sounds like a polished to the point of sterile version of Chicago's songs where Cetera was lead, before he gotkicked out of the band.
605: Papa Don't Preach (Madonna)
I'm sure a song about a teen deciding to keep her baby won't cause any controversy at all. Madonna has the emotion and image necessary to pull it off, which is definitely hard for such a plot point-driven song.
I'm sure a song about a teen deciding to keep her baby won't cause any controversy at all. Madonna has the emotion and image necessary to pull it off, which is definitely hard for such a plot point-driven song.
606: Higher Love (Steve Winwood)
Winwood had been around over 20 years before finally reaching #1. It probably works best as a club song with its 6-minute runtime and emphasis on the beat, but he comes across as a bit too white-bread for that to work.
Winwood had been around over 20 years before finally reaching #1. It probably works best as a club song with its 6-minute runtime and emphasis on the beat, but he comes across as a bit too white-bread for that to work.
607: Venus (Bananarama)
A cover of the Shocking Blue song and thankfully not the Frankie Avalon one. You can tell they had tons of fun here, especially with the video, and it matches the ridiculousness of the whole thing.
(Photosensitivity warning)
A cover of the Shocking Blue song and thankfully not the Frankie Avalon one. You can tell they had tons of fun here, especially with the video, and it matches the ridiculousness of the whole thing.
(Photosensitivity warning)
608: Take My Breath Away (Berlin)
The Top Gun love ballad is chock-full of synths in true 80s fashion. Terri Nunn's vocals are great here, having some dynamicism without going too hard, and overall I really like this otherwise gooey love song.
The Top Gun love ballad is chock-full of synths in true 80s fashion. Terri Nunn's vocals are great here, having some dynamicism without going too hard, and overall I really like this otherwise gooey love song.
609: Stuck with You (Huey Lewis and the News)
"Breaking up is too much work, so I guess let's enjoy being stuck together instead." They've recorded far better songs, but this is still kinda catchy. The video's kinda fun, which does help things somewhat.
"Breaking up is too much work, so I guess let's enjoy being stuck together instead." They've recorded far better songs, but this is still kinda catchy. The video's kinda fun, which does help things somewhat.
610: When I Think of You (Janet Jackson)
Janet's here to show that she's not just Michael's sis. She brings a synth-heavy post-disco/R&B sound, which is really danceable, but I couldn't quite warm up to the song from a listening prospective.
Janet's here to show that she's not just Michael's sis. She brings a synth-heavy post-disco/R&B sound, which is really danceable, but I couldn't quite warm up to the song from a listening prospective.
611: True Colors (Cyndi Lauper)
It's the type of soft, reassuring song that are perfect for those who need one. In fact, it's almost too gentle for pop. For obvious reasons, it became big with the LGBT community, which Lauper seemed happy to support.
It's the type of soft, reassuring song that are perfect for those who need one. In fact, it's almost too gentle for pop. For obvious reasons, it became big with the LGBT community, which Lauper seemed happy to support.
612: Amanda (Boston)
The charts were now kind enough to power ballads to give Boston their sole #1 even without a video. It's a strong if stereotypical song, but I'd rate about half the songs on their self-titled debut higher. Foreplay/Longtime rocks.
The charts were now kind enough to power ballads to give Boston their sole #1 even without a video. It's a strong if stereotypical song, but I'd rate about half the songs on their self-titled debut higher. Foreplay/Longtime rocks.
613: Human (The Human League)
The Human League's style and sound are firmly in the camp of new wave. A ballad is about the opposite of what they should be doing. They excel at being unemotional, so any attempt at sounding human just comes across as odd.
The Human League's style and sound are firmly in the camp of new wave. A ballad is about the opposite of what they should be doing. They excel at being unemotional, so any attempt at sounding human just comes across as odd.
Apparently The Human League got their name from the board game StarForce: Alpha Centauri, which means they automatically have the best name origin story of all time.
I did a bit of looking ahead, and it seems that we've basically hit the end of the New Wave era. I'm not surprised; near the end it felt like it had lost its innovative edge and had become too corporate. Just compare Don't You Want Me and Human for an obvious example.
614: You Give Love a Bad Name (Bon Jovi)
Hair metal has arrived with an appropriately grand entrance. Bon Jovi is here to rock right from the opening chord and never let up. Teenage me obviously thought it was a banger, and so does present-day me.
Hair metal has arrived with an appropriately grand entrance. Bon Jovi is here to rock right from the opening chord and never let up. Teenage me obviously thought it was a banger, and so does present-day me.
615: The Next Time I Fall (Peter Cetera, Amy Grant)
I wasn't expecting gospel singer Amy Grant to show up here. She also happens to be the best part of this otherwise anonymous overly-synthed ballad, but she doesn't really get much of a chance to shine.
I wasn't expecting gospel singer Amy Grant to show up here. She also happens to be the best part of this otherwise anonymous overly-synthed ballad, but she doesn't really get much of a chance to shine.
You can tell when a song fails to make a lasting impression when the only music video available is a poor-quality upload from 2009.
616: The Way It Is (Bruce Hornsby & the Range)
Social commentary? In my Reagan years? The piano, somewhat out of place for 1986, works wonders on this song, and the whole "we did some stuff decades ago, but that's not enough" is a timeless issue.
Social commentary? In my Reagan years? The piano, somewhat out of place for 1986, works wonders on this song, and the whole "we did some stuff decades ago, but that's not enough" is a timeless issue.
617: Walk Like an Egyptian (The Bangles)
How long as it been since a song about a dance made #1? It really helps when pretty much anyone can join in and walk like an Egyptian. I'm pretty sure the video has the only Gaddafi appearance on here.
How long as it been since a song about a dance made #1? It really helps when pretty much anyone can join in and walk like an Egyptian. I'm pretty sure the video has the only Gaddafi appearance on here.
618: Shake You Down (Gregory Abbott)
No, that's not the governor of Texas. I've seen this song called soul and called R&B. I can hear the former, but I'm not quite sure what the distinction between the two are. Does the former evolve into the latter?
No, that's not the governor of Texas. I've seen this song called soul and called R&B. I can hear the former, but I'm not quite sure what the distinction between the two are. Does the former evolve into the latter?
619: At This Moment (Billy Vera and the Beaters)
This song had been out for 5 years before it got on Family Ties and was propelled to #1. It sounds out of place and very 70s ballad-y adult contemporary, but I guess the TV show was that popular.
This song had been out for 5 years before it got on Family Ties and was propelled to #1. It sounds out of place and very 70s ballad-y adult contemporary, but I guess the TV show was that popular.
620: Open Your Heart (Madonna)
It's a fun dance-pop song about Madonna trying to get a guy to notice her and use his key on her lock. She owns the vocals and doesn't overdo it, and the video, while unrelated, does its job of generating a lot of buzz.
It's a fun dance-pop song about Madonna trying to get a guy to notice her and use his key on her lock. She owns the vocals and doesn't overdo it, and the video, while unrelated, does its job of generating a lot of buzz.
621: Livin' on a Prayer (Bon Jovi)
From the talkbox intro to the easily-digestible lyrics to the pre-chorus buildup to the explosiveness of "Whoa, we're halfway there!" that everyone tries to imitate to the guitar solo, this song just absolutely rocks.
From the talkbox intro to the easily-digestible lyrics to the pre-chorus buildup to the explosiveness of "Whoa, we're halfway there!" that everyone tries to imitate to the guitar solo, this song just absolutely rocks.
I've covered 55% of the #1 songs and 45% of the time period of the Billboard Hot 100, so if you average it out, I guess that does mean we're halfway there.
622: Jacob's Ladder (Huey Lewis & the News)
Not what I would have guessed would be their third #1. The chorus is a bit catchy, but the anti-televangelist lyrics don't really mesh with Huey Lewis' style, and that drags the song down a bit.
Not what I would have guessed would be their third #1. The chorus is a bit catchy, but the anti-televangelist lyrics don't really mesh with Huey Lewis' style, and that drags the song down a bit.
623: Lean on Me (Club Nouveau)
It's a funky electronic song in a style that I could definitely see myself enjoying. However, in the process of covering another #1 song, they took all the soul out of that classic, and that kinda kills the mood for me.
It's a funky electronic song in a style that I could definitely see myself enjoying. However, in the process of covering another #1 song, they took all the soul out of that classic, and that kinda kills the mood for me.
624: Nothing's Gonna Stop Us Now (Starship)
Grace Slick still had her vocal talents at age 47. It's loud and cheesy optimistic, but they go all-in and it really does work. It's definitely Starship's best #1 song, though the competition isn't that fierce.
Grace Slick still had her vocal talents at age 47. It's loud and cheesy optimistic, but they go all-in and it really does work. It's definitely Starship's best #1 song, though the competition isn't that fierce.
625: I Knew You Were Waiting (For Me) (Aretha Franklin, George Michael)
You're not fooling me; it's 100% a gospel song. I am impressed at how well this pairing works. Aretha is definitely the star, but George's contributions make the song feel complete.
You're not fooling me; it's 100% a gospel song. I am impressed at how well this pairing works. Aretha is definitely the star, but George's contributions make the song feel complete.
626: (I Just) Died in Your Arms (Cutting Crew)
Apparently the title is a reference to a French term for orgasm, which I guess makes the lyrics make more sense. I can't really get much of an emotional reaction out of the song. It sounds too clean for me.
Apparently the title is a reference to a French term for orgasm, which I guess makes the lyrics make more sense. I can't really get much of an emotional reaction out of the song. It sounds too clean for me.
627: With or Without You (U2)
U2 had been selling stadiums in the 80s, but they finally hit chart success with The Joshua Tree. This song lacks the social commentary that they're known for, but they know how to make a power ballad sound emotional enough.
U2 had been selling stadiums in the 80s, but they finally hit chart success with The Joshua Tree. This song lacks the social commentary that they're known for, but they know how to make a power ballad sound emotional enough.
628: You Keep Me Hangin On (Kim Wilde)
We're really nostalgic for the 60s as of late, aren't we? The song translates well to an electronic disco-y beat, but there's no way it could hold a candle to the Supremes' original. Still a good club song, though.
We're really nostalgic for the 60s as of late, aren't we? The song translates well to an electronic disco-y beat, but there's no way it could hold a candle to the Supremes' original. Still a good club song, though.
629: Always (Atlantic Starr)
This is the kind of slow R&B sound that was quickly being replaced in the late 80s. It's gloopy adult-contemporary song that's very forgettable, but at least it seems like it'd make for a decent couples' karaoke tune.
This is the kind of slow R&B sound that was quickly being replaced in the late 80s. It's gloopy adult-contemporary song that's very forgettable, but at least it seems like it'd make for a decent couples' karaoke tune.
630: Head to Toe (Lisa Lisa and Cult Jam)
Wikipedia says that this song is "Freestyle", which is a genre I'd never heard of. I kinda like it, though the song does run a bit long. I'm not the only one who hears the melody of Back in My Arms Again, right?
Wikipedia says that this song is "Freestyle", which is a genre I'd never heard of. I kinda like it, though the song does run a bit long. I'm not the only one who hears the melody of Back in My Arms Again, right?
631: I Wanna Dance with Somebody (Who Loves Me) (Whitney Houston)
This song is a grand piece of dance-pop with vocals that can keep up. It's a blast and I love it from start to finish. It also helps that the lyrics are relatable to a lot of people.
This song is a grand piece of dance-pop with vocals that can keep up. It's a blast and I love it from start to finish. It also helps that the lyrics are relatable to a lot of people.
632: Alone (Heart)
If you're gonna pull off an over-the-top power ballad like Alone, you really need the vocal ability to keep up. And Ann Wilson has that in spades. You could have told me Jim Steinman produced this song and I would have believed you.
If you're gonna pull off an over-the-top power ballad like Alone, you really need the vocal ability to keep up. And Ann Wilson has that in spades. You could have told me Jim Steinman produced this song and I would have believed you.
633: Shakedown (Bob Seger)
Bob Seger made some great rock songs in the late-70s and early-80s. Roll Me Away deserves a lot more recognition than it gets. This song doesn't fit his style at all and only got big because of Beverly Hills Cop II.
Bob Seger made some great rock songs in the late-70s and early-80s. Roll Me Away deserves a lot more recognition than it gets. This song doesn't fit his style at all and only got big because of Beverly Hills Cop II.
634: I Still Haven't Found What I'm Looking For (U2)
It's a gospel song through-and-through, but there's plenty of stuff going on in the music itself and just enough times where the lyrics are sufficiently nonspecific for it to succeed as a pop song.
It's a gospel song through-and-through, but there's plenty of stuff going on in the music itself and just enough times where the lyrics are sufficiently nonspecific for it to succeed as a pop song.
635: Who's That Girl (Madonna)
Madonna's 6th #1 in 3 years has more of a Latin feel to it, even including some awkward Spanish. It's the title song of a movie she starred in, which from what I've read is apparently one that everyone would rather forget.
Madonna's 6th #1 in 3 years has more of a Latin feel to it, even including some awkward Spanish. It's the title song of a movie she starred in, which from what I've read is apparently one that everyone would rather forget.
636: La Bamba (Los Lobos)
Richie Valens made this song famous in the English-speaking world, and this cover actually came from his biopic. They do a fairly good job of modernising the sound, even if it does sound weird to me hearing it in stereo.
Richie Valens made this song famous in the English-speaking world, and this cover actually came from his biopic. They do a fairly good job of modernising the sound, even if it does sound weird to me hearing it in stereo.
637: I Just Can't Stop Loving You (Michael Jackson, Siedah Garrett)
Jackson's back after four years. Just like in Thriller, the first single is a softer duet, though here the voices are so alike. It's kinda forgettable and doesn't even have a video.
Jackson's back after four years. Just like in Thriller, the first single is a softer duet, though here the voices are so alike. It's kinda forgettable and doesn't even have a video.
638: Didn't We Almost Have It All (Whitney Houston)
This would be a generic forgettable adult-contemporary song, except that it has Whitney Houston salvaging it. I'm not sure this song really deserves her vocals, especially after hearing her previous #1.
This would be a generic forgettable adult-contemporary song, except that it has Whitney Houston salvaging it. I'm not sure this song really deserves her vocals, especially after hearing her previous #1.
639: Here I Go Again (Whitesnake)
This is a re-release of a song that came out 5 years earlier, but 1987 was a better time for hair metal. It's not as bombastic as Bon Jovi, but it still rocks. Tawny Kitaen in the video probably helped their sales too.
This is a re-release of a song that came out 5 years earlier, but 1987 was a better time for hair metal. It's not as bombastic as Bon Jovi, but it still rocks. Tawny Kitaen in the video probably helped their sales too.
640: Lost in Emotion (Lisa Lisa and Cult Jam)
This song was inspired from a couple of Mary Wells songs. (Remember "My Guy" from about 500 songs ago?) It has an 80s version of the Motown sound to it, with some elements of their own style mixed in.
This song was inspired from a couple of Mary Wells songs. (Remember "My Guy" from about 500 songs ago?) It has an 80s version of the Motown sound to it, with some elements of their own style mixed in.
641: Bad (Michael Jackson)
Trying to follow up Thriller is hard, but this song at least in the ballpark. On the other hand, the music video, if it can be still called that, is 18 minutes long and doesn't have music until 9:45. We've gone too far here.
Trying to follow up Thriller is hard, but this song at least in the ballpark. On the other hand, the music video, if it can be still called that, is 18 minutes long and doesn't have music until 9:45. We've gone too far here.
642: I Think We're Alone Now (Tiffany)
Tiffany wearing a denim jacket, holding a Gumby, and performing in the Ogden City Mall is about the most 1987 thing I'll ever see. The original version of the song is better, but I still like this synth-laden cover.
Tiffany wearing a denim jacket, holding a Gumby, and performing in the Ogden City Mall is about the most 1987 thing I'll ever see. The original version of the song is better, but I still like this synth-laden cover.
643: Mony Mony (Billy Idol)
A song called "Mony Mony" has to fully lean in to being complete sillyness. It's a lot of fun though. The song that charted is actually a live version; I had only heard the non-charting 1981 studio recording all this time.
A song called "Mony Mony" has to fully lean in to being complete sillyness. It's a lot of fun though. The song that charted is actually a live version; I had only heard the non-charting 1981 studio recording all this time.
That's two consecutive covers of Tommy James and the Shondells songs from the 1960s that hit #1 a full two decades after the originals. That's such a weird coincidence, but I guess nostalgia is a hell of a drug.
644: (I've Had) the Time of My Life (Bill Medley, Jennifer Warnes)
Speaking of nostalgia, it's a song from Dirty Dancing with a Rightous Brother singing. I've not seen the film, but the song does sound like something that would wrap up such a movie.
Speaking of nostalgia, it's a song from Dirty Dancing with a Rightous Brother singing. I've not seen the film, but the song does sound like something that would wrap up such a movie.
645: Heaven Is a Place on Earth (Belinda Carlisle)
The former Go-Go came out with exactly the type of 80s pop that'll cause me to crank up the volume and sing along to in the car every time. Is it an artistic masterpiece? Who cares, I love it anyway.
The former Go-Go came out with exactly the type of 80s pop that'll cause me to crank up the volume and sing along to in the car every time. Is it an artistic masterpiece? Who cares, I love it anyway.
646: Faith (George Michael)
It's very acoustic and stripped-down for its era, and that's probably why it stood out so much to me. This is the song that propelled George Michael to new heights, and while I respect it, I could never quite get into it.
It's very acoustic and stripped-down for its era, and that's probably why it stood out so much to me. This is the song that propelled George Michael to new heights, and while I respect it, I could never quite get into it.
647: So Emotional (Whitney Houston)
The third #1 from the Whitney album is a case of not messing with the formula, though it's closer to I Wanna Dance with Somebody than Greatest Love of All. It's a fine song, but it's gonna get overshadowed.
The third #1 from the Whitney album is a case of not messing with the formula, though it's closer to I Wanna Dance with Somebody than Greatest Love of All. It's a fine song, but it's gonna get overshadowed.
648: Got My Mind Set on You (George Harrison)
The final Beatle #1. There's not really enough song to fill out four minutes, but what is there is decent pop. The music video is rather fun, which doesn't seem to happen nearly as often as it used to.
The final Beatle #1. There's not really enough song to fill out four minutes, but what is there is decent pop. The music video is rather fun, which doesn't seem to happen nearly as often as it used to.
649: The Way You Make Me Feel (Michael Jackson)
It's got a great dance beat and would belong in the upper echelon of Jackson's hits, but his persona of stalking and being very pushy trying to get with a woman just doesn't really do it for me.
It's got a great dance beat and would belong in the upper echelon of Jackson's hits, but his persona of stalking and being very pushy trying to get with a woman just doesn't really do it for me.
650: Need You Tonight (INXS)
The song's kinda funky, kinda new-wavey, and kinda soft rocky. It's not a super bombastic song, but that beat especially worms its way into my brain. I definitely hear Nile Rogers' influence on the record.
The song's kinda funky, kinda new-wavey, and kinda soft rocky. It's not a super bombastic song, but that beat especially worms its way into my brain. I definitely hear Nile Rogers' influence on the record.
651: Could've Been (Tiffany)
It's been a really long time since a song about teen romance made it to #1. I get the idea that such levels of melodrama makes perfect sense when one was 15, even though they totally only dated for three weeks.
It's been a really long time since a song about teen romance made it to #1. I get the idea that such levels of melodrama makes perfect sense when one was 15, even though they totally only dated for three weeks.
652: Seasons Change (Exposé)
It seems that the gloopy AC ballad is now using contemporary R&B as its genre of choice instead of soft rock. Exposé was more famous for dance-pop, but this happened to be the song that got enough airplay and sales for #1.
It seems that the gloopy AC ballad is now using contemporary R&B as its genre of choice instead of soft rock. Exposé was more famous for dance-pop, but this happened to be the song that got enough airplay and sales for #1.
653: Father Figure (George Michael)
This song is very ethereal and spacey in a loud decade. The verses are basically whispers and I kept wondering if I had accidentally knocked the volume down. Apparently there's a lot of gay subtext in the song too.
This song is very ethereal and spacey in a loud decade. The verses are basically whispers and I kept wondering if I had accidentally knocked the volume down. Apparently there's a lot of gay subtext in the song too.
In 1987-1988, Bad, Faith, and Whitney combined for 13 total #1 hits. Admittedly it was in an era with tons of chart-toppers (no song was #1 for more than 4 weeks in a 7-year period), but we're still in an era of very impressive hit albums.
654: Never Gonna Give You Up (Rick Astley)
This song serves its role well as a cleanly-produced piece of dance-pop. My main gripe is that it's over-produced and doesn't really allow room for Astley to express himself like the best disco hits would have.
This song serves its role well as a cleanly-produced piece of dance-pop. My main gripe is that it's over-produced and doesn't really allow room for Astley to express himself like the best disco hits would have.
I think Rickrolling worked as well as it did because the song is a solid 6 or 7/10. Not so good you'd want to listen to it every single time, but decent enough such that people wouldn't immediately resent the meme and not share it.
655: Man in the Mirror (Michael Jackson)
The message of how change needs to start from the self could be really cheesy (see: We Are the World), but the choir plus the way the lyrics aren't self-aggrandizing make the song work really well.
The message of how change needs to start from the self could be really cheesy (see: We Are the World), but the choir plus the way the lyrics aren't self-aggrandizing make the song work really well.
656: Get Outta My Dreams, Get into My Car (Billy Ocean)
This is easily my favorite Billy Ocean song (not that it was a high bar to begin with). It's fun, it's energetic, and has a great hook. I appreciate the video's innovativeness even if I'm not a fan.
This is easily my favorite Billy Ocean song (not that it was a high bar to begin with). It's fun, it's energetic, and has a great hook. I appreciate the video's innovativeness even if I'm not a fan.
657: Where Do Broken Hearts Go (Whitney Houston)
With this hit, Whitney Houston has broken the all-time record by having seven consecutive #1 singles, all in her first two albums. It's a shame the song itself is so forgettable. Give her better material!
With this hit, Whitney Houston has broken the all-time record by having seven consecutive #1 singles, all in her first two albums. It's a shame the song itself is so forgettable. Give her better material!
658: Wishing Well (Terence Trent D'Arby)
It's a rather sparse song for 1988, and I found it rather funny seeing the drummer in the video basically have nothing to do. That flute sound is a nice change of pace at least, as long as it doesn't grow tiring.
It's a rather sparse song for 1988, and I found it rather funny seeing the drummer in the video basically have nothing to do. That flute sound is a nice change of pace at least, as long as it doesn't grow tiring.
659: Anything for You (Gloria Estefan, Miami Sound Machine)
Gloria Estefan is a name I've heard of, though I had never listened to any of her music. Hopefully this is not a good example of her stuff, since this song came across as too synthetic a ballad.
Gloria Estefan is a name I've heard of, though I had never listened to any of her music. Hopefully this is not a good example of her stuff, since this song came across as too synthetic a ballad.
660: One More Try (George Michael)
I appreciate that this song doesn't rely heavily on synths unlike many late-80s stuff, but 6 minutes is long for a single. Outside of that, it works fairly well as a white soul tune, even if it's not really for me.
I appreciate that this song doesn't rely heavily on synths unlike many late-80s stuff, but 6 minutes is long for a single. Outside of that, it works fairly well as a white soul tune, even if it's not really for me.
We're really starting to get into the era where my music knowledge drops off precipitously. Over the past 100 songs, I only knew 53 of them coming in, about the same ratio as the pre-Beatles era. For whatever reason, a lot of these songs don't seem to show up on 80s stations.
I've heard nostalgia works in 20-year cycles, but I wasn't expecting so many 60s covers. Usually that means the industry is grasping for straws, but there doesn't seem to be a shortage of ideas. Maybe it's because stuff like contemporary R&B isn't "mainstream" enough yet?
Contemporary R&B not really sounding like rhythm and blues is throwing me off a little, but then again we live in an age where alternative rock is mainstream and mainstream rock isn't much of a thing. Terminology is weird.
661: Together Forever (Rick Astley)
This is a more saccharine version of Never Gonna Give You Up. I certainly didn't mind that song, but I really don't think we needed a second version at #1. But hey, if the formula works, I guess don't mess with it.
This is a more saccharine version of Never Gonna Give You Up. I certainly didn't mind that song, but I really don't think we needed a second version at #1. But hey, if the formula works, I guess don't mess with it.
662: Foolish Beat (Debby Gibson)
Gibson produced and wrote this song, which is really impressive considering she was 17 at the time. It's a standard teen romance and breakup song, but lyrics aside she comes across as much older than one would expect.
Gibson produced and wrote this song, which is really impressive considering she was 17 at the time. It's a standard teen romance and breakup song, but lyrics aside she comes across as much older than one would expect.
663: Dirty Diana (Michael Jackson)
Michael Jackson's fifth(!) #1 from Bad is that album's version of Beat It. While that was him making a rock song he'd buy, this is more like him trying to imitate glam rock, and as a result it loses some of his charm.
Michael Jackson's fifth(!) #1 from Bad is that album's version of Beat It. While that was him making a rock song he'd buy, this is more like him trying to imitate glam rock, and as a result it loses some of his charm.
664: The Flame (Cheap Trick)
Dream Police, I Want You to Want Me, and Surrender are certified bangers. But once again, to be big in America (or at least the pop charts), your rock band has to come out with a fine but not memorable power ballad.
Dream Police, I Want You to Want Me, and Surrender are certified bangers. But once again, to be big in America (or at least the pop charts), your rock band has to come out with a fine but not memorable power ballad.
665: Hold on to the Nights (Richard Marx)
I feel like this song wants to be a power ballad, but it doesn't quite have the sweeping chords needed until about 4 minutes in. There's potential, but it takes far too long for things to get started.
I feel like this song wants to be a power ballad, but it doesn't quite have the sweeping chords needed until about 4 minutes in. There's potential, but it takes far too long for things to get started.
666: Roll with It (Steve Winwood)
Over 20 years after singing for the Spencer Davis Group, Winwood is still around. This is a fun little number with some good use of horns, but at 5 minutes it does seem to run out of ideas a bit too early.
Over 20 years after singing for the Spencer Davis Group, Winwood is still around. This is a fun little number with some good use of horns, but at 5 minutes it does seem to run out of ideas a bit too early.
667: Monkey (George Michael)
The fourth and final #1 from Faith sounds closer to something from Michael's Wham! days. It's a bit more dated and busier than his other recent stuff, but it's still a good dance-pop song that gives me "Relax" vibes.
The fourth and final #1 from Faith sounds closer to something from Michael's Wham! days. It's a bit more dated and busier than his other recent stuff, but it's still a good dance-pop song that gives me "Relax" vibes.
668: Sweet Child O' Mine (Guns N' Roses)
Even looking past that intro and guitar solo, it's a beautiful song by a band known for being rough and dirty. Honestly, going against their reputation probably helps make the song feel that much more authentic.
Even looking past that intro and guitar solo, it's a beautiful song by a band known for being rough and dirty. Honestly, going against their reputation probably helps make the song feel that much more authentic.
Both Sweet Child O' Mine and November Rain (another song I love) have over 1 billion views on Youtube, which is an absolutely incredible feat for a band that basically broke 30 years ago. Not even Michael Jackson can claim that!
Meanwhile in the summer of 1988, on opposite coasts, two groups called N.W.A. and Public Enemy just dropped a pair of albums. It's gonna take a few years for rap to reach the top of the Hot 100, but the wheels have been set in motion. (And no, I know basically nothing about rap.)
669: Don't Worry Be Happy (Bobby McFerrin)
This song made it to #1? And there's 5 full minutes of it? A good novelty song this is not. At least all the a capella stuff is fairly impressive. Still, it's barely a song and it didn't need to be that long!
This song made it to #1? And there's 5 full minutes of it? A good novelty song this is not. At least all the a capella stuff is fairly impressive. Still, it's barely a song and it didn't need to be that long!
670: Love Bites (Def Leppard)
Hysteria is one of the all-time great hard rock albums and is practically a greatest hits record in its own right. Of course the ballad was the sole #1, but it still rocks even if it takes a minute to get started.
Hysteria is one of the all-time great hard rock albums and is practically a greatest hits record in its own right. Of course the ballad was the sole #1, but it still rocks even if it takes a minute to get started.
671: Red Red Wine (UB40)
This is a cover of a Neil Diamond song of all things, and despite being released in 1983 it took five years for a DJ to notice this very reggae version and make it popular. The rap at the end is kinda weird, but I don't hate it.
This is a cover of a Neil Diamond song of all things, and despite being released in 1983 it took five years for a DJ to notice this very reggae version and make it popular. The rap at the end is kinda weird, but I don't hate it.
672: A Groovy Kind of Love (Phil Collins)
When the original Mindbenders' version came out, being groovy was "in". It's been slowed down to a pace that I'd only expect from Phil Collins. If it were just slightly faster, I think I would enjoy it way more.
When the original Mindbenders' version came out, being groovy was "in". It's been slowed down to a pace that I'd only expect from Phil Collins. If it were just slightly faster, I think I would enjoy it way more.
673: Kokomo (The Beach Boys)
Twenty years after Good Vibrations, nostalgia has brought the Beach Boys back on top. It sounds exactly how I'd expect them to in 1988, though it's a bit disappointing that Mike Love won out in terms of the group's direction.
Twenty years after Good Vibrations, nostalgia has brought the Beach Boys back on top. It sounds exactly how I'd expect them to in 1988, though it's a bit disappointing that Mike Love won out in terms of the group's direction.
674: Wild, Wild West (The Escape Club)
Huh, I guess we are heading for the 90s. The lyrics are extremely dated ("Ronnie's got a new gun"), but it's still a very silly song with an equally weird video. Lots of American flags for a British group.
Huh, I guess we are heading for the 90s. The lyrics are extremely dated ("Ronnie's got a new gun"), but it's still a very silly song with an equally weird video. Lots of American flags for a British group.
675: Bad Medicine (Bon Jovi)
This song is absolutely shameless. Any subtlety got blasted out the window a long time ago. It might be a bit over-indulgent, but it's still a guilty pleasure for me. I'd expect to see this as some wrestler's intro music.
This song is absolutely shameless. Any subtlety got blasted out the window a long time ago. It might be a bit over-indulgent, but it's still a guilty pleasure for me. I'd expect to see this as some wrestler's intro music.
676: Baby I Love Your Way/Freebird Medley (Will to Power)
What chose them to mash up those songs? Did they just pick the first two they heard at the rock station? Not to mention, the best part of Freebird is the back half, which obviously doesn't appear.
What chose them to mash up those songs? Did they just pick the first two they heard at the rock station? Not to mention, the best part of Freebird is the back half, which obviously doesn't appear.
677: Look Away (Chicago)
The album titles are now up to Chicago 19. The post-Cetera hit is a generic late-80s power ballad, featuring a video set in New York that doesn't even try to come up with an excuse as to why it's full of half-dressed women.
The album titles are now up to Chicago 19. The post-Cetera hit is a generic late-80s power ballad, featuring a video set in New York that doesn't even try to come up with an excuse as to why it's full of half-dressed women.
678: Every Rose Has Its Thorn (Poison)
We enter 1989 with yet another glam rock power ballad #1. This one is a bit smoother and isn't quite as hard rock as, say, Love Bites, but I do kinda enjoy that it's more melancholy than bitter.
We enter 1989 with yet another glam rock power ballad #1. This one is a bit smoother and isn't quite as hard rock as, say, Love Bites, but I do kinda enjoy that it's more melancholy than bitter.
679: My Prerogative (Bobby Brown)
Today I learned about "new jack swing". Apparently it pulls from R&B, dance, and hip-hop, though I hear the former two more on this song. I know it's a sample size of one, but so far I'm enjoying this new style.
Today I learned about "new jack swing". Apparently it pulls from R&B, dance, and hip-hop, though I hear the former two more on this song. I know it's a sample size of one, but so far I'm enjoying this new style.
680: Two Hearts (Phil Collins)
Written by Dozier of Motown fame, this is Collins trying to replicate the same style in the 80s. I think the slicker production makes the song lose some of its charm, but I appreciate what they're trying to do.
Written by Dozier of Motown fame, this is Collins trying to replicate the same style in the 80s. I think the slicker production makes the song lose some of its charm, but I appreciate what they're trying to do.
681: When I'm With You (Sheriff)
Spurred by the success of Red Red Wine, DJs started combing through their back catalog to find the next hidden gem, much to the labels' annoyance. As a result, an AOR ballad from 1983 got to #1 a full five years later.
Spurred by the success of Red Red Wine, DJs started combing through their back catalog to find the next hidden gem, much to the labels' annoyance. As a result, an AOR ballad from 1983 got to #1 a full five years later.
682: Straight Up (Paula Abdul)
It's that judge from American Idol! It took a while for Forever Your Girl to get noticed, but this song helped it blow up. To me, it's more dance-pop than new jack swing (I think), and it's a fun but a very late-80s tune.
It's that judge from American Idol! It took a while for Forever Your Girl to get noticed, but this song helped it blow up. To me, it's more dance-pop than new jack swing (I think), and it's a fun but a very late-80s tune.
683: Lost in Your Eyes (Debbie Gibson)
Is it still adult-contemporary if the singer isn't an adult yet? For an AC song it's fairly listenable., but it has a lot of the same overproduction issues that seem to plague a lot of the late 80s.
Is it still adult-contemporary if the singer isn't an adult yet? For an AC song it's fairly listenable., but it has a lot of the same overproduction issues that seem to plague a lot of the late 80s.
684: The Living Years (Mike & the Mechanics)
This time it's Genesis' bassist hitting #1, with a very direct song about bridging the generational gap while you still can. It actually handles the subject matter rather well and it's a decent tune to boot.
This time it's Genesis' bassist hitting #1, with a very direct song about bridging the generational gap while you still can. It actually handles the subject matter rather well and it's a decent tune to boot.
685: Eternal Flame (The Bangles)
This isn't exactly the Bangles' usual fare, but instead every prom's slow-dance song in 1989. It took a while for the group to agree to record it, and I can see why, but ultimately I'm kinda glad they did.
This isn't exactly the Bangles' usual fare, but instead every prom's slow-dance song in 1989. It took a while for the group to agree to record it, and I can see why, but ultimately I'm kinda glad they did.
686: The Look (Roxette)
The great Scandinavian traditions of words that sound good but have no meaning marches on. The duo were unknown outside Sweden until an exchange student gave a CD to a local DJ, and the pop music world is better off thanks to it.
The great Scandinavian traditions of words that sound good but have no meaning marches on. The duo were unknown outside Sweden until an exchange student gave a CD to a local DJ, and the pop music world is better off thanks to it.
687: She Drives Me Crazy (Fine Young Cannibals)
I can hear some of the Prince influence with the falsetto verses, but on the other hand the music is more maximalist and rock. It's a fairly unique combo, and the end result is a rather catchy pop song.
I can hear some of the Prince influence with the falsetto verses, but on the other hand the music is more maximalist and rock. It's a fairly unique combo, and the end result is a rather catchy pop song.
688: Like a Prayer (Madonna)
Without any context, it's a great pop song from start to finish. But the song and provocative video, drawing on her Catholic upbringing and her comparison of religious and sexual ecstasy, brings the hit to a whole new level.
Without any context, it's a great pop song from start to finish. But the song and provocative video, drawing on her Catholic upbringing and her comparison of religious and sexual ecstasy, brings the hit to a whole new level.
Between The Look's American debut on a Minneapolis radio station, She Drives Me Crazy being recorded in Prince's studio, and Prince himself doing the guitar intro for Like a Prayer, it's been a good couple of months for the Twin Cities.
689: I'll Be There for You (Bon Jovi)
This is by far the most power ballad-y of Bon Jovi's four #1s (though Jon himself's not done yet), but it's still rather hard rock. I prefer their other top hits, partially because it just goes on for so long.
This is by far the most power ballad-y of Bon Jovi's four #1s (though Jon himself's not done yet), but it's still rather hard rock. I prefer their other top hits, partially because it just goes on for so long.
690: Forever Your Girl (Paula Abdul)
Maybe it's because I've heard Straight Up recently, but sounds more like your generic late-80s dance-pop song. Abdul gets to show off her dancing background in the video, which apparently features a young Elijah Wood.
Maybe it's because I've heard Straight Up recently, but sounds more like your generic late-80s dance-pop song. Abdul gets to show off her dancing background in the video, which apparently features a young Elijah Wood.
691: Rock On (Michael Damian)
I've heard the original 70s version on the radio many times before, so an overproduced artificial-sounding cover sounds so jarring to me. Damian at the time was a soap opera star, which actually kinda explains things a bit.
I've heard the original 70s version on the radio many times before, so an overproduced artificial-sounding cover sounds so jarring to me. Damian at the time was a soap opera star, which actually kinda explains things a bit.
692: Wind Beneath My Wings (Bette Midler)
Midler has a long career outside of music, but her one big hit is an ode to friendship that unfortunately has a lot of the late 80s production issues. Her voice is good, at least, and there's potential here.
Midler has a long career outside of music, but her one big hit is an ode to friendship that unfortunately has a lot of the late 80s production issues. Her voice is good, at least, and there's potential here.
693: I'll Be Loving You (Forever) (New Kids on the Block)
The 90s boy bands have their first #1 hit. It's a slow, tender soul-ish song which thankfully doesn't drown in synths. I'm not the target demographic at all, but I can see why kids could like it.
The 90s boy bands have their first #1 hit. It's a slow, tender soul-ish song which thankfully doesn't drown in synths. I'm not the target demographic at all, but I can see why kids could like it.
694: Satisfied (Richard Marx)
This is a perfectly fine filler rock song if I need background noise, which to be honest is better than I can say about a good chunk of the recent #1s. I guess that's what happens when you have 32 of them in a year.
This is a perfectly fine filler rock song if I need background noise, which to be honest is better than I can say about a good chunk of the recent #1s. I guess that's what happens when you have 32 of them in a year.
695: Baby Don't Forget My Number (Milli Vanilli)
This definitely qualifies as a song that's fun hearing a couple times, but can quickly become tiresome due to how saccharine it is. It is fun hearing all the new influences show up in pop #1s, though.
This definitely qualifies as a song that's fun hearing a couple times, but can quickly become tiresome due to how saccharine it is. It is fun hearing all the new influences show up in pop #1s, though.
696: Good Thing (Fine Young Cannibals)
The song soundtracked a movie set in 1963, and it does sound like someone trying to capture the musical feeling of that era. It's a fun piece of nostalgia that somehow doesn't sound like a pale imitation.
The song soundtracked a movie set in 1963, and it does sound like someone trying to capture the musical feeling of that era. It's a fun piece of nostalgia that somehow doesn't sound like a pale imitation.
697: If You Don't Know Me By Now (Simply Red)
The original is a 70s Philly Soul classic. This cover by a Manchester group, on the other hand, just sounded boring in comparison and made me wonder why I couldn't just listen to the real thing instead.
The original is a 70s Philly Soul classic. This cover by a Manchester group, on the other hand, just sounded boring in comparison and made me wonder why I couldn't just listen to the real thing instead.
698: Toy Soldiers (Martika)
Finally, a song that spends multiple weeks at #1. On one hand, the style is consistent with a lot of late 80s pop, but lyrically it could fit perfectly with the emo/goth music of the early 2000s. That's not a bad thing here.
Finally, a song that spends multiple weeks at #1. On one hand, the style is consistent with a lot of late 80s pop, but lyrically it could fit perfectly with the emo/goth music of the early 2000s. That's not a bad thing here.
699: Batdance (Prince)
I guess Batman was so big in 1989 that this medley of a bunch of samples from the movie mixed with some Prince instrumentation became a #1 hit. Of all the things I was expecting to find at #1, this was not one of them.
I guess Batman was so big in 1989 that this medley of a bunch of samples from the movie mixed with some Prince instrumentation became a #1 hit. Of all the things I was expecting to find at #1, this was not one of them.
700: Right Here Waiting (Richard Marx)
Ah, that's the Richard Marx song everyone knows about. It sounds authentic both musically and vocally, which makes this slow adult-contemporary song one I actually enjoyed listening to, at least for a couple times.
Ah, that's the Richard Marx song everyone knows about. It sounds authentic both musically and vocally, which makes this slow adult-contemporary song one I actually enjoyed listening to, at least for a couple times.
701: Cold Hearted (Paula Abdul)
It's been a while since anything resembling an actual rap made it here, but we can do better than that bridge. Other than that, it's a decent enough dance-pop song, though I'm sure teens were more interested in the video.
It's been a while since anything resembling an actual rap made it here, but we can do better than that bridge. Other than that, it's a decent enough dance-pop song, though I'm sure teens were more interested in the video.
702: Hangin' Tough (New Kids on the Block)
They're singing about how tough they are, but they don't appear to be able to back that up at all. I will admit that the song is kinda catchy, but I can't say I'm super happy about that.
They're singing about how tough they are, but they don't appear to be able to back that up at all. I will admit that the song is kinda catchy, but I can't say I'm super happy about that.
703: Don't Wanna Lose You (Gloria Estefan)
It's adult-contemporary o'clock again, and while Estefan (now credited as a solo artist) has the vocal ability to make this song not the worst thing ever, it's still so generic I can't stay interested in it.
It's adult-contemporary o'clock again, and while Estefan (now credited as a solo artist) has the vocal ability to make this song not the worst thing ever, it's still so generic I can't stay interested in it.
704: Girl I'm Gonna Miss You (Milli Vanilli)
It's a ballad, but with a Euro-pop sound and a rap on the bridge that at least is a slight change of pace. Even if it's not their signature sound, they've quickly reached the point where they can do no wrong.
It's a ballad, but with a Euro-pop sound and a rap on the bridge that at least is a slight change of pace. Even if it's not their signature sound, they've quickly reached the point where they can do no wrong.
705: Miss You Much (Janet Jackson)
Missing you must be the in thing. The video has some great dancing for a song that invites people to do the same. So far new jack swing has done some pretty cool music; I'm surprised I hadn't really heard much about it.
Missing you must be the in thing. The video has some great dancing for a song that invites people to do the same. So far new jack swing has done some pretty cool music; I'm surprised I hadn't really heard much about it.
706: Listen to Your Heart (Roxette)
Roxette intentionally tried to make an overblown American FM-radio power ballad, but probably thanks to their self-awareness they ended up making a legitimately good song, especially once the bridge hits.
Roxette intentionally tried to make an overblown American FM-radio power ballad, but probably thanks to their self-awareness they ended up making a legitimately good song, especially once the bridge hits.
Listen to Your Heart is the first #1 single that was not released on vinyl. We're in a transition period where turntables were old hat, but CDs hadn't really entrenched themselves either. Instead, the cassingle ("cassette single") became the dominant medium for a couple years.
707: When I See You Smile (Bad English)
Mostly consisting of ex-Journey men, Bad English's sole #1 is unsurprisingly a power ballad which I'd expect to hear on the classic rock station. It's a bit surprising that this made it to #1 but Journey never did.
Mostly consisting of ex-Journey men, Bad English's sole #1 is unsurprisingly a power ballad which I'd expect to hear on the classic rock station. It's a bit surprising that this made it to #1 but Journey never did.
708: Blame It on the Rain (Milli Vanilli)
This song and the last one had the same writer, which I would not have guessed. It's got a really catchy hook, though there's not much else. This would be their last #1, as the whole project comes crashing down.
This song and the last one had the same writer, which I would not have guessed. It's got a really catchy hook, though there's not much else. This would be their last #1, as the whole project comes crashing down.
The "face" of the group not being the actual singers has happened before (He's a Rebel, for instance), but never so publicly with such an explosive group. I feel bad for the duo who were told to lip sync and not be allowed to sing at all, but I get why people were angry about it.
709: We Didn't Start the Fire (Billy Joel)
One of the more divisive #1 hits from a very unfortunately-named album, you can think of this as a boomer anthem forced on the populace or a fun look at a slice of modern history. I'm in the latter camp.
One of the more divisive #1 hits from a very unfortunately-named album, you can think of this as a boomer anthem forced on the populace or a fun look at a slice of modern history. I'm in the latter camp.
If I had a nickle every time Johnnie Ray is mentioned in the first verse of an 80s #1 hit, I'd have two nickles. Which isn't a lot, but it's weird that it's happened twice.
Other things that have shown up before:
Richard Nixon, television, James Dean, Elvis Presley, Sputnik (kinda), Buddy Holly, mafia, U2, payola, Kennedy, Chubby Checker, Dylan, Berlin, British Beatlemania, birth control, Woodstock, punk rock, Reagan, rock and roller cola wars
Richard Nixon, television, James Dean, Elvis Presley, Sputnik (kinda), Buddy Holly, mafia, U2, payola, Kennedy, Chubby Checker, Dylan, Berlin, British Beatlemania, birth control, Woodstock, punk rock, Reagan, rock and roller cola wars
710: Another Day in Paradise (Phil Collins)
We end the 80s with Collins singing about homelessness. I think it would have landed better had he shown more commitment to social causes, but as a piece of music it's fairly pleasant with good harmonies.
We end the 80s with Collins singing about homelessness. I think it would have landed better had he shown more commitment to social causes, but as a piece of music it's fairly pleasant with good harmonies.
It's fitting that Collins' last #1 closed out the 80s. I had associated him with Genesis and stuff like In the Air Tonight, so hearing sadder, slower songs from him was not what I expected. I don't think I'd add any of those new tracks to my playlists, but I appreciate his work.
711: How Am I Supposed to Live Without You (Michael Bolton)
Bolton offered this song to Air Supply originally, which makes total sense. He has the issue of starting too emotional and with no room to have range, but I'll take that over being too soft.
Bolton offered this song to Air Supply originally, which makes total sense. He has the issue of starting too emotional and with no room to have range, but I'll take that over being too soft.
712: Opposites Attract (Paula Abdul, The Wild Pair)
On one hand, this is the most rap has appeared on a #1 hit in about a decade despite said genre selling like hotcakes. On the other hand, it's about Paula Abdul dating a cartoon cat named MC Skat Kat.
On one hand, this is the most rap has appeared on a #1 hit in about a decade despite said genre selling like hotcakes. On the other hand, it's about Paula Abdul dating a cartoon cat named MC Skat Kat.
713: Escapade (Janet Jackson)
I'm gonna be honest, all these dance-pop songs are starting to run together. It's not because of the quality (this is a fine song), but probably more because we're in an era where superstars' albums regularly had 3+ #1 hits.
I'm gonna be honest, all these dance-pop songs are starting to run together. It's not because of the quality (this is a fine song), but probably more because we're in an era where superstars' albums regularly had 3+ #1 hits.
714: Black Velvet (Alannah Myles)
This is a country-adjacent rock song (despite not making the country charts) about someone who seems to really *love* Elvis, despite her referring to events before she was born. But hey, he is the King of Rock 'n Roll.
This is a country-adjacent rock song (despite not making the country charts) about someone who seems to really *love* Elvis, despite her referring to events before she was born. But hey, he is the King of Rock 'n Roll.
715: Love Will Lead You Back (Taylor Dayne)
Dianne Warren's come up a lot lately as a songwriter, as this is her fifth #1. The singer of this ballad is sure that this breakup is temporary, which is I'm not sure is a completely healthy attitude to take.
Dianne Warren's come up a lot lately as a songwriter, as this is her fifth #1. The singer of this ballad is sure that this breakup is temporary, which is I'm not sure is a completely healthy attitude to take.
716: I'll Be Your Everything (Tommy Page)
The sole male vocalist to hit #1 in a 9-song, 20-week span, Tommy Page got big thanks to his connections to New Kids on the Block. And, y'know, this does sound like a sleepy song that's boy-band adjacent.
The sole male vocalist to hit #1 in a 9-song, 20-week span, Tommy Page got big thanks to his connections to New Kids on the Block. And, y'know, this does sound like a sleepy song that's boy-band adjacent.
717: Nothing Compares 2 U (Sinéad O'Connor)
This is a haunting and very personal-sounding song that was actually a cover from one of Prince's side projects. The video sticks out, and O'Connor would use her fame to make a lot of bold social statements.
This is a haunting and very personal-sounding song that was actually a cover from one of Prince's side projects. The video sticks out, and O'Connor would use her fame to make a lot of bold social statements.
718: Vogue (Madonna)
Inspired by the New York ballroom and drag scene, Vogue is the first house music #1. House appears to be a combo of disco, synths, and 10 years. Going in I assumed she'd be singing about the magazine, but I was wrong.
Inspired by the New York ballroom and drag scene, Vogue is the first house music #1. House appears to be a combo of disco, synths, and 10 years. Going in I assumed she'd be singing about the magazine, but I was wrong.
719: Hold On (Wilson Phillips)
Unsurprisingly, the daughters of Brian Wilson and John Phillips would have seen a thing or two about dealing with abuse, substance or otherwise. It's a positive song with lots of harmonies and a very early 90s video.
Unsurprisingly, the daughters of Brian Wilson and John Phillips would have seen a thing or two about dealing with abuse, substance or otherwise. It's a positive song with lots of harmonies and a very early 90s video.
720: It Must Have Been Love (Roxette)
Originally a Christmas song from before they became international stars, it got reworked for Pretty Woman. It's a breakup power ballad that sounds like it was designed for the 3rd act of a romcom, even if it wasn't.
Originally a Christmas song from before they became international stars, it got reworked for Pretty Woman. It's a breakup power ballad that sounds like it was designed for the 3rd act of a romcom, even if it wasn't.
720B: U Can't Touch This (MC Hammer)
In 1990, record labels, wanting more money, experimented with not releasing big hits as singles and forcing consumers to buy the full album instead. U Can't Touch This was their first attempt, released only on 12" vinyl and not on cassette.
In 1990, record labels, wanting more money, experimented with not releasing big hits as singles and forcing consumers to buy the full album instead. U Can't Touch This was their first attempt, released only on 12" vinyl and not on cassette.
It worked. Please Hammer Don't Hurt 'Em sold 10 million copies, but as a side effect U Can't Touch This only peaked at #8, because 12" singles were basically only used by club DJs and turntables were on their way out. The first hip-hop #1 would have to wait a few more months.
The song itself is basically about how good MC Hammer is at rapping. It's such a silly song, but I think that was the point. By taking all the edge and social commentary out of rap, he could have crossover pop appeal. It did kill his rap cred, though.
721: Step by Step (New Kids on the Block)
This is easily the most boy band-ish song I've heard from them. I'm sure if I were a 13-year-old girl who thought that Donnie Wahlberg looked cute I'd like this a lot more, but I found it corny and grating.
This is easily the most boy band-ish song I've heard from them. I'm sure if I were a 13-year-old girl who thought that Donnie Wahlberg looked cute I'd like this a lot more, but I found it corny and grating.
722: She Ain't Worth It (Glenn Medeiros feat. Bobby Brown)
The first real instance of a featured artist on a #1 is Brown doing a rap on this new jack swing song. It worked, as I don't think anyone would care about it otherwise.
(Photosensitivity warning)
The first real instance of a featured artist on a #1 is Brown doing a rap on this new jack swing song. It worked, as I don't think anyone would care about it otherwise.
(Photosensitivity warning)
723: Vision of Love (Mariah Carey)
Mariah Carey entered into the pop world with a bang. Her debut single did a great job of showcasing her vocal abilities in the era of Milli Vanilli, and she effectively became her own one-woman backing gospel choir.
Mariah Carey entered into the pop world with a bang. Her debut single did a great job of showcasing her vocal abilities in the era of Milli Vanilli, and she effectively became her own one-woman backing gospel choir.
Mariah Carey has had 19 #1 singles, just one fewer than the Beatles' tally and in an era where there weren't as many #1 hits. And yet somehow I'm only familiar with one of them. It's gonna be interesting going through her career.
724: If Wishes Came True (Sweet Sensation)
Wikipedia says that they're a freestyle-dance group. Naturally, they'd hit #1 with a non-danceable paint-by-numbers power ballad. It's apparently so forgettable the video is only available on Youtube at 240p.
Wikipedia says that they're a freestyle-dance group. Naturally, they'd hit #1 with a non-danceable paint-by-numbers power ballad. It's apparently so forgettable the video is only available on Youtube at 240p.
725: Blaze of Glory (Jon Bon Jovi)
Don't name your band after yourself; it gets confusing when you do solo stuff. Jon loves to lean into his western persona despite being from New Jersey, but even with these nitpicks I still enjoy this not-quite-ballad.
Don't name your band after yourself; it gets confusing when you do solo stuff. Jon loves to lean into his western persona despite being from New Jersey, but even with these nitpicks I still enjoy this not-quite-ballad.
726: Release Me (Wilson Phillips)
Once again, the trio's vocal harmonies are on point, but it comes across a bit too soft compared to the generic backing track on this song. There's potential, but I got the feeling they played it too safe here.
Once again, the trio's vocal harmonies are on point, but it comes across a bit too soft compared to the generic backing track on this song. There's potential, but I got the feeling they played it too safe here.
727: (Can't Live Without Your) Love and Affection (Nelson)
The kids of the first #1 artist are now on top with a not quite power-pop, not quite glam rock song. It's a fairly decent rock radio filler tune, though I can't imagine they'd survive grunge.
The kids of the first #1 artist are now on top with a not quite power-pop, not quite glam rock song. It's a fairly decent rock radio filler tune, though I can't imagine they'd survive grunge.
728: Close to You (Maxi Priest)
This song is R&B-inspired reggae, with a short rap and slower dance beat than what I've been hearing lately. It's interesting to see how the genre has shifted since Red, Red Wine from almost a decade ago.
This song is R&B-inspired reggae, with a short rap and slower dance beat than what I've been hearing lately. It's interesting to see how the genre has shifted since Red, Red Wine from almost a decade ago.
I was gonna link to the music video from the official account (), but their version is a 240p upload of a VHS recording with audio issues uploaded in 2006. I never know what I'm gonna get on these lesser-remembered #1s, but this is a new one.
729: Praying for Time (George Michael)
George Michael was not fond of the superstar musical process, disliking music videos to the point where only a lyric video was released. It's a despondent song about inequality, and he put his heart into it.
George Michael was not fond of the superstar musical process, disliking music videos to the point where only a lyric video was released. It's a despondent song about inequality, and he put his heart into it.
730: I Don't Have the Heart (James Ingram)
It's the guy who did that #1 duet about 200 songs ago, as I'm sure everyone knows. I'm not sure if an R&B power ballad is a thing, but if it is than this song about being scared to break up counts as one.
It's the guy who did that #1 duet about 200 songs ago, as I'm sure everyone knows. I'm not sure if an R&B power ballad is a thing, but if it is than this song about being scared to break up counts as one.
731: Black Cat (Janet Jackson)
The first Jackson hit without the involvement of Jam and Lewis is a big rock 'n roll song. She doesn't exactly cross genres super smoothly, but it's nice to have a hard rock song that doesn't have the glam rock baggage.
The first Jackson hit without the involvement of Jam and Lewis is a big rock 'n roll song. She doesn't exactly cross genres super smoothly, but it's nice to have a hard rock song that doesn't have the glam rock baggage.
732: Ice Ice Baby (Vanilla Ice)
This song is 2/3rds how good Mr. Ice is at being a rapper (I wasn't impressed), and 1/3rd a story about how he drove away from a shooting. He's a frat boy claiming that he's all that and I just can't buy it.
This song is 2/3rds how good Mr. Ice is at being a rapper (I wasn't impressed), and 1/3rd a story about how he drove away from a shooting. He's a frat boy claiming that he's all that and I just can't buy it.
Like U Can't Touch This before, the record label tried to force people to buy the album, but this time they waited until after Ice Ice Baby hit #1 for a week to pull it. Given that the song went platinum and its album 7x platinum, it should have stayed #1 for longer.
733: Love Takes Time (Mariah Carey)
This song was added to her first album at the very last minute to the point where some printed track lists omit the song. There's some gospel influence in the song, but mostly it's a showcase of her voice.
This song was added to her first album at the very last minute to the point where some printed track lists omit the song. There's some gospel influence in the song, but mostly it's a showcase of her voice.
734: I'm Your Baby Tonight (Whitney Houston)
Houston's first single from her first album in 3 years sounds was made because execs thought she was losing cred with Black audiences. It's a high-energy dance-pop song that reminds me a bit of Off the Wall.
Houston's first single from her first album in 3 years sounds was made because execs thought she was losing cred with Black audiences. It's a high-energy dance-pop song that reminds me a bit of Off the Wall.
735: Because I Love You (The Postman Song) (Stevie B)
Mentioning a postman once in the opening line doesn't mean it ought to be called "The Postman Song". It's about as nondescript an AC song as you'd expect from the title, with a whiny voice to boot.
Mentioning a postman once in the opening line doesn't mean it ought to be called "The Postman Song". It's about as nondescript an AC song as you'd expect from the title, with a whiny voice to boot.
736: Justify My Love (Madonna)
This isn't a song as much as it is Madonna seeing what she can get away with. I sorta get the meta-message about sex vs. violence on TV that she's trying to push, but as music it does not work. Also, consent is not "poor".
This isn't a song as much as it is Madonna seeing what she can get away with. I sorta get the meta-message about sex vs. violence on TV that she's trying to push, but as music it does not work. Also, consent is not "poor".
737: Love Will Never Do (Without You) (Janet Jackson)
This is Rhythm Nation 1814's record 7th top-5 single. This song's more her usual musical style, with the new jack swing beat front and center. The video's a bit of a departure of persona, though.
This is Rhythm Nation 1814's record 7th top-5 single. This song's more her usual musical style, with the new jack swing beat front and center. The video's a bit of a departure of persona, though.
738: The First Time (Surface)
Is there a such a thing as R&B gloopy Adult-Contemporary? Also, I know sex sells and all that, but this is the third video in a row that relies on half-naked people to grab your attention. Have some creativity, people!
Is there a such a thing as R&B gloopy Adult-Contemporary? Also, I know sex sells and all that, but this is the third video in a row that relies on half-naked people to grab your attention. Have some creativity, people!
739: Gonna Make You Sweat (Everybody Dance Now) (C+C Music Factory feat. Freedom Williams)
This song reminds me of the early disco hits where having a danceable groove was the main point of the song, but now we have rap verses to fill in the gaps.
This song reminds me of the early disco hits where having a danceable groove was the main point of the song, but now we have rap verses to fill in the gaps.
By the way, the woman in the video did not sing on the track; the "EVERYBODY DANCE NOW" actually came from Martha Wash of It's Raining Men fame, which was the subject of a lawsuit.
Also, these long song names and featured artists do not play well with Twitter character limits.
Also, these long song names and featured artists do not play well with Twitter character limits.
740: All the Man That I Need (Whitney Houston)
It would be Whitney's style to have a massive choir in the video backing her in the final chorus. This is the type of song that she excels at, and I'm glad she's not imitating someone else's style again.
It would be Whitney's style to have a massive choir in the video backing her in the final chorus. This is the type of song that she excels at, and I'm glad she's not imitating someone else's style again.
741: Someday (Mariah Carey)
Mariah's 3rd straight #1 is her first new jack swing single. The semi-rap bridge I thought was a cool idea, though the high-pitch "Someday" at the end felt out of place even if it was technically impressive.
Mariah's 3rd straight #1 is her first new jack swing single. The semi-rap bridge I thought was a cool idea, though the high-pitch "Someday" at the end felt out of place even if it was technically impressive.
742: One More Try (Timmy T)
No relation to the George Michael hit, this is the second Firstname Lastinitial gloopy adult-contemporary ballad of the past 4 months. It being overlaid on someone's first attempt at a synth track doesn't help things either.
No relation to the George Michael hit, this is the second Firstname Lastinitial gloopy adult-contemporary ballad of the past 4 months. It being overlaid on someone's first attempt at a synth track doesn't help things either.
743: Coming Out of the Dark (Gloria Estefan)
This is her first single after a near-death tour bus accident, and the song's about her having made a recovery. I have no idea why gospel choirs were so popular in this era, but it makes a lot of sense here.
This is her first single after a near-death tour bus accident, and the song's about her having made a recovery. I have no idea why gospel choirs were so popular in this era, but it makes a lot of sense here.
744: I've Been Thinking About You (Londonbeat)
I've got to give them credit - I've never considered combining Europop and Motown in such a way before. It's a neat change of pace, and I guess it's American enough (with twangy guitars too) to get big here.
I've got to give them credit - I've never considered combining Europop and Motown in such a way before. It's a neat change of pace, and I guess it's American enough (with twangy guitars too) to get big here.
745: You're in Love (Wilson Phillips)
She wanted him back, but he found someone else and she says she's glad for him. The lyrics almost seem too direct, and all these Wilson Phillips songs are starting to sound the same.
She wanted him back, but he found someone else and she says she's glad for him. The lyrics almost seem too direct, and all these Wilson Phillips songs are starting to sound the same.
746: Baby, Baby (Amy Grant)
Yep, Christian contemporary artist Amy Grant had a #1. She wrote it about her newborn, but the video implies it's about a boyfriend. Apparently people complained she was too sexy, which is hilarious given what else was big.
Yep, Christian contemporary artist Amy Grant had a #1. She wrote it about her newborn, but the video implies it's about a boyfriend. Apparently people complained she was too sexy, which is hilarious given what else was big.
747: Joyride (Roxette)
I love how nonsensical the lyrics are, yet they sound like perfect fits to the melody. That being said, "Hello, you fool, I love you" is a great line. Like The Look, Per has lead vocals, which is a departure from their usual fare.
I love how nonsensical the lyrics are, yet they sound like perfect fits to the melody. That being said, "Hello, you fool, I love you" is a great line. Like The Look, Per has lead vocals, which is a departure from their usual fare.
748: I Like the Way (The Kissing Game) (Hi-Five)
Probably inspired by New Edition, it's a new jack swing boy band. I get they're trying to sound young and innocent, but I don't buy it. I guess "the kissing game" sounds too much like innuendo for me.
Probably inspired by New Edition, it's a new jack swing boy band. I get they're trying to sound young and innocent, but I don't buy it. I guess "the kissing game" sounds too much like innuendo for me.
749: I Don't Wanna Cry (Mariah Carey)
Four singles from her debut album, four #1s. This is a more downtempo song from her, and she does a fairly good job of holding back in the verses to make the choruses and bridge pop out emotionally.
Four singles from her debut album, four #1s. This is a more downtempo song from her, and she does a fairly good job of holding back in the verses to make the choruses and bridge pop out emotionally.
750: More Than Words (Extreme)
I knew they did that hard rock song in Bill and Ted, and that rock #1s tend to be softer, but I wasn't expecting an acoustic track. The video does have a half-billion views, so I guess this music is what they're famous for.
I knew they did that hard rock song in Bill and Ted, and that rock #1s tend to be softer, but I wasn't expecting an acoustic track. The video does have a half-billion views, so I guess this music is what they're famous for.
751: Rush Rush (Paula Abdul)
Her first single from Spellbound is a ballad, a departure for the choreographer-turned-singer. The violins are a nice touch, but it's hard for me not to make a comparison between her and Mariah Carey, which is a bit unfair.
Her first single from Spellbound is a ballad, a departure for the choreographer-turned-singer. The violins are a nice touch, but it's hard for me not to make a comparison between her and Mariah Carey, which is a bit unfair.
Rush Rush being #1 for 5 weeks in June and July of 1991 is the first time a song hit #1 for over a month since Like a Virgin back in 1984/5, almost 200 songs ago. Given how many titanic album releases there have been over the past few years, I'm honestly surprised.
752: Unbelievable (EMF)
This song has everything: Dance-pop, a guitar solo, samples, a hip-hop inspired bridge, and even the first profanity in a #1 hit. Obviously the big hook is the "OH!", and it's a fun song from a band that got big at the wrong time.
This song has everything: Dance-pop, a guitar solo, samples, a hip-hop inspired bridge, and even the first profanity in a #1 hit. Obviously the big hook is the "OH!", and it's a fun song from a band that got big at the wrong time.
753: (Everything I Do) I Do It for You (Bryan Adams)
It's your standard romantic power ballad, though there's enough melodrama that I don't dislike it. It runs about two minutes too long, but that didn't stop it from spending 7 weeks at #1.
It's your standard romantic power ballad, though there's enough melodrama that I don't dislike it. It runs about two minutes too long, but that didn't stop it from spending 7 weeks at #1.
754: The Promise of a New Day (Paula Abdul)
This is a song that is very much of its era (not necessarily a bad thing). I'm not sure I'm a fan of Abdul's voice on this uplifting dance-pop song. Also, what's with the official video's aspect ratio?
This is a song that is very much of its era (not necessarily a bad thing). I'm not sure I'm a fan of Abdul's voice on this uplifting dance-pop song. Also, what's with the official video's aspect ratio?
Paula Abdul went from effectively having six consecutive #1s to rapidly falling off the pop charts. I'm not entirely sure why, but it does seem like there was a big shift in what got big once we entered the SoundScan era.
755: I Adore Mi Amor (Color Me Badd)
The #1 song when I was born is a part-Spanish R&B boy-band song with not a ton of instrumentation. I don't think this is my kind of music, but I did appreciate the harmonies and them not overcomplicating the msuic.
The #1 song when I was born is a part-Spanish R&B boy-band song with not a ton of instrumentation. I don't think this is my kind of music, but I did appreciate the harmonies and them not overcomplicating the msuic.
756: Good Vibrations (Marky Mark and the Funky Bunch feat. Loleatta Holloway)
It's hilarious they devoted a whole verse to being drug-free. From the brother of New Kid Donnie Wahlberg, it's a pop-rap song that is designed more for dancing than anything.
It's hilarious they devoted a whole verse to being drug-free. From the brother of New Kid Donnie Wahlberg, it's a pop-rap song that is designed more for dancing than anything.
757: Emotions (Mariah Carey)
Inspired by Best of My Love by the Emotions, I would advise not playing this song if there are any dogs around due to how high Carey's voice gets. It's a decent modern take of an older style yet still sounds kinda early 90s.
Inspired by Best of My Love by the Emotions, I would advise not playing this song if there are any dogs around due to how high Carey's voice gets. It's a decent modern take of an older style yet still sounds kinda early 90s.
With Emotions, Mariah Carey set the record of most consecutive #1s to start a career, with 5. It is extremely impressive for an artist to emerge into the pop music world fully-formed, especially given her age and the fact that she wrote much of her own music.
758: Romantic (Karyn White)
I'm not really sure new jack swing is an easy type of music to gets romantic to, but that might just be me. This song is very much in the Jam/Lewis style, and while I've been enjoying their stuff, this seems overproduced.
I'm not really sure new jack swing is an easy type of music to gets romantic to, but that might just be me. This song is very much in the Jam/Lewis style, and while I've been enjoying their stuff, this seems overproduced.
759: Cream (Prince & the New Power Generation)
The second Prince #1 sharing a name with a rock band, it's a song about rising to the top before it suddenly becomes about social issues. The start of the video is a bit too self-aggrandising for my tastes.
The second Prince #1 sharing a name with a rock band, it's a song about rising to the top before it suddenly becomes about social issues. The start of the video is a bit too self-aggrandising for my tastes.
Prince and his Minneapolis sound was extremely influential in pop music during the 80s and early 90s While I enjoyed some of his songs, I couldn't really get into his music. Then again, I didn't buy into him as a sex symbol, which I think his music and videos seem to imply.
760: When a Man Loves a Woman (Michael Bolton)
It's Michael Bolton covering a classic 60s hit. This is exactly the slow, adult-contemporary stuff that you would expect. It's only fitting that this is the song that ended the pre-SoundScan era.
SoundScan
It's Michael Bolton covering a classic 60s hit. This is exactly the slow, adult-contemporary stuff that you would expect. It's only fitting that this is the song that ended the pre-SoundScan era.
SoundScan
On November 30th, 1991, the Billboard charts went through a massive shakeup that completely changed what songs hit #1, for how long, and how accurate they were. It's almost easier to treat it as two separate charts with this date as the dividing line.
Before then, record retailers and radio stations would provide ranked lists of their most-sold and most-played singles. The problems were that it didn't reflect any actual numbers and that it was very prone to manipulation to keep certain genres out of the charts.
Wild Thing is a prime example. In 1989, the rap single got so little airplay it was impossible for it to hit #1, despite selling 2.5 million copies and outpacing its rivals 3:1. A record would get the same amount of "points" for 1st in sales, no matter how much it sold.
With computers and barcodes becoming a thing, Billboard switched to a system where plays and sales were automatically tallied. Turns out, retailers had been underreporting rap and country sales this entire time in favor of rock and adult contemporary music.
Other things that were revealed from this revised system:
- Songs ascended on the charts quicker than reported
- Songs stayed on top and fell off more slowly
- Artists didn't need to pander to the median to chart high
- Perceived narratives were a big influence on the charts
- Songs ascended on the charts quicker than reported
- Songs stayed on top and fell off more slowly
- Artists didn't need to pander to the median to chart high
- Perceived narratives were a big influence on the charts
This doesn't mean the old system was useless; it was still a reasonable gauge of mainstream pop music, especially before the era when accurate data could be obtained. One just needs to take things with a grain of salt. And it's not like the new system was perfect either.
The most pronounced change? Look at the number of #1 singles per year:
1989: 32
1990: 25
1991: 27
1992: 12
1993: 10
1994: 9
1989: 32
1990: 25
1991: 27
1992: 12
1993: 10
1994: 9
I'm not quite sure how the music trends of the 90s will go. I only knew 24 of the past 100 songs going in, and I'm not confident about what's up ahead. That being said, new jack swing was kinda fun, and I'm glad I finally got around to listening to Houston, Jackson, Carey, et al.
761: Set Adrift on Memory Bliss (P.M. Dawn)
The sampling of True works quite well for setting the mood of the song. The first #1 with real data is also the first non-pop rap entry, and I was pleasantly surprised about this smoother take on hip-hop.
The sampling of True works quite well for setting the mood of the song. The first #1 with real data is also the first non-pop rap entry, and I was pleasantly surprised about this smoother take on hip-hop.
762: Black or White (Michael Jackson)
Michael Jackson kept wanting to outdo himself, so Black or White became a massively hyped media event. And yeah, while it's a good take on New Jack Swing and rock, it falls short of its lofty expectations. That rap didn't help things to me.
Michael Jackson kept wanting to outdo himself, so Black or White became a massively hyped media event. And yeah, while it's a good take on New Jack Swing and rock, it falls short of its lofty expectations. That rap didn't help things to me.
The video could have been great, but he tries to be Twisted Sister at the beginning, and then he goes completely off the rails for the final third. I don't need to see him rubbing his crotch, thank you. The morphing faces was kinda cool, at least.
763: All 4 Love (Color Me Badd)
This is about as generic as it gets for a boy band song. The only deviation from the norm is that the bridge is spoken-word and not rapped. I guess intentional misspellings were big with kids back in those days.
This is about as generic as it gets for a boy band song. The only deviation from the norm is that the bridge is spoken-word and not rapped. I guess intentional misspellings were big with kids back in those days.
764: Don't Let the Sun Go Down on Me (George Michael, Elton John)
Elton John surprised Wembley with a cameo at George Michael's concert, and they opted to release it as a single. The original is a classic Elton John #2, and this version holds up well.
Elton John surprised Wembley with a cameo at George Michael's concert, and they opted to release it as a single. The original is a classic Elton John #2, and this version holds up well.
By the way, at this moment, the 74-year-old Elton John currently has the #1 song in the UK and the US dance charts with a modern disco duet with Dua Lipa. Reality is strange, y'all.
George Michael had 10 #1 hits, including his time on Wham. He reinvented himself as a serious white soul singer who could express himself in a wide range of emotions. It's a shame his lawsuit with Sony derailed his career; I would have enjoyed seeing where it could have gone.
765: I'm Too Sexy (Right Said Fred)
Yep, it was #1 for 3 weeks. It's as utterly ridiculous as you'd think ("too sexy for my car/hat/cat"?) and I can't take it seriously at all. Abruptly ending it with "I'm too sexy for this song" is a clever idea.
Yep, it was #1 for 3 weeks. It's as utterly ridiculous as you'd think ("too sexy for my car/hat/cat"?) and I can't take it seriously at all. Abruptly ending it with "I'm too sexy for this song" is a clever idea.
766: To Be with You (Mr. Big)
Yet again, it's a glam metal band who only manages to hit #1 due to an acoustic campfire song. It's an interesting play, professing your desire to be with her while acknowledging it's probably not gonna last.
Yet again, it's a glam metal band who only manages to hit #1 due to an acoustic campfire song. It's an interesting play, professing your desire to be with her while acknowledging it's probably not gonna last.
And with that, the age of glam rock comes to an end. It wasn't exactly ascendant in 1991, but the emergence of grunge, led by Nirvana's Nevermind, dealt a massive blow to mainstream rock from which it would never really recover.
Rock albums still sold by the million, but its singles being big chart hits were more the exception than the norm. Outside of the 60s and the late 80s, I haven't seen a lot of rock 'n roll hit #1. As such, I unfortunately don't think there'll be a lot of grunge headed this way.
767: Save the Best for Last (Vanessa Williams)
I want snow in June! It's a pleasant-enough sounding AC song about a guy finally reciprocating her love to him, back from an era when it wouldn't come across as a gender-flipped Nice Guy song.
I want snow in June! It's a pleasant-enough sounding AC song about a guy finally reciprocating her love to him, back from an era when it wouldn't come across as a gender-flipped Nice Guy song.
768: Jump (Kris Kross)
This sort of rap hadn't made it to the top of the charts yet, but it being sung by a pair of (talented) 12-year-olds made it sound inoffensive enough to succeed. They're certainly better than Another Bad Creation, who they diss.
This sort of rap hadn't made it to the top of the charts yet, but it being sung by a pair of (talented) 12-year-olds made it sound inoffensive enough to succeed. They're certainly better than Another Bad Creation, who they diss.
769: I'll Be There (Mariah Carey)
This cover was a last-minute addition to her MTV Unplugged set, and it was so popular it got a single release. Michael's prepubescent register is a good fit for Carey, and backup singer Trey Lorenz did Jermaine's lines.
This cover was a last-minute addition to her MTV Unplugged set, and it was so popular it got a single release. Michael's prepubescent register is a good fit for Carey, and backup singer Trey Lorenz did Jermaine's lines.
770: Baby Got Back (Sir Mix-A-Lot)
You all know this one. This song is a massive leap in terms of how explicitly horny you can be and still be #1. I can't see rapping about being sprung or his anaconda being #1 back when sales were reported by humans.
You all know this one. This song is a massive leap in terms of how explicitly horny you can be and still be #1. I can't see rapping about being sprung or his anaconda being #1 back when sales were reported by humans.
I tend to not be too big a fan of super-horny songs, but I respect Baby Got Back for fighting back against having to have a certain body type to be beautiful. The more comedic angle of the song probably also helped to make it more digestible.
771: This Used to Be My Playground (Madonna)
The theme from A League of Their Own that Madonna also acted in is a more downtempo and nostalgic song than the more erotic stuff she was putting out. It fits the film's theme while also being a bit generic.
The theme from A League of Their Own that Madonna also acted in is a more downtempo and nostalgic song than the more erotic stuff she was putting out. It fits the film's theme while also being a bit generic.
772: End of the Road (Boyz II Men)
For one-quarter of 1992, End of the Road was the #1 song in the nation. This broke the 10-week record set by Physical and You Light Up My Life. Yeah, SoundScan helped, but it's still a remarkable feat for a song to be that big for so long.
For one-quarter of 1992, End of the Road was the #1 song in the nation. This broke the 10-week record set by Physical and You Light Up My Life. Yeah, SoundScan helped, but it's still a remarkable feat for a song to be that big for so long.
I definitely hear the influence of stuff like Philly soul and Motown in this classic R&B hit, especially with the spoken-word bridge. The members take turn singing the verses but harmonize for the chorus, which makes the song significantly less monotonous on repeat hearings.
I think that's partly why End of the Road stayed at #1 for so long. It's not super saccharine but also not too anonymous. It's the type of song that can remain strong for so long without people getting as sick of it three months in.
773: How Do You Talk to an Angel (The Heights)
The Heights was a fictional band from a TV show that was so mediocre it barely lasted long enough to see its theme song hit #1. This sounds like your unremarkable but not awful middle-of-the-road rock song.
The Heights was a fictional band from a TV show that was so mediocre it barely lasted long enough to see its theme song hit #1. This sounds like your unremarkable but not awful middle-of-the-road rock song.
774: I Will Always Love You (Whitney Houston)
Boyz II Men's record didn't end up lasting long. Houston's smash hit spent 14 weeks at #1, selling over 20 million copies from a soundtrack album that sold 45 million, all of which are among the best of all-time.
Boyz II Men's record didn't end up lasting long. Houston's smash hit spent 14 weeks at #1, selling over 20 million copies from a soundtrack album that sold 45 million, all of which are among the best of all-time.
In The Bodyguard, Dolly Parton's original was to be played at the start of the film, while Houston would sing her own version at the end. The former's version was a big country hit (and made #1 on the country charts twice!), but it's hard not to think of the cover as more iconic.
And I think what makes this song work so well is that there's room for her voice to become more emotional over time. It starts soft and build up to a massive crescendo that few other people could match. If she started loud, it wouldn't nearly have had the same impact.
I hadn't heard the song before outside of that 5-second clip that crops up all the time. I thought it was an impressive chorus, but not earth-shattering as its fame implied. But now that I've listened to it in context, I think I understand it now.
By the way, we're now at the end of February 1993. We are going a lot faster, partially thanks to two of the last three songs combining to take up 27 weeks. I don't really mind that much; the prior few years had begun to feel like a drag at times.
775: A Whole New World (Peabo Bryson,Regina Belle)
This probably isn't the version most people are familiar with. This single has more of an R&B sound and is less showtunes-y than the Disney version we're used to, but it probably fits better on radio.
This probably isn't the version most people are familiar with. This single has more of an R&B sound and is less showtunes-y than the Disney version we're used to, but it probably fits better on radio.
776: Informer (Snow)
It's a reggae/hip-hop song recorded by a Canadian guy. The lyrics are incomprehensible, though there's something about a leaky boom-boom? Vanilla Ice was a punchline by 1993, so calling yourself Snow probably isn't the best PR.
It's a reggae/hip-hop song recorded by a Canadian guy. The lyrics are incomprehensible, though there's something about a leaky boom-boom? Vanilla Ice was a punchline by 1993, so calling yourself Snow probably isn't the best PR.
777: Freak Me (Silk)
The lyrics are quite explicit about how he's gonna have sex with her. I can't imagine record stores would have wanted to honestly report how much such a descriptively horny song would have sold, but the self-reporting days are over.
The lyrics are quite explicit about how he's gonna have sex with her. I can't imagine record stores would have wanted to honestly report how much such a descriptively horny song would have sold, but the self-reporting days are over.
778: That's the Way Love Goes (Janet Jackson)
Musical styles have shifted a bit since Rhythm Nation 1814, and so her next album janet. went in a more R&B-ish direction. Her first single, and especially video, served as an introduction to her more adult and sexual persona.
Musical styles have shifted a bit since Rhythm Nation 1814, and so her next album janet. went in a more R&B-ish direction. Her first single, and especially video, served as an introduction to her more adult and sexual persona.
This song spent the longest at #1 of any Jackson hit, at 8 weeks. It has a gender-flipped Marvin Gaye-type vibe to it, though obviously in a more modern style. It's definitely more seductive than a lot of the other sex songs that have come up lately.
779: Weak (SWV)
SWV were an R&B girl group that had a massive debut album, yet only one #1 hit. I think I would have enjoyed it more had I not been distracted by the programmed synth beat that was a bit too prominent and artificial-sounding.
SWV were an R&B girl group that had a massive debut album, yet only one #1 hit. I think I would have enjoyed it more had I not been distracted by the programmed synth beat that was a bit too prominent and artificial-sounding.
780: (I Can't Help) Falling in Love with You (UB40)
The original was a #2 hit for Elvis and one of my favorites by him. It doesn't work that well as a reggae dance-pop song, as the tenderness that made it so great doesn't really exist in this cover.
The original was a #2 hit for Elvis and one of my favorites by him. It doesn't work that well as a reggae dance-pop song, as the tenderness that made it so great doesn't really exist in this cover.
Something I missed from a couple songs ago: On May 29, 1993, the top 10 were entirely represented by Black artists for the first time (Janet Jackson, Silk, H-Town, SWV, Vanessa Williams, Brian McKnight, PM Dawn, Dr. Dre, Whitney Houston, Jade). R&B and hip-hop got big quickly.
781: Dreamlover (Mariah Carey)
Carey's third album's debut single leans more into R&B and contains an Emotions sample instead of merely being heavily inspired by them. It's a fine song, but I don't think it's one that's gonna stick out in my mind.
Carey's third album's debut single leans more into R&B and contains an Emotions sample instead of merely being heavily inspired by them. It's a fine song, but I don't think it's one that's gonna stick out in my mind.
782: I'd Do Anything for Love (But I Won't Do That) (Meat Loaf)
Listening to the 5-minute single version just feels wrong. At least the video is less incomplete and has a fairly high-budget Beauty and the Beast-inspired plot directed by Michael Bay.
Listening to the 5-minute single version just feels wrong. At least the video is less incomplete and has a fairly high-budget Beauty and the Beast-inspired plot directed by Michael Bay.
Bat Out of Hell II was a sequel 16 years in the making to the 14x Platinum original collaboration with Jim Steinman. The album version is a 12-minute Wagernian epic that's grandiose even by Steinman's standards. It's the best way to listen to it.
783: Again (Janet Jackson)
This is the closing song from Poetic Justice, which she sings to Tupac. It's a piano ballad, not her usual fare, but the rich instrumentation and her showing just enough emotion turns an otherwise album track into a hit single.
This is the closing song from Poetic Justice, which she sings to Tupac. It's a piano ballad, not her usual fare, but the rich instrumentation and her showing just enough emotion turns an otherwise album track into a hit single.
784: Hero (Mariah Carey)
Originally meant for Gloria Estefan for the film Hero, this is Carey's 8th #1 in three years. This song about how the hero within you toes the line between cheesy and inspirational, but it helps that she fully buys into it.
Originally meant for Gloria Estefan for the film Hero, this is Carey's 8th #1 in three years. This song about how the hero within you toes the line between cheesy and inspirational, but it helps that she fully buys into it.
785: All for Love (Bryan Adams, Sting, Rod Stewart)
1994 starts with another film song, renamed from "All for One" because that wouldn't "drop knickers in Kansas". Having 3 voices definitely makes the song a more interesting ballad than if it were solo.
1994 starts with another film song, renamed from "All for One" because that wouldn't "drop knickers in Kansas". Having 3 voices definitely makes the song a more interesting ballad than if it were solo.
786: The Power of Love (Céline Dion)
Dion already had 11 #1s in her native Quebec and was a Eurovision winner for Switzerland, but in the 90s she started singing in English. Her first US #1 is a big loud long ballad into which she pours a ton of emotion.
Dion already had 11 #1s in her native Quebec and was a Eurovision winner for Switzerland, but in the 90s she started singing in English. Her first US #1 is a big loud long ballad into which she pours a ton of emotion.
787: The Sign (Ace of Base)
Meanwhile, pop music has taken a different direction in Europe, going in a more dance and electronic direction. This song was a last-minute addition to the American release of the album. Once again, the Swedes make good music.
Meanwhile, pop music has taken a different direction in Europe, going in a more dance and electronic direction. This song was a last-minute addition to the American release of the album. Once again, the Swedes make good music.
788: Bump 'n Grind (R. Kelly)
I try to approach these songs from the point of view of that era. This usually means separating art from artist, as the bad stuff they do doesn't tend to publicly surface until after they're big. But I don't think I can do that with this song.
I try to approach these songs from the point of view of that era. This usually means separating art from artist, as the bad stuff they do doesn't tend to publicly surface until after they're big. But I don't think I can do that with this song.
The verdict is too fresh in my mind, the lyrics a bit too relevant for comfort, and I just had no exposure to his music previously. If it were a Hatsune Miku song, I might be able to see myself enjoying it, but I can't not associate Bump 'n Grind with child predator R. Kelly.
789: I Swear (All-4-One)
The prom song of everyone who was in high school in 1994, this cover of a country song stayed on top for 11 weeks. Unfortunately for All-4-One, their legacy is overshadowed by that of Boyz II Men, who was in the same contemporary R&B boy band lane.
The prom song of everyone who was in high school in 1994, this cover of a country song stayed on top for 11 weeks. Unfortunately for All-4-One, their legacy is overshadowed by that of Boyz II Men, who was in the same contemporary R&B boy band lane.
It's a perfectly listenable song, but it didn't exactly wow me. It's exactly the type of song that is just there in the background inoffensively, but not really getting in people's way. Could be worse, I guess.
790: Stay (I Missed You) (Lisa Loeb and Nine Stories)
Originally written because Loeb heard Daryl Hall needed new music, this is an acoustic breakup ballad. It's the type of song someone would try to do at a Starbucks but make it boring in the process.
Originally written because Loeb heard Daryl Hall needed new music, this is an acoustic breakup ballad. It's the type of song someone would try to do at a Starbucks but make it boring in the process.
791: I'll Make Love to You (Boyz II Men)
Boyz II Men's sophomore album, aptly named II, debuted at #1 while its lead single spent 14 weeks on top. It did one better than End of the Road and tied Whitney Houston's record and gave them a half-year at #1 in the span of two songs.
Boyz II Men's sophomore album, aptly named II, debuted at #1 while its lead single spent 14 weeks on top. It did one better than End of the Road and tied Whitney Houston's record and gave them a half-year at #1 in the span of two songs.
I'll Make Love to You has a lot of similarities to End of the Road, including alternating vocalists, but obviously with a more romantic bent. It's a fine song, but it's not as groundbreaking as I was honestly hoping for such a smash hit.
792: On Bended Knee (Boyz II Men)
For the first time since the Beatles, a group has replaced themselves at #1. They wanted Jam and Lewis to write them a song, and the pair noticed they didn't have a "beggin'" song about trying to get a girl back.
For the first time since the Beatles, a group has replaced themselves at #1. They wanted Jam and Lewis to write them a song, and the pair noticed they didn't have a "beggin'" song about trying to get a girl back.
793: Here Comes the Hotstepper (Ini Kamoze)
This song didn't take off in 1991, but the remixed version for the film Prêt-à-Porter finally dethroned Boyz II Men. It's a catchy reggae fusion song with a notable sample of Land of 1000 Dances.
This song didn't take off in 1991, but the remixed version for the film Prêt-à-Porter finally dethroned Boyz II Men. It's a catchy reggae fusion song with a notable sample of Land of 1000 Dances.
794: Creep (TLC)
We enter 1995 with a song about how she's gonna cheat because she caught his boyfriend cheating. Not the best advice, but the lyrics do match the more subtle production. I'm sure those silk pajamas were memorable at the time too.
We enter 1995 with a song about how she's gonna cheat because she caught his boyfriend cheating. Not the best advice, but the lyrics do match the more subtle production. I'm sure those silk pajamas were memorable at the time too.
795: Take a Bow (Madonna)
Her Erotica period caused a lot of backlash, so her follow-up is more subdued, at least by her standards. This song has a bit of an R&B influence, even being produced by Babyface. I'm not sure that style works as well for her.
Her Erotica period caused a lot of backlash, so her follow-up is more subdued, at least by her standards. This song has a bit of an R&B influence, even being produced by Babyface. I'm not sure that style works as well for her.
796: This Is How We Do It (Montell Jordan)
This song isn't quite hip-hop but it's also not fully new jack swing. It's about enjoying a night out, with a bit of flexing along the way. I actually enjoyed it a lot more than I though I would coming in.
This song isn't quite hip-hop but it's also not fully new jack swing. It's about enjoying a night out, with a bit of flexing along the way. I actually enjoyed it a lot more than I though I would coming in.
797: Have You Ever Really Loved a Woman? (Bryan Adams)
This is the big song for a film where Johnny Depp thinks he's Don Juan, so there's a Latin bent to an obviously Bryan Adams song. "See your unborn children in her eyes" is a weird lyric, though.
This is the big song for a film where Johnny Depp thinks he's Don Juan, so there's a Latin bent to an obviously Bryan Adams song. "See your unborn children in her eyes" is a weird lyric, though.
798: Waterfalls (TLC)
This song's about how the dangers of chasing life's pleasures, with verses that end with gang violence and AIDS. Despite that, the song has a great hook in the chorus and one of the better R&B melodies I've heard so far.
This song's about how the dangers of chasing life's pleasures, with verses that end with gang violence and AIDS. Despite that, the song has a great hook in the chorus and one of the better R&B melodies I've heard so far.
During Waterfalls 7-week run on top, TLC filed for bankruptcy, mostly due to a very unfavorable contract (~19 cents/member/album sold) and medical bills. In addition, a lot of expenses came out of their pocket, leaving them with barely any income despite their success.
799: Kiss from a Rose (Seal)
This song was written and recorded years prior and was released as a single and on two movie soundtracks before hitting #1 thanks to Batman Forever. Unsurprisingly, it doesn't sound too much like the R&B of this era.
This song was written and recorded years prior and was released as a single and on two movie soundtracks before hitting #1 thanks to Batman Forever. Unsurprisingly, it doesn't sound too much like the R&B of this era.
800: You Are Not Alone (Michael Jackson)
Jackson's 17th and final #1 (including the Jackson 5) is the first ever to debut on top. The music sounds kinda generic, but at least his vocals keep things somewhat interesting. Still, it's a bit disappointing.
Jackson's 17th and final #1 (including the Jackson 5) is the first ever to debut on top. The music sounds kinda generic, but at least his vocals keep things somewhat interesting. Still, it's a bit disappointing.
I was not around in the late 80s/early 90s when he hit historic highs and was the "King of Pop", so a lot of the promotion and the hype machine around his last 3 albums felt a bit tacky. I mean, the latest album art makes him look like he's some major, well, historical figure.
To me, Jackson from 1990 onward was him more coasting on his fame from creating groundbreaking music the prior two decades. Off the Wall and Thriller especially are extraordinarily influential albums, spawning many classics and essentially rewriting the rules of pop music.
There's also the elephant in the room. The first allegations were made public in 1993, and that does color the way I view his later music, especially since he addresses the media directly in his later songs. Him acting so pompous two years later just didn't sit right to me.
800B: I'll Be There for You (The Rembrants)
The One with No Single Released. The Friends theme spent 8 weeks atop the airplay charts but was ineligible for the Hot 100. Based off of Shiny Happy People, it's a rare rock song to get this popular back then.
The One with No Single Released. The Friends theme spent 8 weeks atop the airplay charts but was ineligible for the Hot 100. Based off of Shiny Happy People, it's a rare rock song to get this popular back then.
801: Gangsta's Paradise (Coolio feat. L.V.)
Sampling Stevie Wonder's Pastime Paradise, this song sends a strong message about how people are trapped in the cycle of poverty and the hood life. It's got some amazing hooks and really sticks in your head.
Sampling Stevie Wonder's Pastime Paradise, this song sends a strong message about how people are trapped in the cycle of poverty and the hood life. It's got some amazing hooks and really sticks in your head.
802: Fantasy (Mariah Carey)
Carey's debut single from Daydream debuted at #1, which isn't surprising given how big she was. This song more of an urban influence to it than her previous hits, and I do enjoy how she's evolving her music over time.
Carey's debut single from Daydream debuted at #1, which isn't surprising given how big she was. This song more of an urban influence to it than her previous hits, and I do enjoy how she's evolving her music over time.
She released a remix featuring Wu-Tang Clan's Ol' Dirty Bastard with more emphasis on the bass and a rap verse. It was a risky move at the time, as they were basically on opposite ends of the pop spectrum, but it would pave the way for similar collabs.
803: Exhale (Shoop Shoop) (Whitney Houston)
Another movie song, Houston's final #1 is a more typical R&B song, produced by Babyface. I'm not that fond of the chorus, but she does well in the verses, even if it's not as electrifying as her other hits.
Another movie song, Houston's final #1 is a more typical R&B song, produced by Babyface. I'm not that fond of the chorus, but she does well in the verses, even if it's not as electrifying as her other hits.
Whitney Houston is probably my favorite vocalist I've heard so far. She not only had a massive range, but she was able to effectively wield it without it coming across as phony. Some of the songs themselves weren't the best-written, but she turned them into things of beauty.
Whitney brought the sounds of R&B into mainstream pop, though she did get a lot of pushback for being "too pop" (which IMO seemed undeserved). Regardless, she paved the way for a full generation of female pop/R&B stars to come.
MJ and Whitney have had their final #1s in quick succession, and Janet Jackson's and Madonna's imperial phases are over (though Janet especially still has hits to come). So that leaves us with...
Ah.
Ah.
804: One Sweet Day (Mariah Carey, Boyz II Men)
It's the biggest pop artist and the biggest pop group working together. Rather unsurprisingly, it debuted at #1 and lasted there for 16 full weeks. Mariah had, with a single week's interruption, held the top spot for half a year.
It's the biggest pop artist and the biggest pop group working together. Rather unsurprisingly, it debuted at #1 and lasted there for 16 full weeks. Mariah had, with a single week's interruption, held the top spot for half a year.
It's a song about losing a loved one but knowing in the end they'll be reunited in heaven. Unlike many songs about loss I've heard, there's a message of hope which makes far more listenable. It's also authentic, as both artists were inspired by people they lost due to AIDS.
The verses allow Boyz II Men and Mariah Carey to show off their singing skills without stepping on each others' toes, while the choruses are big and like that of a gospel choir, appropriately enough. It's not a super complex song, but it's effective.
805: Because You Loved Me (Celine Dion)
This song seems to follow the 90s adult-contemporary formula but rather effectively, and it wound up topping those charts for 19 weeks. The song's produced and sung well, but it doesn't really do anything special.
This song seems to follow the 90s adult-contemporary formula but rather effectively, and it wound up topping those charts for 19 weeks. The song's produced and sung well, but it doesn't really do anything special.
806: Always Be My Baby (Mariah Carey)
Carey's 11th #1 (tying her with Whitney Houston and Madonna) is the classic "you're leaving but I know you'll come back", though if someone I were breaking up with said "you can't escape me", I'd wanna ran away fast.
Carey's 11th #1 (tying her with Whitney Houston and Madonna) is the classic "you're leaving but I know you'll come back", though if someone I were breaking up with said "you can't escape me", I'd wanna ran away fast.
So, like, was it a very 90s fashion for women to tie the front of their shirt in a knot to show some midriff? Because I've been seeing that a lot lately and I'm not sure evergreen that trend is.
807: Tha Crossroads (Bone Thugs-N-Harmony)
This song was originally about the family members the group had lost, but it would be dedicated to their hero and patron Easy-E of NWA after his death due to AIDS. (Man, that disease killed too many people in the early 90s.)
This song was originally about the family members the group had lost, but it would be dedicated to their hero and patron Easy-E of NWA after his death due to AIDS. (Man, that disease killed too many people in the early 90s.)
The song itself has a good flow, though I found the lyrics a bit hard to discern, which feels kinda important given how important they are to the song, IMO. The video's great, even if I did chuckle a bit when someone was wearing a Raiders cap in heaven.
808A: How Do U Want It (2Pac feat. K-Ci, JoJo)
Finally, someone rapping about how good he is with the MC talents to back it up. I'm far too white for this song, and it's a bit too explicitly sexual for my tastes, but I definitely appreciate it.
Finally, someone rapping about how good he is with the MC talents to back it up. I'm far too white for this song, and it's a bit too explicitly sexual for my tastes, but I definitely appreciate it.
808B: California Love (2Pac feat. Dr. Dre, Roger Troutman)
Whoever thought of putting a talkbox chorus on a rap song knew what they were doing. The Thunderdome music video's memorable, and of course Tupac can lay down a rap about the west side.
Whoever thought of putting a talkbox chorus on a rap song knew what they were doing. The Thunderdome music video's memorable, and of course Tupac can lay down a rap about the west side.
I was completely unfamiliar with Tupac's work, but from what I read, he got big due to more socially conscious raps and that his #1 double A-side isn't that representative of his work. If so, that's a shame, but now I do kinda want to check out more of his stuff.
809A: You're Makin' Me High (Toni Braxton)
Two double A-sides in a row! Is it just me, or is the drum track far too prominent on this song? The song's about being horny, which as I've mentioned several times isn't exactly my favorite topic in music.
Two double A-sides in a row! Is it just me, or is the drum track far too prominent on this song? The song's about being horny, which as I've mentioned several times isn't exactly my favorite topic in music.
809B: Let It Flow (Toni Braxton)
Originally from the Waiting to Exhale soundtrack, this song had gotten a ton of airplay before it got released on a single and was allowed to chart. It sounds like the R&B version of adult-contemporary, if that's a thing.
Originally from the Waiting to Exhale soundtrack, this song had gotten a ton of airplay before it got released on a single and was allowed to chart. It sounds like the R&B version of adult-contemporary, if that's a thing.
810: Macarena (Bayside Boys Mix) (Los Del Rio)
The Macarena is one of the longest-lasting pop hits, spending more than a year on the Hot 100 and 14 weeks at #1. It took three years for it to go from its original release to finally reaching the top of the charts in 1996.
The Macarena is one of the longest-lasting pop hits, spending more than a year on the Hot 100 and 14 weeks at #1. It took three years for it to go from its original release to finally reaching the top of the charts in 1996.
The remix was created because a Miami radio DJ wanted to play it, but wasn't allowed to because there were no English lyrics. It took two days to create, and includes verses from "Macarena" herself (who got paid a flat fee) and a bit more electronica.
Los Del Rio had been around for almost 35 years by the time the Macarena got big, and their Wikipedia article is incredibly sparse. None of their pre-Macarena albums are even listed on their page! Like, that's the sort of detail I'd expect from The Happy Organ's artist, not this.
Compared to the R&B that had been dominating the 90s, this is a much more fun song with a melody that is extremely infectious. And of course, it really helps that the dance is super easy to do, though apparently we're supposed to move our hips a lot more.
810b: I Love You Always Forever (Donna Lewis)
Meanwhile, Donna Lewis spent 9 weeks stuck at #2 with an ethereal voice that reminds me of Cyndi Lauper. If you thought the Macarena was catchy, this pop runner-up has an even bigger earworm.
Meanwhile, Donna Lewis spent 9 weeks stuck at #2 with an ethereal voice that reminds me of Cyndi Lauper. If you thought the Macarena was catchy, this pop runner-up has an even bigger earworm.
811: No Diggity (BLACKstreet feat. Dr. Dre)
This is a more melodic hip-hop song, outside of Dr. Dre's intro rap and Queen Pen's bridge. It's got a fairly good melody and a catchy hook, and I definitely feel like it wouldn't get too old too quickly.
This is a more melodic hip-hop song, outside of Dr. Dre's intro rap and Queen Pen's bridge. It's got a fairly good melody and a catchy hook, and I definitely feel like it wouldn't get too old too quickly.
812: Un-Break My Heary (Toni Braxton)
Toni Braxton can hit those low notes. I can't think of another #1 by a female vocalist that consistently gets that deep. The very slow R&B ballad was a smash hit, reaching #1 for 11 weeks in 1996/1997 and was her second and final #1.
Toni Braxton can hit those low notes. I can't think of another #1 by a female vocalist that consistently gets that deep. The very slow R&B ballad was a smash hit, reaching #1 for 11 weeks in 1996/1997 and was her second and final #1.
It seems like breakup songs have tended to be a bit more defiant or even in denial (see: Always Be My Baby), so it's nice to have one that's more vulnerable. It's not my type of music, but it's still put together very well.
812B: Killing Me Softly (Fugees)
The Fugees' cover was one of the best-selling songs of 1996, but was not available as a retail single (and couldn't chart). It keeps the tender vocals while adding a rap beat and setting the bar for melodic hip-hop.
The Fugees' cover was one of the best-selling songs of 1996, but was not available as a retail single (and couldn't chart). It keeps the tender vocals while adding a rap beat and setting the bar for melodic hip-hop.
812C: Don't Speak (No Doubt)
For 16 weeks, this alt rock song was the top airplay song, but again, no single release. Gwen Stefani has plenty of room to shine, but the instrumentation is strong enough to make it grander than your standard pop fare.
For 16 weeks, this alt rock song was the top airplay song, but again, no single release. Gwen Stefani has plenty of room to shine, but the instrumentation is strong enough to make it grander than your standard pop fare.
We're at the point where the Hot 100 is the least accurate it's ever been. 1/4th of the most-played hits in 1997 didn't get a single release and were excluded from the charts, all because record labels wanted to force people to spend $16 on an album instead of $2 on a single.
We're also reaching the point where R&B and hip-hop's stanglehold on the top of the charts starts to loosen. It's still really strong, but pop music is starting to become a bit more popular again. And yes, I know that's ironic, but words in genre names don't have real meaning.
This next song is the first one that I remember hearing when it was new, so we're finally at the point where I actually have some association with me growing up. That being said, I didn't listen to much pop as a kid, so I did miss a lot of stuff that was big.
The mid-90s were definitely a blind spot for me; I only knew 10 of the past 52 #1s. Somewhat unsurprisingly, I hadn't been exposed to a lot of R&B in my life. Still, I'm at 464/812 (or 5&%) overall, which I consider is fairly decent given they were all from before my time.
813: Wannabe (Spice Girls)
The Spice Girls were exact opposites from the US's hits in both music and image. The band was a brand and each member had their own personality. Wannabe itself wasn't immune to rap's influence, bit it's still very dance-pop.
The Spice Girls were exact opposites from the US's hits in both music and image. The band was a brand and each member had their own personality. Wannabe itself wasn't immune to rap's influence, bit it's still very dance-pop.
814: Can't Nobody Hold Me Down (Puff Daddy feat. Mase)
Meanwhile on the east coast, we have a song that heavily samples The Message, but doesn't have much of a message of its own. I tried giving it a try, but I couldn't find anything redeemable about it.
Meanwhile on the east coast, we have a song that heavily samples The Message, but doesn't have much of a message of its own. I tried giving it a try, but I couldn't find anything redeemable about it.
815: Hypnotize (The Notorious B.I.G.)
Biggie Small's sole #1 came after his murder in LA, just 6 months after his rival Tupac's. It's another rap song about how he gets all the girls, which is getting old. But at least he can rap better then Puff Daddy.
Biggie Small's sole #1 came after his murder in LA, just 6 months after his rival Tupac's. It's another rap song about how he gets all the girls, which is getting old. But at least he can rap better then Puff Daddy.
816: MMMBop (Hanson)
On the opposite end of the spectrum, we have a super teenpop song from the first millennials to reach #1. They didn't even bother to have lyrics in the chorus, but there are random DJ scratches. I guess they thought them to be cool.
On the opposite end of the spectrum, we have a super teenpop song from the first millennials to reach #1. They didn't even bother to have lyrics in the chorus, but there are random DJ scratches. I guess they thought them to be cool.
817: I'll Be Missing You (Puff Daddy, Faith Evans feat. 112)
This is a tribute to the Notorious B.I.G after his murder, from his producer and his wife. There's no allegory; the lyrics are Sean Combs talking about Christopher Wallace, but it was still #1 for 11 weeks.
This is a tribute to the Notorious B.I.G after his murder, from his producer and his wife. There's no allegory; the lyrics are Sean Combs talking about Christopher Wallace, but it was still #1 for 11 weeks.
I liked how they worked with the Police sample with its beat and their changing "I'll be watching you" to "missing". I also enjoy Diddy's rapping here a lot more than his previous #1. The circumstances were tragic, but at least it did produce good music.
818: Mo Money Mo Problems (The Notorious B.I.G feat. Puff Daddy, Mase)
This is almost more of a Puff Daddy song than a Notorious B.I.G. song, as he only raps one verse. Since the video hadn't been recorded before his death, they used archival footage.
This is almost more of a Puff Daddy song than a Notorious B.I.G. song, as he only raps one verse. Since the video hadn't been recorded before his death, they used archival footage.
819: Honey (Mariah Carey)
Carey continues her turn into a more hip-hop sound, working with Puff Daddy for a song that focuses more on beats than her vocals. The video is inspired by James Bond and reinforces how more explicitly sexual her music is now.
Carey continues her turn into a more hip-hop sound, working with Puff Daddy for a song that focuses more on beats than her vocals. The video is inspired by James Bond and reinforces how more explicitly sexual her music is now.
1997 was the year of Puff Daddy/P. Diddy/Diddy/Sean Combs. In a 28-week span, 25 of those had a song by him, featuring him, or produced by him be in the #1 spot. The only people who could interrupt him were a bunch of high-pitched teenagers from Oklahoma.
As a person who existed during the turn of the Millennium and heard their music all the time, I was shocked to learn that somehow the Backstreet Boys didn't have a single #1 hit. They did reach #2 once, with Quit Playing Games (with My Heart) but were held back by Honey.
820: 4 Seasons of Loneliness (Boyz II Men)
Muted vocals continue to be in vogue for Boyz II Men's final #1. It does them disservice, as their voices are generally their strong suit. The chorus going through the seasons is expected but still a highlight.
Muted vocals continue to be in vogue for Boyz II Men's final #1. It does them disservice, as their voices are generally their strong suit. The chorus going through the seasons is expected but still a highlight.
It is at this point we have to say goodbye to Motown. The label, especially in the 60s, helped popularise Black and soul music with the general populace. Dozens of #1s came from their Detroit (and later LA) studios, and their influence on music is unquestionable.
821A: Candle in the Wind 1997 (Elton John)
In August 1997, Princess Diana died in a car crash at age 36. Her good friend Elton John was encouraged to make a tribute song, so he got Bernie Taupin to rewrite the lyrics to his classic Candle in the Wind as a tribute.
In August 1997, Princess Diana died in a car crash at age 36. Her good friend Elton John was encouraged to make a tribute song, so he got Bernie Taupin to rewrite the lyrics to his classic Candle in the Wind as a tribute.
Candle in the Wind 1997 became the second-best selling single of all time with 33 million worldwide sales, behind only White Christmas. It was the first single to be certified diamond, and almost one-tenth of the population of the UK bought the CD.
24 years later, it's hard to imagine how big of a deal her death was. I was only 5 at the time and too young to fully grasp what was happening. Regardless, Elton John was able to sing an extraordinarily touching melody that a nation in mourning needed.
821B: Something About the Way You Look Tonight (Elton John)
Oh yeah, I guess the flip side was pretty popular too. It's a bright, upbeat song about being in love that hasn't really been that visible on the charts lately. It's a great change of pace.
Oh yeah, I guess the flip side was pretty popular too. It's a bright, upbeat song about being in love that hasn't really been that visible on the charts lately. It's a great change of pace.
Elton John absolutely dominated pop music in the mid-70s, but he has a storied career that lasts to this day. (Cold Heart is currently #14 and rising and has 250 million Spotify streams.) His catalogue is full of amazing songs from over a half-century and 32 albums of work.
822: Truly Madly Deeply (Savage Garden)
Unsurprisingly for a something with that name, it's very much a 90s teen-pop song. The vocals are nice and smooth, though overall it's a bit shallow and I'm sure I'd get sick of it if I heard it too many times.
Unsurprisingly for a something with that name, it's very much a 90s teen-pop song. The vocals are nice and smooth, though overall it's a bit shallow and I'm sure I'd get sick of it if I heard it too many times.
823: Together Again (Janet)
The Velvet Rope is Janet's most risque album to date, exploring topics from emotional boundaries to homosexuality. Naturally its sole #1 is one of its least offensive tracks, basically being One Sweet Day with a dance track.
The Velvet Rope is Janet's most risque album to date, exploring topics from emotional boundaries to homosexuality. Naturally its sole #1 is one of its least offensive tracks, basically being One Sweet Day with a dance track.
824: Nice & Slow (Usher)
This song spends most of its time being a standard slow R&B seduction song, but Usher inserts a rap on the bridge that fits in with the soft tone quite well. The most shocking thing about it is that it reveals he has a last name.
This song spends most of its time being a standard slow R&B seduction song, but Usher inserts a rap on the bridge that fits in with the soft tone quite well. The most shocking thing about it is that it reveals he has a last name.
I do love seeing how computers and technology have been showing up in these late-90s music videos. The end of Nice & Slow has a Microsoft Word window open with the title repeated a bunch of times, with margin bar and grammar check green squigglies included.
825: My Heart Will Go On (Céline Dion)
So Titanic was a movie that existed. Its big song has that big final chorus that's been memed to death, but it does work within the context of the power ballad, even if I Will Always Love You did it better.
So Titanic was a movie that existed. Its big song has that big final chorus that's been memed to death, but it does work within the context of the power ballad, even if I Will Always Love You did it better.
826: Gettin' Jiggy wit It (Will Smith)
It's the Fresh Prince. He's not trying to make a super-serious rap hit, but if you accept it as a fun dance/hip-hop song, then it's rather enjoyable. I feel like decent pop rap has been in short supply lately.
It's the Fresh Prince. He's not trying to make a super-serious rap hit, but if you accept it as a fun dance/hip-hop song, then it's rather enjoyable. I feel like decent pop rap has been in short supply lately.
827: All My Life (K-Ci, JoJo)
It's an R&B song but with simple lyrics about love that wouldn't be too off in a teen pop song. That's not a bad thing; the duo's harmonies add enough richness and it's nice to have a break from all the R&B horniness lately.
It's an R&B song but with simple lyrics about love that wouldn't be too off in a teen pop song. That's not a bad thing; the duo's harmonies add enough richness and it's nice to have a break from all the R&B horniness lately.
828: Too Close (Next)
Some songs are about making love to a partner. Others are about hooking up with someone. This song is about getting a boner while dancing with and grinding on a girl. "It's almost like we're sexing" is not exactly an amazing lyric.
Some songs are about making love to a partner. Others are about hooking up with someone. This song is about getting a boner while dancing with and grinding on a girl. "It's almost like we're sexing" is not exactly an amazing lyric.
829: My All (Mariah Carey)
This song's Latin sound was influenced by a trip to Puerto Rico, and Carey later revealed it was partially inspired by an affair she had with Derek Jeter. It's fine, but it doesn't really do anything special for me.
This song's Latin sound was influenced by a trip to Puerto Rico, and Carey later revealed it was partially inspired by an affair she had with Derek Jeter. It's fine, but it doesn't really do anything special for me.
829B: You're Still the One (Shania Twain)
Meanwhile, stuck at #2 for 9 weeks is Shania Twain's biggest crossover hit. There's definitely a country twang to it, but it also works as a strong soft rock hit that doesn't feel too slow or uninspired.
Meanwhile, stuck at #2 for 9 weeks is Shania Twain's biggest crossover hit. There's definitely a country twang to it, but it also works as a strong soft rock hit that doesn't feel too slow or uninspired.
829C: Torn (Natalie Imbruglia)
It's another big hit with tons of airplay but not released as a single! If this cover of a Danish song had come out a few years later, it might be classified as on the border of emo, but with more of an "indie rock" sound.
It's another big hit with tons of airplay but not released as a single! If this cover of a Danish song had come out a few years later, it might be classified as on the border of emo, but with more of an "indie rock" sound.
830: The Boy Is Mine (Brandy, Monica)
This is the longest-running #1 of 1998, being on top for 13 weeks in the summer. Obviously one would compare this to Michael Jackson and Paul McCartney's The Girl Is Mine, but (thankfully) it's not just a gender-flipped version.
This is the longest-running #1 of 1998, being on top for 13 weeks in the summer. Obviously one would compare this to Michael Jackson and Paul McCartney's The Girl Is Mine, but (thankfully) it's not just a gender-flipped version.
Brandy and Monica take their turn stating their case on a thumping bass track, and we end the song no closer to a resolution. It's cool to see the concept done well, and the overall production and the transitions between each vocal part is very smooth.
830A: Iris (Goo Goo Dolls)
Iris, from the City of Angels soundtrack, is one of the biggest alt-rock hits of the 90s, spending a full 18 weeks atop the airplay charts. But once again, like many of its alt-rock peers, it didn't get a retail single release, so it could not chart.
Iris, from the City of Angels soundtrack, is one of the biggest alt-rock hits of the 90s, spending a full 18 weeks atop the airplay charts. But once again, like many of its alt-rock peers, it didn't get a retail single release, so it could not chart.
The song's melodramatic, but it does fit with the theme of the film. The chorus is memorable, and the solo goes hard without overdoing it, especially for top 40 radio. It's basically the perfect recipe for a massive crossover smash.
Obviously, all these record labels refusing to release singles is really starting to delegitimise the Hot 100. For 29/30 weeks in mid-1998, the top airplay song wasn't on the charts. Finally, in December, Billboard caved and let in songs based solely on airplay.
831: I Don't Want to Miss a Thing (Aerosmith)
Aerosmith were big in the 70s, had drug issues, collabed with Run-DMC, got sober, and made a big comeback in the 90s. Naturally, this is a power ballad, but it's definitely in line with their later era songs.
Aerosmith were big in the 70s, had drug issues, collabed with Run-DMC, got sober, and made a big comeback in the 90s. Naturally, this is a power ballad, but it's definitely in line with their later era songs.
832: The First Night (Monica)
Monica's follow-up hit has a bit more of a hip-hop beat on it and a sample of Diana Ross' Love Hangover. She wants to sleep with him on the first date, but knows she shouldn't. The video does implies they don't do it.
Monica's follow-up hit has a bit more of a hip-hop beat on it and a sample of Diana Ross' Love Hangover. She wants to sleep with him on the first date, but knows she shouldn't. The video does implies they don't do it.
833: One Week (Barenaked Ladies)
The most celebrated Canadian alt-rock band of the mid-90’s hits #1 for one week with a stream-of-consciousness improvised rap that I've failed to sing along to many a time. It's not a super-serious song, but it's great.
The most celebrated Canadian alt-rock band of the mid-90’s hits #1 for one week with a stream-of-consciousness improvised rap that I've failed to sing along to many a time. It's not a super-serious song, but it's great.
834: Doo Wop (That Thing) (Lauryn Hill)
Lauryn Hill blends 60s and 90s sounds and great rapping talent in her solo debut. The message is clear and a big rebuke to the Puff Daddy lifestyle and what she sees as the more superficial aspects of her culture.
Lauryn Hill blends 60s and 90s sounds and great rapping talent in her solo debut. The message is clear and a big rebuke to the Puff Daddy lifestyle and what she sees as the more superficial aspects of her culture.
835: Lately (Divine)
I'm amazed at how little is written up about this teenaged trio. Wikipedia and AllMusic barely has anything. They just seemed to have dropped an album on an independent label, got a number 1 R&B song, and disappeared into the aether.
I'm amazed at how little is written up about this teenaged trio. Wikipedia and AllMusic barely has anything. They just seemed to have dropped an album on an independent label, got a number 1 R&B song, and disappeared into the aether.
836: I'm Your Angel (Céline Dion, R. Kelly)
It's been a while since I've heard a duet that felt like a record exec mix-and-matching two big pop stars, but we ring in 1999 with exactly that. Could we replace this with It's All Coming Back to Me Now? I'd rather talk about that.
It's been a while since I've heard a duet that felt like a record exec mix-and-matching two big pop stars, but we ring in 1999 with exactly that. Could we replace this with It's All Coming Back to Me Now? I'd rather talk about that.
837: Have You Ever? (Brandy)
Brandy's follow-up hit starts softly and gets louder throughout the song, but it isn't really adventurous enough to fully take off. It's a fine song, but I can't imagine it being one of the memorable hits of the era.
Brandy's follow-up hit starts softly and gets louder throughout the song, but it isn't really adventurous enough to fully take off. It's a fine song, but I can't imagine it being one of the memorable hits of the era.
838: ...Baby One More Time (Britney Spears)
From the explosive piano intro to the chorus to the schoolgirl video, Britney's debut is unignorable. It's tightly-produced and full of earworms, even if the lyrics don't have the best use of English.
From the explosive piano intro to the chorus to the schoolgirl video, Britney's debut is unignorable. It's tightly-produced and full of earworms, even if the lyrics don't have the best use of English.
1999 is a huge year for pop debuts. ...Baby One More Time was also the first #1 for Max Martin, the biggest writer/producer of the 21st century. He brought the Swedish style of melody first and fitting lyrics around it to American artists. And he's just the tip of the iceberg.
839: Angel of Mine (Monica)
It's an R&B ballad by someone who has a great command of her voice, so I'm entirely unsurprised to see it hit #1. I'm probably not gonna be motivated to actively seek it out, but I'd be totally fine hearing it on a playlist.
It's an R&B ballad by someone who has a great command of her voice, so I'm entirely unsurprised to see it hit #1. I'm probably not gonna be motivated to actively seek it out, but I'd be totally fine hearing it on a playlist.
840: Believe (Cher)
Cher, 35 years into her career and 25 after her last #1, returns with a new technology called Auto-Tune. It's a thumping dance-pop song with an alien-sounding voice that fits perfectly with its electronic Europop-influenced style.
Cher, 35 years into her career and 25 after her last #1, returns with a new technology called Auto-Tune. It's a thumping dance-pop song with an alien-sounding voice that fits perfectly with its electronic Europop-influenced style.
841: No Scrubs (TLC)
It's kind of TLC to invent a new slang word and extensively define and give examples of it. The chorus is memorable, though there's nothing wrong with not owning a car nowadays! The video meanwhile is 1999's version of futuristic.
It's kind of TLC to invent a new slang word and extensively define and give examples of it. The chorus is memorable, though there's nothing wrong with not owning a car nowadays! The video meanwhile is 1999's version of futuristic.
842: Livin' la Vida Loca (Ricky Martin)
She's a high-energy girl living the high life, and the song is appropriately bombastic and relentless. It's a wonderfully classic example of Latin crossover, and Martin opened the door for similar acts to follow.
She's a high-energy girl living the high life, and the song is appropriately bombastic and relentless. It's a wonderfully classic example of Latin crossover, and Martin opened the door for similar acts to follow.
On June 1st, 1999, a couple of Metallica fans, presumably not pleased at having to spend $16 on a CD, launched a little program called Napster. It, and others, would upend the music industry and cause the labels to desperately scramble to catch up to the new age of technology.
843: If You Had My Love (Jennifer Lopez)
J-Lo crosses over to music with a fairly danceable Latin/R&B song. The video's an interesting look into 1999's vision of technology, but you gotta give them credit for predicting "Just Chatting" Twitch streams.
J-Lo crosses over to music with a fairly danceable Latin/R&B song. The video's an interesting look into 1999's vision of technology, but you gotta give them credit for predicting "Just Chatting" Twitch streams.
844: Bills, Bills, Bills (Destiny's Child)
Their first chart-topper has a similar theme to No Scrubs, though it leans a bit more in the melodic hip-hop direction. I'm not sure if I love or hate the "automobills" pun, though it does fit the flow.
Their first chart-topper has a similar theme to No Scrubs, though it leans a bit more in the melodic hip-hop direction. I'm not sure if I love or hate the "automobills" pun, though it does fit the flow.
845: Wild Wild West (Will Smith feat. Dru Hill, Kool Mo Dee)
I get that Will Smith's trying to be an unserious rapper, but I don't think it lands that well here. Even the intro with baby Jaden makes the song come across as not his best work.
I get that Will Smith's trying to be an unserious rapper, but I don't think it lands that well here. Even the intro with baby Jaden makes the song come across as not his best work.
846: Genie in a Bottle (Christina Aguilera)
The Total Request Live era continues with a song about wanting to be treated properly before she would to do it. There's a bit more of an R&B influence compared to Britney, but there's still the catchy chorus.
The Total Request Live era continues with a song about wanting to be treated properly before she would to do it. There's a bit more of an R&B influence compared to Britney, but there's still the catchy chorus.
847: Ballamos (Enrique Iglesias)
The summer of Latin crossover dance-pop continues. The second song from Wild Wild West to reach #1 combines soft acoustic guitarwork with a loud chorus, and I do wonder if it's trying to be too many things at once.
The summer of Latin crossover dance-pop continues. The second song from Wild Wild West to reach #1 combines soft acoustic guitarwork with a loud chorus, and I do wonder if it's trying to be too many things at once.
848: Unpretty (TLC)
TLC's 4th and final #1 is about the importance of finding your own inner beauty. The tune itself isn't that special (minus the acoustic guitar), but I did appreciate how they made the video match the themes of the song.
TLC's 4th and final #1 is about the importance of finding your own inner beauty. The tune itself isn't that special (minus the acoustic guitar), but I did appreciate how they made the video match the themes of the song.
849: Heartbreaker (Mariah Carey feat. Jay-Z)
The most notable thing about this song is the #1 debut of rising star Jay-Z, though his ad-libs are annoying. Other than that, it's not that inventive a song, but that's probably because it's her 14th #1 hit.
The most notable thing about this song is the #1 debut of rising star Jay-Z, though his ad-libs are annoying. Other than that, it's not that inventive a song, but that's probably because it's her 14th #1 hit.
850: Smooth (Santana feat. Rob Thomas)
30 years after performing at Woodstock, Santana brings in the new millennium with their first #1. Matchbox Twenty's Thomas provides vocals to the Latin rock song. It spent 12 weeks at #1, 7 months in the top 10, and a year on the Hot 100.
30 years after performing at Woodstock, Santana brings in the new millennium with their first #1. Matchbox Twenty's Thomas provides vocals to the Latin rock song. It spent 12 weeks at #1, 7 months in the top 10, and a year on the Hot 100.
Rob Thomas' vocals definitely places the song in 1999/2000, but Carlos Santana's guitarwork would have fit in pretty much any decade in the past 50 years. The combination results in a song with enough technical ability and pop appeal to become a smash.
851: What a Girl Wants (Christina Aguilera)
It's like I'm listening to a high school version of early Mariah Carey. The clean lyrics do match her persona and I'm sure the TRL audience ate it up, but I feel as if I would rather listen to the real deal.
It's like I'm listening to a high school version of early Mariah Carey. The clean lyrics do match her persona and I'm sure the TRL audience ate it up, but I feel as if I would rather listen to the real deal.
852: I Knew I Loved You (Savage Garden)
I'm not sure what's so "savage" about this adult-contemporary song, and it features about the least-threatening half-step key change of all time. The video has a very unrealistic depiction of the NYC Subway.
I'm not sure what's so "savage" about this adult-contemporary song, and it features about the least-threatening half-step key change of all time. The video has a very unrealistic depiction of the NYC Subway.
853: Thank God I Found You (Mariah Carey feat. Joe, 98 Degrees)
Mariah Carey is joined by an R&B singer and an entire boy band, and it feels like it wants to go in too many directions yet doesn't really do much of anything and no one gets to show off.
Mariah Carey is joined by an R&B singer and an entire boy band, and it feels like it wants to go in too many directions yet doesn't really do much of anything and no one gets to show off.
Mariah Carey had managed to have a #1 hit every year from 1990 through 2000. The Beatles and Elvis are tied for second at a mere 7 consecutive years of chart-toppers. It's gonna be a long time before this record is challenged.
Fun fact, the current longest streak of years with a #1 hit is 3, shared by Mariah Carey (yes, for *that* song) and The Weeknd.
854: Amazed (Lonestar)
Garth Brooks and Shania Twain led the late-90s country crossover movement, but it was Lonestar who finally made #1 on the pop charts. And they did it with a slow, gloopy ballad that basically exists to be a slow-dance prom song.
Garth Brooks and Shania Twain led the late-90s country crossover movement, but it was Lonestar who finally made #1 on the pop charts. And they did it with a slow, gloopy ballad that basically exists to be a slow-dance prom song.
855: Say My Name (Destiny's Child)
The message is simple: Say her name on the phone to prove you aren't cheating. The hook is memorable, but the complex production, less-poppy verses, and colorful video add more than enough to make it a complete song.
The message is simple: Say her name on the phone to prove you aren't cheating. The hook is memorable, but the complex production, less-poppy verses, and colorful video add more than enough to make it a complete song.
856: Maria Maria (Santana feat. The Product G&B)
Santana's second #1 features a more hip-hop bent to their Latin style and had Wyclef Jean producing and even dropping a few bars. The mix of acoustic and electric works well (and the video did a fine job with the transitions).
Santana's second #1 features a more hip-hop bent to their Latin style and had Wyclef Jean producing and even dropping a few bars. The mix of acoustic and electric works well (and the video did a fine job with the transitions).
On the other hand, I wasn't so keen on the rapping. Carlos Santana got shouted out 6 times in a 4-minute video, which is just excessive. I also don't think the verses and the choruses mesh that well lyrically and it dilutes the message for me.
857: Try Again (Aaliyah)
The first #1 hit without a physical single release is an electronic R&B song from the film Romeo Must Die. The bassline is novel but a bit static-y, though it probably sounded a lot better in 2000 when it was still fresh.
The first #1 hit without a physical single release is an electronic R&B song from the film Romeo Must Die. The bassline is novel but a bit static-y, though it probably sounded a lot better in 2000 when it was still fresh.
858: Be with You (Enrique Iglesias)
Iglesias' second #1 is another Latin dance-pop song, with decent amount of Europop influence, especially around the choruses. It doesn't really stand out as a dance track to me, but it's not gonna kill the mood either.
Iglesias' second #1 is another Latin dance-pop song, with decent amount of Europop influence, especially around the choruses. It doesn't really stand out as a dance track to me, but it's not gonna kill the mood either.
859: Everything You Want (Vertical Horizon)
Welcome to post-grunge, which is basically alt-rock but sanitised enough to get airplay. This song about a Nice Guy just doesn't have a ton of edge to it, especially in the chorus.
(Photosensitivity warning)
Welcome to post-grunge, which is basically alt-rock but sanitised enough to get airplay. This song about a Nice Guy just doesn't have a ton of edge to it, especially in the chorus.
(Photosensitivity warning)
860: Bent (Matchbox Twenty)
Rob Thomas comes back from Smooth to get hit by a car in his band's video. It's a fine pop alt-rock song, though it doesn't really have any big hooks to make it something I'll remember in about 50 songs' time.
Rob Thomas comes back from Smooth to get hit by a car in his band's video. It's a fine pop alt-rock song, though it doesn't really have any big hooks to make it something I'll remember in about 50 songs' time.
861: It's Gonna Be Me (*NSYNC)
NSYNC's (somehow) sole #1 features a great chorus melody and memorable video with them as dolls. The lyrics haven't aged well, but I still generally like these types of boy-band songs (even if I were too young at the time).
NSYNC's (somehow) sole #1 features a great chorus melody and memorable video with them as dolls. The lyrics haven't aged well, but I still generally like these types of boy-band songs (even if I were too young at the time).
862: Incomplete (Sisqó)
This song just screams generic turn-of-the-century R&B from the programmed synth track to the standard racy "wanting a woman" lyrics. There's nothing special going on here and I don't know what else to say.
This song just screams generic turn-of-the-century R&B from the programmed synth track to the standard racy "wanting a woman" lyrics. There's nothing special going on here and I don't know what else to say.
863: Doesn't Really Matter (Janet)
This song comes from the Nutty Professor II soundtrack, in which she was the female lead. It's bubblier than The Velvet Rope, but it still has an enjoyable and catchy melody. Calling out stage directions is odd, though.
This song comes from the Nutty Professor II soundtrack, in which she was the female lead. It's bubblier than The Velvet Rope, but it still has an enjoyable and catchy melody. Calling out stage directions is odd, though.
864: Music (Madonna)
Her 12th and final #1 is a very disco-like and distorted electronic song that is hard to Google. The video has an in-character Ali G and a weird animated bridge. It's all rather experimental for 2000 and I'm here for it.
Her 12th and final #1 is a very disco-like and distorted electronic song that is hard to Google. The video has an in-character Ali G and a weird animated bridge. It's all rather experimental for 2000 and I'm here for it.
Madonna defined what it was to be a female pop star. She forged her own distinct persona and was never afraid to push the envelope while having the musical talent to back it up. Sometimes it didn't quite work out (see: her movies), but I have a lot of respect for her trying.
865: Come on Over Baby (All I Want Is You) (Christina Aguilera)
I'm growing increasingly convinced that she sounds like a Disney-fied version of Mariah Carey. That apparently worked well for the Total Request Live crowd, at least, and it's an okay song.
I'm growing increasingly convinced that she sounds like a Disney-fied version of Mariah Carey. That apparently worked well for the Total Request Live crowd, at least, and it's an okay song.
866: With Arms Wide Open (Creed)
I get what they're trying to do, but they didn't quite get the execution right, especially with how melodramatic the song is compared to the lyrics. I'm sure It'd get grating after a while, but I don't hate it.
I get what they're trying to do, but they didn't quite get the execution right, especially with how melodramatic the song is compared to the lyrics. I'm sure It'd get grating after a while, but I don't hate it.
Honestly, I was expecting something a lot more grating and awful given all the Creed memes. I think the bigger issue was that Human Clay was the 5th biggest album of the entire decade, so it was more inescapable than the quality of their music probably deserved.
867: Independent Women, Pt. 1 (Destiny's Child)
The most blatant film song to hit #1 since Ghostbusters still stands on its own merits. Destiny's Child continues to excel at asserting female empowerment, and "I depend on me" is a great lyric that leads straight into the chorus.
The most blatant film song to hit #1 since Ghostbusters still stands on its own merits. Destiny's Child continues to excel at asserting female empowerment, and "I depend on me" is a great lyric that leads straight into the chorus.
The song, their third chart-topper, stayed #1 for 11 weeks and into 2001. This was Farrah Franklin's debut, except that she left in between recording and the release, so the video features their most famous trio iteration.
868: It Wasn't Me (Shaggy feat. RikRok)
Apparently if you're caught cheating you're supposed to deny literally everything instead of, y'know, communicating. The flow of the song is quite good at least, though I wish the subject matter was better.
Apparently if you're caught cheating you're supposed to deny literally everything instead of, y'know, communicating. The flow of the song is quite good at least, though I wish the subject matter was better.
869: Ms. Jackson (OutKast)
OutKast's breakthrough hit has stellar rapping by Big Boi on the verses, a great hook, some unsettling instrumental effects, and a topic as heavy as divorce. Probably my favorite rap #1 since at least Gangsta's Paradise.
OutKast's breakthrough hit has stellar rapping by Big Boi on the verses, a great hook, some unsettling instrumental effects, and a topic as heavy as divorce. Probably my favorite rap #1 since at least Gangsta's Paradise.
870: Stutter (Joe feat. Mystikal)
The version that charted is a remix notably adding Mystikal's rap verse. Stuttering's not a good indication of lying; just ask Scatman John. Mystikal's far too yell-y here and it ruins an otherwise decent song for me.
The version that charted is a remix notably adding Mystikal's rap verse. Stuttering's not a good indication of lying; just ask Scatman John. Mystikal's far too yell-y here and it ruins an otherwise decent song for me.
871: Butterfly (Crazy Town)
His girlfriend's tongue ring and nipple piercings make him sprung. I've heard better lyrics in my life. I'm not super keen on the RHCP smaple either. The DARE shirt really dates the video to the late 90s/early 2000s.
His girlfriend's tongue ring and nipple piercings make him sprung. I've heard better lyrics in my life. I'm not super keen on the RHCP smaple either. The DARE shirt really dates the video to the late 90s/early 2000s.
872: Angel (Shaggy feat. Rayvon)
If you like Angel of the Morning and reggae fusion, you're in luck! The bassline comes from The Joker, and I enjoy the combination of samples. They play the chorus a ton, which is great if you want it stuck in your head.
If you like Angel of the Morning and reggae fusion, you're in luck! The bassline comes from The Joker, and I enjoy the combination of samples. They play the chorus a ton, which is great if you want it stuck in your head.
873: All for You (Janet)
Janet brings back a Chic-like disco beat in her 10th and final #1. It comes across as perfectly apt for a club, especially the bit about riding his package tonight. The video has a cool aesthetic and some great choreography.
Janet brings back a Chic-like disco beat in her 10th and final #1. It comes across as perfectly apt for a club, especially the bit about riding his package tonight. The video has a cool aesthetic and some great choreography.
Three years later, Janet was riding high and about to release Damita Jo when at the Super Bowl Justin Timberlake exposed her breast to half of America. In one of the most egregious crimes of the music industry, she took all of the blame and was more or less blacklisted.
It's a shame what had happened to someone who should be on the same level as Whitney or Madonna. Rhythm Nation 1814 is an amazing album and it's basically vanished from the cultural consciousness. None of her songs have 100 million Spotify listens and that's just wrong.
One footnote to all this: A couple of guys, being frustrated at trying to find video of the 2004 Super Bowl Halftime show, were inspired to create a video hosting site called YouTube. This would become very relevant in a decade or so.
874: Lady Marmalade (Christina Aguilera, Lil' Kim, Mýa, Pink)
Missy Elliott produces and cameos in this song, which tries to be this massively grand thing but ultimately stumbles under its own weight. I bet the video with the 4 in lingerie helped sales.
Missy Elliott produces and cameos in this song, which tries to be this massively grand thing but ultimately stumbles under its own weight. I bet the video with the 4 in lingerie helped sales.
875: U Remind Me (Usher)
Usher can't date a woman because she's too much like his cheating ex, and he admits that's "unfair". The vocals cut through loud and clear, which is perfect because he excels at them, and there's a nice hook in the chorus too.
Usher can't date a woman because she's too much like his cheating ex, and he admits that's "unfair". The vocals cut through loud and clear, which is perfect because he excels at them, and there's a nice hook in the chorus too.
876: Bootylicious (Destiny's Child)
I love Edge of Seventeen and its guitar riff, but in this case the sample overpowers the rest of the song. The video features them doing dances from several Michael Jackson songs and even has Stevie Nicks in the intro.
I love Edge of Seventeen and its guitar riff, but in this case the sample overpowers the rest of the song. The video features them doing dances from several Michael Jackson songs and even has Stevie Nicks in the intro.
877: Fallin' (Alicia Keys)
This is a rather minimalist song that almost could have come from the 70s soul era (Bill Withers comes to mind), especially with its lyrics. I enjoy how much Keys can get out of just two chords, even if it's not in A Minor.
This is a rather minimalist song that almost could have come from the 70s soul era (Bill Withers comes to mind), especially with its lyrics. I enjoy how much Keys can get out of just two chords, even if it's not in A Minor.
878: I'm Real (Jennifer Lopez feat. Ja Rule)
I appreciate the contrast between JLo's singing and Ja Rule's rapping, and it makes the song not sound too "soft". I say this despite the fact that I found him rather grating, especially at the beginning.
I appreciate the contrast between JLo's singing and Ja Rule's rapping, and it makes the song not sound too "soft". I say this despite the fact that I found him rather grating, especially at the beginning.
For those wondering how little 9/11 affected the pop music world, the #1 song 3 weeks after the Twin Towers collapse was in fact Fallin'.
879: Family Affair (Mary J. Bilge)
Wait, why is this called Family Affair when it's about getting crunk on the dancefloor? The lingo is very early 2000s, but more importantly it has a persistent beat and a great rap cadence that stops for nothing.
Wait, why is this called Family Affair when it's about getting crunk on the dancefloor? The lingo is very early 2000s, but more importantly it has a persistent beat and a great rap cadence that stops for nothing.
880: U Got It Bad (Usher)
I kept wanting this song to do something, but nothing really ever happened. It just feels like gloopy R&B Adult Contemporary. It also has one of the lamer guitar solos in a #1 song which does not help things at all.
I kept wanting this song to do something, but nothing really ever happened. It just feels like gloopy R&B Adult Contemporary. It also has one of the lamer guitar solos in a #1 song which does not help things at all.
881: How You Remind Me (Nickleback)
The last (?) rock #1 until 2008 and the 2nd #1 song of 2001 about reminding me was also the most-played song on the radio in the decade. The song is fine rock filler, but it's vague and doesn't really do anything.
The last (?) rock #1 until 2008 and the 2nd #1 song of 2001 about reminding me was also the most-played song on the radio in the decade. The song is fine rock filler, but it's vague and doesn't really do anything.
882: Always on Time (Ja Rule feat. Ashanti)
I'm sorry, you can't brag about having three hoes per car and then in the next verse accuse her of living a double life. She even has a restraining order! These are some of the worst lyrics I've heard so far.
I'm sorry, you can't brag about having three hoes per car and then in the next verse accuse her of living a double life. She even has a restraining order! These are some of the worst lyrics I've heard so far.
883: Ain't It Funny (Jennifer Lopez feat. Ja Rule)
Oh great, more Ja Rule. J-Lo is fine, though the song doesn't really do enough outside of featured verses which as you can tell I'm not super fond of here. This feels like such a waste of talent.
Oh great, more Ja Rule. J-Lo is fine, though the song doesn't really do enough outside of featured verses which as you can tell I'm not super fond of here. This feels like such a waste of talent.
Actually the biggest crime Ain't It Funny committed was that it prevented Linkin Park's In the End from reaching a deserved #1. Though ultimately, one of these songs has 26 million Spotify plays; the other 1.1 billion.
884: Foolish (Ashanti)
The singer keeps running back to an abusive relationship despite knowing it's bad. She has a beautiful voice, though the song does get repetitive after a while. And can we please stop with the credits at the song's beginning thing?
The singer keeps running back to an abusive relationship despite knowing it's bad. She has a beautiful voice, though the song does get repetitive after a while. And can we please stop with the credits at the song's beginning thing?
885: Hot in Herre (Nelly)
Let's not pretend: This song is entirely about its chorus. There's verses but they're disposable. The video stops for a sec while they sing The Roof Is on Fire, which appears to the the canonical reason for it being so hot.
Let's not pretend: This song is entirely about its chorus. There's verses but they're disposable. The video stops for a sec while they sing The Roof Is on Fire, which appears to the the canonical reason for it being so hot.
886: Dilemma (Nelly feat. Kelly Rowland)
Nelly replaces himself at #1, giving him the top spot for 14 consecutive weeks. The Destiny's Child member nails the chorus, and Nelly's performance here is generally better than in Hot in Herre's verses.
Nelly replaces himself at #1, giving him the top spot for 14 consecutive weeks. The Destiny's Child member nails the chorus, and Nelly's performance here is generally better than in Hot in Herre's verses.
I love how in the video Kelly's using Microsoft Excel to text Nelly, but I guess that's what people did in 2002. I'm very unfamiliar with rappers repping, but I was surprised to see a St. Louis-based guy wearing Mets and Harlem Globetrotters jerseys.
887: A Moment Like This (Kelly Clarkson)
So American Idol was a thing. This song was written for the finalists to sing, so it naturally is a bit generic. That being said, she has a lot of potential with her voice and she's not gonna be a one-time fad.
So American Idol was a thing. This song was written for the finalists to sing, so it naturally is a bit generic. That being said, she has a lot of potential with her voice and she's not gonna be a one-time fad.
888: Lose Yourself (Eminem)
Eminem had already made a name for himself with The Real Slim Shady and Without Me, but he he finally hits #1 for 12 weeks with an Oscar-winning song and one of the greatest rap songs of all time. I've even heard it on my local alt-rock radio station!
Eminem had already made a name for himself with The Real Slim Shady and Without Me, but he he finally hits #1 for 12 weeks with an Oscar-winning song and one of the greatest rap songs of all time. I've even heard it on my local alt-rock radio station!
The verses are a lyrical masterpiece. They have an almost-suffocating number of internal rhymes and aren't afraid to split thoughts between lines for effect while still telling the story of Rabbit from the semi-biographical 8 Mile.
There's also the tension throughout the song reflecting the anxiety of having one shot, one opportunity, and the fast beat also allows Eminem to showcase his rapping prowess. And of course, there's the big memorable hook in the chorus.
888B: Work It (Missy Elliott)
Meanwhile, Missy Elliott tied Foreigner's unfortunate record with 10 weeks at #2. She and Timbaland work in innovative production techniques, backtracked vocals, and unashamed female sexuality in a song ahead of its time.
Meanwhile, Missy Elliott tied Foreigner's unfortunate record with 10 weeks at #2. She and Timbaland work in innovative production techniques, backtracked vocals, and unashamed female sexuality in a song ahead of its time.
889: Bump, Bump, Bump (B2K feat. P. Diddy)
Here we have a song exclusively about wanting women to shaking their ass. There's not a lot of redeeming qualities here, and I'm not surprised it has been consigned to the dustbin of history.
Here we have a song exclusively about wanting women to shaking their ass. There's not a lot of redeeming qualities here, and I'm not surprised it has been consigned to the dustbin of history.
890: All I Have (Jennifer Lopez feat. LL Cool J)
Despite this being a breakup song, the two of them mesh very well together. It would be nice to have a bridge or something to make things a bit less monotonous, but it's not a bad song at all.
Despite this being a breakup song, the two of them mesh very well together. It would be nice to have a bridge or something to make things a bit less monotonous, but it's not a bad song at all.
891: In Da Club (50 Cent)
Oh, so that's where "Go X, it's your birthday" comes from. It doesn't try to be subtle; Mr. Cent is there to take X, have sex, and have as much fun as possible. Obviously it's club-focused, but it's not crunk, which I think should be arriving shortly.
Oh, so that's where "Go X, it's your birthday" comes from. It doesn't try to be subtle; Mr. Cent is there to take X, have sex, and have as much fun as possible. Obviously it's club-focused, but it's not crunk, which I think should be arriving shortly.
The video featured Dr. Dre and Eminem watching on 50 Cent in the club, which is a pretty decent endorsement for an up-and-coming rapper. The song has some great flow, even if some of the lyrics have aged rather poorly over the years.
Meanwhile, on April 28th, 2003, Apple released the iTunes Music Store, in which people could by any song they wanted for 99 cents. It would take a bit before it would have a noticeable impact on who got #1, but it marked the start of a new era of legal consumer-driven popularity.
I figured I'd have some more nostalgia with pop music over those past several years, but what elementary school me heard through cultural osmosis apparently wasn't what hit #1. I was familiar with only 16/79 songs since Wannabe, which has been about my average since the mid-80s.
892: Get Busy (Sean Paul)
Shaking one's butt continues to be a popular music trend, this time in a reggae fusion song with a voice that works fairly well for a club type of vibe. The video contains a minute of another song, which is a choice one made.
Shaking one's butt continues to be a popular music trend, this time in a reggae fusion song with a voice that works fairly well for a club type of vibe. The video contains a minute of another song, which is a choice one made.
893: 21 Questions (50 Cent feat. Nate Dogg)
There are in fact 21 questions posed in this song, counting the chorus once. It's fine, though it could use with a better hook. The video is trying to create a tough image despite this being a love song.
There are in fact 21 questions posed in this song, counting the chorus once. It's fine, though it could use with a better hook. The video is trying to create a tough image despite this being a love song.
894: This Is the Night (Clay Aiken)
The 2nd-place American Idol finisher beat out the season 2 champ on the charts. Rate Your Music claims it's the worst #1 of all-time, which just shows they have no idea what they're talking about. It's merely generic.
The 2nd-place American Idol finisher beat out the season 2 champ on the charts. Rate Your Music claims it's the worst #1 of all-time, which just shows they have no idea what they're talking about. It's merely generic.
895: Crazy in Love (Beyoncé feat. Jay-Z)
Beyoncé makes a triumphant entrance into the charts as a solo artist. The massive horns and memorable hooks make this song an unignorable pop hit. It's a blast to listen to and I'm hoping there's more like it.
Beyoncé makes a triumphant entrance into the charts as a solo artist. The massive horns and memorable hooks make this song an unignorable pop hit. It's a blast to listen to and I'm hoping there's more like it.
896: Shake Ya Tailfeather (Nelly, P. Diddy, Murphy Lee)
There's a lot going on here, but it results in chaos more than anything. It's from the Bad Boys II soundtrack, so of course there's lot of police sirens sampled, much to car listeners' annoyance.
There's a lot going on here, but it results in chaos more than anything. It's from the Bad Boys II soundtrack, so of course there's lot of police sirens sampled, much to car listeners' annoyance.
897: Baby Boy (Beyoncé feat. Sean Paul)
I like Beyoncé's singing here, I'm fine with Sean Paul's rapping, but the production on this song just seems off. I don't think the Arabian-style beat works here and it sounds as if the audio's clipping at parts.
I like Beyoncé's singing here, I'm fine with Sean Paul's rapping, but the production on this song just seems off. I don't think the Arabian-style beat works here and it sounds as if the audio's clipping at parts.
898: Stand Up (Ludacris feat. Shawnna)
More good times at the club! This song was produced by a fresh-faced Kanye West and has an appropriately thumping club beat. The video takes the verses literally, which results in some interesting scenes.
More good times at the club! This song was produced by a fresh-faced Kanye West and has an appropriately thumping club beat. The video takes the verses literally, which results in some interesting scenes.
899: Hey Ya! (OutKast)
This is a very upbeat, bubbly pop song with tons of hooks that hides some less-cheery lyrics. It has an unorthodox yet infectious beat and doesn't quite fit within a single genre, which help make its first two minutes some of the finest in pop.
This is a very upbeat, bubbly pop song with tons of hooks that hides some less-cheery lyrics. It has an unorthodox yet infectious beat and doesn't quite fit within a single genre, which help make its first two minutes some of the finest in pop.
Speakerboxxx/The Love Below is more or less a combination of two solo albums by each member of Outkast, and Hey Ya! came from Andre 3000's half. He played all the members of the fake band in the video, in which they do a "reverse British invasion".
900: The Way You Move (OutKast feat. Sleepy Brown)
OutKast supplanted itself at #1 with a Big Boi's track. The rap verses aren't musically complex, but it gives way to a big brassy soul chorus. Also, Big Boi doesn't know how to wield a lightsaber.
OutKast supplanted itself at #1 with a Big Boi's track. The rap verses aren't musically complex, but it gives way to a big brassy soul chorus. Also, Big Boi doesn't know how to wield a lightsaber.
901: Slow Jamz (Twista feat. Kanya West, Jamie Foxx)
A response to the faster, more club-based hip-hop and R&B, this song calls back to the era of Marvin Gaye, Luther Vandross, and co. Twista's fast rap is impressive, but doesn't quite fit the mood.
A response to the faster, more club-based hip-hop and R&B, this song calls back to the era of Marvin Gaye, Luther Vandross, and co. Twista's fast rap is impressive, but doesn't quite fit the mood.
902: Yeah! (Usher feat. Lil Jon, Ludacris)
So that's where that beat comes from. Crunk is here in full force with music that's somehow even more tailor-made for the club and a song that seems to exist mostly to carry the hook. I enjoy Ludacris' bridge changing things up a bit.
So that's where that beat comes from. Crunk is here in full force with music that's somehow even more tailor-made for the club and a song that seems to exist mostly to carry the hook. I enjoy Ludacris' bridge changing things up a bit.
Yeah was Usher's first single from Confessions, thanks to Lil Jon going around the record label and giving the track to DJs. It spent 12 weeks at #1, and I'm sure the beat got on people's nerves after a while, but that's always pop music for you.
Hip-hop and R&B dominated the charts in 2004 (there was a 3-week span when the top 10 was entirely Black), but right below them were stuff like Numb and My Immortal. You were either crunk or emo, with seemingly not a lot of room in between (unless you were Toxic).
903: Burn (Usher)
Usher replaced himself at #1, reaching 19 straight weeks on top. This song is a slower, more personal-sounding tune that's rather reminiscent of Ignition. It's a decent example of a tried-and-true R&B formula.
Usher replaced himself at #1, reaching 19 straight weeks on top. This song is a slower, more personal-sounding tune that's rather reminiscent of Ignition. It's a decent example of a tried-and-true R&B formula.
904: I Believe (Fantasia)
The only thing that could pause Usher domination of the charts was American Idol. These winning songs I've noticed tend to be upbeat, inspirational stuff, which makes sense for judging singers based on only a few listens.
The only thing that could pause Usher domination of the charts was American Idol. These winning songs I've noticed tend to be upbeat, inspirational stuff, which makes sense for judging singers based on only a few listens.
905: Confessions Part II (Usher)
Usher once again replaces himself at #1, with him confessing to his woman that he got someone else pregnant. It's an extremely smooth track and he comes across as genuine, thanks to both his vocals and the production.
Usher once again replaces himself at #1, with him confessing to his woman that he got someone else pregnant. It's an extremely smooth track and he comes across as genuine, thanks to both his vocals and the production.
906: Slow Motion (Juvenile feat. Soulja Slim)
This song is mostly notable for being a posthumous #1 after Soulja Slim's unsolved murder the previous year. Unfortunately the song itself, about having sex, doesn't really have anything going for it.
This song is mostly notable for being a posthumous #1 after Soulja Slim's unsolved murder the previous year. Unfortunately the song itself, about having sex, doesn't really have anything going for it.
907: Lean Back (Terror Squad)
It's a song whose lyrics seem to criticise the commercialisation and dance-y direction of hip-hip, but I could definitely see it being played in a club. The video is a bit awkward because they keep having to censor words.
It's a song whose lyrics seem to criticise the commercialisation and dance-y direction of hip-hip, but I could definitely see it being played in a club. The video is a bit awkward because they keep having to censor words.
908: Goodies (Ciara feat. Petey Pablo)
Just because you're rich doesn't mean she'll go home with you and show you her "goodies". Crunk continues to be be subgenre du jour, though this time the backing synth riff thingie quickly gets annoying.
Just because you're rich doesn't mean she'll go home with you and show you her "goodies". Crunk continues to be be subgenre du jour, though this time the backing synth riff thingie quickly gets annoying.
909: My Boo (Usher, Alicia Keys)
Confessions' fourth #1 is its weakest to me. The beat isn't really that great and it just doesn't really do that much interesting stuff. It seems like another example of wasted potential from a duet.
Confessions' fourth #1 is its weakest to me. The beat isn't really that great and it just doesn't really do that much interesting stuff. It seems like another example of wasted potential from a duet.
Confessions had the same #1s as albums such as Faith and Whitney, but it sets itself apart by being released in an era where half as many songs got to #1 in a year. Those four tracks gave Usher the top spot in the Hot 100 for 28 weeks in 2004, which I think is a record.
910: Drop It Like It's Hot (Snoop Dogg feat. Pharrell)
I keep thinking this song should not work, but it's so weirdly catchy, probably thanks to how minimalist it is. I think I can give it the Best Use of Tongue Clicks in the Beat of a #1 Song Award.
I keep thinking this song should not work, but it's so weirdly catchy, probably thanks to how minimalist it is. I think I can give it the Best Use of Tongue Clicks in the Beat of a #1 Song Award.
911: Let Me Love You (Mario)
We begin 2005 with an uncomplicated R&B ballad. Mario wants her to leave her (apparently cheating) boyfriend for him. It's a smooth song that's easy to listen to, but it doesn't really leave much of a lasting impression.
We begin 2005 with an uncomplicated R&B ballad. Mario wants her to leave her (apparently cheating) boyfriend for him. It's a smooth song that's easy to listen to, but it doesn't really leave much of a lasting impression.
912: Candy Shop (50 Cent feat. Olivia)
Some songs are meant to dance to, but for this one I think the intention is to grind on someone. It hasn't aged well, I don't think. I'm amused that words like "top" and "lick" had to be censored in the video.
Some songs are meant to dance to, but for this one I think the intention is to grind on someone. It hasn't aged well, I don't think. I'm amused that words like "top" and "lick" had to be censored in the video.
The unforgivable part about Candy Shop is that it prevented Boulevard of Broken Dreams and Since U Been Gone from reaching #1. Pop punk was a huge part of the early 2000s (but never hit #1), while Clarkson's teamup with Max Martin was a preview for the end of the decade.
913: Hollaback Girl (Gwen Stefani)
Motivated in part by spite towards Courtney Love, Stefani tries her hand at hip-hop. Some parts work well, but other hand lots of bits feel cringey. It does help somewhat that she's being very tongue-in-cheek.
Motivated in part by spite towards Courtney Love, Stefani tries her hand at hip-hop. Some parts work well, but other hand lots of bits feel cringey. It does help somewhat that she's being very tongue-in-cheek.
At this time, Billboard decided to make a separate "Pop 100" charts, because apparently not enough pop music was making the list of music that is popular? That plus "alternative" rock not being the alternative to anything anymore meant that genre names are just plain nonsensical.
914: We Belong Together (Mariah Carey)
Just when you thought the Mariah Carey era was over, she comes back with The Emancipation of Mimi and the biggest hit of the 2000s. Her R&B song about not getting over her ex spent 14 weeks at #1 and was her 16th chart-topper overall.
Just when you thought the Mariah Carey era was over, she comes back with The Emancipation of Mimi and the biggest hit of the 2000s. Her R&B song about not getting over her ex spent 14 weeks at #1 and was her 16th chart-topper overall.
It feels like a return to the stuff that made her big in the first place -- a simpler R&B track that gives her space to present her remarkable vocal range. Instead of going up a half-step at the end like so many other songs, she jumps a full octave.
915: Inside Your Heaven (Carrie Underwood)
Another year, another American Idol winner. I can definitely her potential as a strong country singer, even if the lyrics themselves aren't the greatest. But then again, that's not really her fault.
Another year, another American Idol winner. I can definitely her potential as a strong country singer, even if the lyrics themselves aren't the greatest. But then again, that's not really her fault.
916: Gold Digger (Kanye West feat. Jamie Foxx)
Coming from someone whose only experience with Ye was all the weird stuff that would make the news, I was excited to finally listen to a Kanye song. Turns out, I actually quite like Gold Digger, both in its production and rapping.
Coming from someone whose only experience with Ye was all the weird stuff that would make the news, I was excited to finally listen to a Kanye song. Turns out, I actually quite like Gold Digger, both in its production and rapping.
The Ray Charles interpolation pays off when the horns come in near the end, and there's the obvious contrast between Foxx's singing and Kanye's lyrics. He's got some good flow and great internal rhymes, and the song takes itself just unserious enough.
917: Run It! (Chris Brown)
Chris Brown was only 16 when he hit #1 (seriously, he's exactly a year younger than Adele) with a song about how he, as a 16-year-old, wants to steal a girl on the dancefloor. It's a song that exists.
Chris Brown was only 16 when he hit #1 (seriously, he's exactly a year younger than Adele) with a song about how he, as a 16-year-old, wants to steal a girl on the dancefloor. It's a song that exists.
918: Don't Forget About Us (Mariah Carey)
Mariah Carey ties Elvis' record of 17 #1s by a solo artist. This song is cut from the same cloth as We Belong Together, though it feels like there's a lot more potential with the right production.
Mariah Carey ties Elvis' record of 17 #1s by a solo artist. This song is cut from the same cloth as We Belong Together, though it feels like there's a lot more potential with the right production.
919: Laffy Taffy (D4L)
2006 is off to a rough start. Were they trying to make the beat bad on purpose? I would have believed it if someone told me this was meant to be a parody of the genre, because I can't take this song seriously.
2006 is off to a rough start. Were they trying to make the beat bad on purpose? I would have believed it if someone told me this was meant to be a parody of the genre, because I can't take this song seriously.
920: Grillz (Nelly feat. Paul Wall, Ali & Gipp)
A song devoted to the dental accessory is a refreshing change of pace from the usual topics, and it's quite decent to boot. They tried making a Clinton reference in 2006, but namedropped the wrong woman.
A song devoted to the dental accessory is a refreshing change of pace from the usual topics, and it's quite decent to boot. They tried making a Clinton reference in 2006, but namedropped the wrong woman.
921: Check on It (Beyoncé feat. Slim Thug)
Originally meant for the Pink Panther movie, it didn't make the final cut. The chorus suddenly stops being melodic after the first line, which ruins what could have been a cool hook.
(Photosensivity warning)
Originally meant for the Pink Panther movie, it didn't make the final cut. The chorus suddenly stops being melodic after the first line, which ruins what could have been a cool hook.
(Photosensivity warning)
922: You're Beautiful (James Blunt)
Man, the random f-bomb really kills the vibe of the song. I think I would be more fine with it if I didn't know there were better music of that genre around (looking at you, Coldplay), but it doesn't deserve the hate.
Man, the random f-bomb really kills the vibe of the song. I think I would be more fine with it if I didn't know there were better music of that genre around (looking at you, Coldplay), but it doesn't deserve the hate.
This is the first time since How You Remind Me at the end of 2001 that a white artist hit #1 with a song that wasn't hip-hop/R&B or thanks to American Idol -- a 40-song period over 4 years. I'm sure the streak-enders being universally panned songs has some significance.
923: So Sick (Ne-Yo)
He can't let go of a past relationship, and so is sick of love songs on the radio. The lyrics convey his emotional state very well, but his delivery just doesn't match. It sounds like he's singing your generic adult R&B song.
He can't let go of a past relationship, and so is sick of love songs on the radio. The lyrics convey his emotional state very well, but his delivery just doesn't match. It sounds like he's singing your generic adult R&B song.
924: Temperature (Sean Paul)
If you're So Sick, you tend to have a Temperature. This song is your standard dancehall track, though it's just so loud at times. I gotta say though, I'll be glad if and when pop music lyrics become less objectifying.
If you're So Sick, you tend to have a Temperature. This song is your standard dancehall track, though it's just so loud at times. I gotta say though, I'll be glad if and when pop music lyrics become less objectifying.
925: Bad Day (Daniel Powter)
This song got really popular when people kept setting failure montages to the chorus. It works best in 30-second bites, as it's such a saccharine song it grates after a while. The video is cheesy, but in an endearing way.
This song got really popular when people kept setting failure montages to the chorus. It works best in 30-second bites, as it's such a saccharine song it grates after a while. The video is cheesy, but in an endearing way.
926: SOS (Rihanna)
Rihanna's here! Her debut of many #1s also marks the return of dance-pop to the top of the charts. The Tainted Love sample provide great beats to groove to, and I appreciated all the 80s hits name-dropping.
Rihanna's here! Her debut of many #1s also marks the return of dance-pop to the top of the charts. The Tainted Love sample provide great beats to groove to, and I appreciated all the 80s hits name-dropping.
927: Ridin' (Chamillionaire feat. Krayzie Bone)
It's been a while since there's been some good social commentary, and it helps that they know how to lay down a rap verse. My main issue is that Krayzie *is* ridin' dirty, which cheapens the song a bit.
It's been a while since there's been some good social commentary, and it helps that they know how to lay down a rap verse. My main issue is that Krayzie *is* ridin' dirty, which cheapens the song a bit.
928: Hips Don't Lie (Shakira feat. Wyclef Jean)
This song was originally meant for a Fugees reunion before making its way to Shakira. Her chorus and dancing in the video is obviously memorable, but Wyclef Jean delivers a solid performance too.
This song was originally meant for a Fugees reunion before making its way to Shakira. Her chorus and dancing in the video is obviously memorable, but Wyclef Jean delivers a solid performance too.
929: Do I Make You Proud (Taylor Hicks)
So that's what Do I Creep You Out parodies. Another season of American Idol, another song with a decent vocalist featuring vague and generic lyrics that can be about winning a singing competition.
So that's what Do I Creep You Out parodies. Another season of American Idol, another song with a decent vocalist featuring vague and generic lyrics that can be about winning a singing competition.
930: Promiscuous (Nelly Furtado feat. Timbaland)
Timbaland continues to excel at production, but what really sets this song apart is the chemistry between the two of them. It's a rare treat for a club hit where the man and woman are presented as equals.
Timbaland continues to excel at production, but what really sets this song apart is the chemistry between the two of them. It's a rare treat for a club hit where the man and woman are presented as equals.
931: London Bridge (Fergie)
I get what "London Bridge" is supposed to be a euphemism for, but I have no idea how one would make that connection. The more fascinating thing here is its dance-popification of hip-hop which seems to be the latest big trend.
I get what "London Bridge" is supposed to be a euphemism for, but I have no idea how one would make that connection. The more fascinating thing here is its dance-popification of hip-hop which seems to be the latest big trend.
932: SexyBack (Justin Timberlake)
The boy band star has grown up and is a harbinger of the EDM sound that's gonna get big soon. This song is carried by the very distorted, electronic beat and vocals in another example of great Timbaland production.
The boy band star has grown up and is a harbinger of the EDM sound that's gonna get big soon. This song is carried by the very distorted, electronic beat and vocals in another example of great Timbaland production.
933: Money Maker (Ludacris feat. Pharrell)
Oh look, another club rap song about shaking one's ass. At least "money maker" is a better nickname than "laffy taffy". You guys were featured on Yeah! and Gold Digger, you can do better than this!
Oh look, another club rap song about shaking one's ass. At least "money maker" is a better nickname than "laffy taffy". You guys were featured on Yeah! and Gold Digger, you can do better than this!
934: My Love (Justin Timberlake feat. T.I.)
I enjoy the synth-heavy beats of this song, though the weird laughing doll type thing is a bit odd. The lyrics aren't the strongest, but ultimately the synth usage helps make this song feel more complete.
I enjoy the synth-heavy beats of this song, though the weird laughing doll type thing is a bit odd. The lyrics aren't the strongest, but ultimately the synth usage helps make this song feel more complete.
935: I Wanna Love You (Akon feat. Snoop Dogg)
I want to say this is the first #1 to have a censored title. There's an over-reliance on autotune for Akon's verses about how he wants to have sex with strippers in not the nicest of terms.
I want to say this is the first #1 to have a censored title. There's an over-reliance on autotune for Akon's verses about how he wants to have sex with strippers in not the nicest of terms.
936: Irreplaceable (Beyoncé)
On the complete opposite end of the spectrum of how women and men are treated in pop music, Beyoncé is kicking out a leeching and cheating boyfriend while feeling no remorse. Despite being released in October 2006, this song was the #1 hit of 2007.
On the complete opposite end of the spectrum of how women and men are treated in pop music, Beyoncé is kicking out a leeching and cheating boyfriend while feeling no remorse. Despite being released in October 2006, this song was the #1 hit of 2007.
Irreplaceable makes good use of a backing acoustic guitar and a singing style that reminds me of the vocal range showoffs of the early 90s. The "to the left" is a catchy intro that took on a life of its own outside the song.
937: Say It Right (Nelly Furtato)
This song has a very ethereal beat to it, which really separates it from the rest of pop music of its time. It's inspired by the Eurythmics' Here Comes the Rain Again, and I can hear it from how "distant" both sound.
This song has a very ethereal beat to it, which really separates it from the rest of pop music of its time. It's inspired by the Eurythmics' Here Comes the Rain Again, and I can hear it from how "distant" both sound.
938: What Goes Around...Comes Around (Justin Timberlake)
It's been a while since we've had an epic-length video, with ScarJo as his girlfriend here. I've been surprisingly impressed by FutureSex/LoveSounds three #1s, though this song does run a bit long.
It's been a while since we've had an epic-length video, with ScarJo as his girlfriend here. I've been surprisingly impressed by FutureSex/LoveSounds three #1s, though this song does run a bit long.
939: This Is Why I'm Hot (MIMS)
There's no way I could take this song seriously, and I assume one's not supposed to. It samples a bunch of recent rap songs (I think I recognised only Jesus Walks, though), but the title is prime meme material.
There's no way I could take this song seriously, and I assume one's not supposed to. It samples a bunch of recent rap songs (I think I recognised only Jesus Walks, though), but the title is prime meme material.
940: Glamorous (Fergie feat. Ludacris)
Fergie is singing about how she's living the high life, but still has Taco Bell drive-thru. Her dad gave her horrible advice about taking her "broke ass home." The song is surprisingly chill for a pop hit.
Fergie is singing about how she's living the high life, but still has Taco Bell drive-thru. Her dad gave her horrible advice about taking her "broke ass home." The song is surprisingly chill for a pop hit.
941: Don't Matter (Akon)
Combine Ignition (Remix), Bob Marley,and I Got You Babe sung with a very whiny voice and you get this song. The lyrics aren't the worst, except for the bit where it's been done to death and doesn't really add much.
Combine Ignition (Remix), Bob Marley,and I Got You Babe sung with a very whiny voice and you get this song. The lyrics aren't the worst, except for the bit where it's been done to death and doesn't really add much.
942: Give It to Me (Timbaland feat. Nelly Furtado, Justin Timberlake)
It's three of the current big names in music bragging about being on top of the scene. They can get away with it in 2007. I'm not a fan of Timberlake going after Janet Jackson, though.
It's three of the current big names in music bragging about being on top of the scene. They can get away with it in 2007. I'm not a fan of Timberlake going after Janet Jackson, though.
943: Girlfriend (Avril Lavigne)
The first song to hit 100 million YouTube views (Evolution of Dance got robbed) is the type of loud catchy pop that's gonna become really popular really quickly. It won't be mainstream quite yet, but I am here for it.
The first song to hit 100 million YouTube views (Evolution of Dance got robbed) is the type of loud catchy pop that's gonna become really popular really quickly. It won't be mainstream quite yet, but I am here for it.
Girlfriend also marked the #1 debut of Max Martin's protégé Dr. Luke. Yeah I know he kinda sucks as a person, but he's gonna be one of the key figures behind a lot of this sort of music and "pop's" comeback in the coming few years.
I'm still batting 20% in terms of "songs I was familiar with beforehand" (11/52 since last check-in; 491/943 total) despite the fact that we're up to the end of my sophomore year of high school. We are getting to the point where I couldn't not hear a lot of pop songs, though.
944: Makes Me Wonder (Maroon 5)
From Lavigne to Levine. Maroon 5's debut #1 is supposedly about the state of the country, so I guess *now* it's okay to protest Bush. The song's got a nice funk rock/electronic sound that meshes together rather well.
From Lavigne to Levine. Maroon 5's debut #1 is supposedly about the state of the country, so I guess *now* it's okay to protest Bush. The song's got a nice funk rock/electronic sound that meshes together rather well.
945: Buy U a Drank (Shawty Snappin') (T-Pain feat. Yung Joc)
T-Pain is the poster child of Auto-tune, probably because he can effectively use it as a musical style. The lyrics are otherwise generic, but the artificial vocals let the song stand out.
T-Pain is the poster child of Auto-tune, probably because he can effectively use it as a musical style. The lyrics are otherwise generic, but the artificial vocals let the song stand out.
946: Umbrella (Rihanna feat. Jay-Z)
Rihanna's breakout hit from Good Girl Gone Bad thrives off the strength of its catchy hooks in the chorus and all the -ellas. And she's only 19 at the time! Jay-Z's verse is entirely forgettable, though.
Rihanna's breakout hit from Good Girl Gone Bad thrives off the strength of its catchy hooks in the chorus and all the -ellas. And she's only 19 at the time! Jay-Z's verse is entirely forgettable, though.
947: Hey There Delilah (Plain White T's)
It could have been a sweet, romantic acoustic song except for the bit where the real Delilah had a boyfriend and didn't know the singer at all. It being played a zillion times at my Homecoming didn't help either.
It could have been a sweet, romantic acoustic song except for the bit where the real Delilah had a boyfriend and didn't know the singer at all. It being played a zillion times at my Homecoming didn't help either.
948: Beautiful Girls (Sean Kingston)
I really don't think the Stand By Me sample works for this song. "You have me suicidal" in the chorus doesn't seem to have aged super well, but then again it has 880 million views, so what do I know?
I really don't think the Stand By Me sample works for this song. "You have me suicidal" in the chorus doesn't seem to have aged super well, but then again it has 880 million views, so what do I know?
949: Big Girls Don't Cry (Fergie)
No relation to the Four Seasons, sadly. Of all the things I was expecting from Fergie, an acoustic ballad about breaking up was not one of them. She can pull it off fine enough, though it's not quite her strong suit.
No relation to the Four Seasons, sadly. Of all the things I was expecting from Fergie, an acoustic ballad about breaking up was not one of them. She can pull it off fine enough, though it's not quite her strong suit.
950: Crank That (Soulja Boy) (Soulja Boy Tell'em)
It's the other song that was played to death at my Homecoming dances. This song was notably produced cheaply, was self-published online, and was the first #1 since the Macarena to have its own dance.
It's the other song that was played to death at my Homecoming dances. This song was notably produced cheaply, was self-published online, and was the first #1 since the Macarena to have its own dance.
951: Stronger (Kanye West)
The Daft Punk sample is just so natural. Kanye is able to take Harder, Better, Faster, Stronger and create an entirely different vibe in the process of making a great song. It was only the 3rd #1 to become diamond certified.
The Daft Punk sample is just so natural. Kanye is able to take Harder, Better, Faster, Stronger and create an entirely different vibe in the process of making a great song. It was only the 3rd #1 to become diamond certified.
Amazingly, Stronger and Gold Digger are Kanye's only two #1s as a lead artist. I kinda figured given how much people talk about his next two albums something from there would have topped the charts, but I guess not. It's a bit of a shame because I was quite enjoying his stuff.
952: Kiss Kiss (Chris Brown feat. T-Pain)
This was one of four songs from four different lead artists featuring T-Pain in the top 10 at the same time. No clue if those phone numbers work, but I appreciate the Virginia shoutout.
This was one of four songs from four different lead artists featuring T-Pain in the top 10 at the same time. No clue if those phone numbers work, but I appreciate the Virginia shoutout.
953: No One (Alicia Keys)
I feel like it's been a while since we've had a straightforward R&B #1 hit (though I could be wrong). The lyrics are sappy, but it works in the context of the song, and there's nothing wrong with sappy once in a while.
I feel like it's been a while since we've had a straightforward R&B #1 hit (though I could be wrong). The lyrics are sappy, but it works in the context of the song, and there's nothing wrong with sappy once in a while.
954: Low (Flo Rida feat. T-Pain)
According to T-Pain, the woman with the Apple Bottom jeans and the boots with the fur (with the fur) is Flo Rida's type, while T-Pain prefers baggy sweatpants and the Reeboks with the straps. The latter outfit seems the easier one to get low in.
According to T-Pain, the woman with the Apple Bottom jeans and the boots with the fur (with the fur) is Flo Rida's type, while T-Pain prefers baggy sweatpants and the Reeboks with the straps. The latter outfit seems the easier one to get low in.
The less I think about the lyrics the better, but I can't deny that it's a club banger. T-Pain knows how to create an infectious hook and the beat prevents there being a dull moment. It would probably get old quick listening on the radio, though.
955: Love in This Club (Usher feat. Young Jeezy)
Usher's 8th #1 is a happy medium between a slow jam and a club anthem, with a very electronic beat. I am getting tired of how many songs are about seeking sexytimes in the club even if the tunes are fine.
Usher's 8th #1 is a happy medium between a slow jam and a club anthem, with a very electronic beat. I am getting tired of how many songs are about seeking sexytimes in the club even if the tunes are fine.
956: Bleeding Love (Leona Lewis)
American Idol's star may be fading, but that didn't stop the British X-Factor winner from having a US #1. It sounds exactly what I'd expect from 90s Mariah Carey, though with merely good instead of inhuman vocal feats.
American Idol's star may be fading, but that didn't stop the British X-Factor winner from having a US #1. It sounds exactly what I'd expect from 90s Mariah Carey, though with merely good instead of inhuman vocal feats.
957: Touch My Body (Mariah Carey)
Logically it makes sense, but Mariah Carey singing about YouTube and mentioning 802.11n just feels out of time. The video about a "CompuNerd" employee fantasizing about playing laser tag with her does feel dated, though.
Logically it makes sense, but Mariah Carey singing about YouTube and mentioning 802.11n just feels out of time. The video about a "CompuNerd" employee fantasizing about playing laser tag with her does feel dated, though.
And with that, after 18 years and 18 #1 singles, we have reached the end of the era of Mariah Carey. She has the most chart-toppers of any individual artist, surpassing Elvis and being within spitting distance of the Beatles themselves. All but one of those she at least co-wrote.
Having one of the most impressive vocal ranges in all of pop music certainly helps, but what set Carey apart from her peers was her ability to keep up or even set trends. She helped pioneer the idea of crossing over between pop, R&B, and hip-hop, as well as the guest rap verse.
958: Lollipop (Lil Wayne feat. Static Major)
This is the second time Hillary Clinton's been inexplicably namedropped in a #1. I'm sure glad Lil Wayne clarified "no homo" in case anyone thought he was gay for wanting to "touch your lovely lady lumps".
This is the second time Hillary Clinton's been inexplicably namedropped in a #1. I'm sure glad Lil Wayne clarified "no homo" in case anyone thought he was gay for wanting to "touch your lovely lady lumps".
959: Take a Bow (Rihanna)
This song was a bonus track from the reissue of Good Girl Gone Bad, presumably done by the label to milk sales. It's your standard R&B breakup song, and Rihanna's singing basically does all the work here.
This song was a bonus track from the reissue of Good Girl Gone Bad, presumably done by the label to milk sales. It's your standard R&B breakup song, and Rihanna's singing basically does all the work here.
960: Viva La Vida (Coldplay)
This song hit #1 thanks in part to a huge iTunes ad campaign. The strings here are absolutely gorgeous and are a refreshing change of pace in an electronic world (not that they're necessarily bad, but I miss the variety).
This song hit #1 thanks in part to a huge iTunes ad campaign. The strings here are absolutely gorgeous and are a refreshing change of pace in an electronic world (not that they're necessarily bad, but I miss the variety).
961: I Kissed a Girl (Katy Perry)
That's one way to pivot from gospel music. This is the type of song that would get a lot more buzz in mid-2008, and the loud, thumping, hooky chorus helped a lot. I hope you're ready for a lot more of this sort of stuff.
That's one way to pivot from gospel music. This is the type of song that would get a lot more buzz in mid-2008, and the loud, thumping, hooky chorus helped a lot. I hope you're ready for a lot more of this sort of stuff.
962: Disturbia (Rihanna)
On one hand, this is a dance-pop song with a catchy groove and electronic-sounding Auto-tuned vocals. On the other hand, it's about mental strife and the video is all about imprisonment and even has her limbs embedded in a wall.
On one hand, this is a dance-pop song with a catchy groove and electronic-sounding Auto-tuned vocals. On the other hand, it's about mental strife and the video is all about imprisonment and even has her limbs embedded in a wall.
963: Whatever You Like (T.I.)
T.I. is offering to be your sugar daddy. Ironically the Great Recession started when this song was #1. The sing-rap and the synth-strings on the beat are the highlights, though I must admit I prefer the Weird Al parody.
T.I. is offering to be your sugar daddy. Ironically the Great Recession started when this song was #1. The sing-rap and the synth-strings on the beat are the highlights, though I must admit I prefer the Weird Al parody.
964: So What (Pink)
Max Martin is so dedicated to have the lyrics fit the melody Jessica Simpson's name gets cut off. It's a loud, energetic song about Pink telling you she enjoys the newly single life with a chorus that everyone can sing along to.
Max Martin is so dedicated to have the lyrics fit the melody Jessica Simpson's name gets cut off. It's a loud, energetic song about Pink telling you she enjoys the newly single life with a chorus that everyone can sing along to.
In the late 70s, the poor economy caused people to seek escapism by going to discos with all their uptempo dance music. History's rhyming itself as the next few years will feature a lot of loud pop music about lots of partying and how you're having a good, good night.
965: Live Your Life (T.I. feat. Rihanna)
Rihanna singing over the melody of Dragostea Din Tei (and making it work well!) was not what I was expecting. The song has a big message of positivity, which I'm sure people really needed at that time.
Rihanna singing over the melody of Dragostea Din Tei (and making it work well!) was not what I was expecting. The song has a big message of positivity, which I'm sure people really needed at that time.
966: Womanizer (Britney Spears)
"Womanizer" is sung 47 times in 224 seconds (usually on the same note), and it no longer sounds like a word. Other than that, the electro-pop sound suits Britney, and the fake stuttering is rather effective in the chorus.
"Womanizer" is sung 47 times in 224 seconds (usually on the same note), and it no longer sounds like a word. Other than that, the electro-pop sound suits Britney, and the fake stuttering is rather effective in the chorus.
967: Single Ladies (Put a Ring on It) (Beyoncé)
The song commands attention immediately by telling all the single ladies to put their hands up, and the hooks just keep coming. The simplistic video's also iconic even if it infamously lost the 2009 VMAs.
The song commands attention immediately by telling all the single ladies to put their hands up, and the hooks just keep coming. The simplistic video's also iconic even if it infamously lost the 2009 VMAs.
968: Just Dance (Lady Gaga feat. Colby O'
Donis)
Lady Gaga's debut single kicks off 2009 with a heavily EDM-influenced song about having too many drinks while at the club. Today I learned she's not singing "red wine" in the intro but shouting out RedOne.
Donis)
Lady Gaga's debut single kicks off 2009 with a heavily EDM-influenced song about having too many drinks while at the club. Today I learned she's not singing "red wine" in the intro but shouting out RedOne.
969: My Life Would Suck Without You (Kelly Clarkson)
This song fits the typical pop formula of the era — electronic beats (though there are some guitars here), plus two versus that build into explosive choruses. It's at least executed reasonably well.
This song fits the typical pop formula of the era — electronic beats (though there are some guitars here), plus two versus that build into explosive choruses. It's at least executed reasonably well.
970: Crack a Bottle (Eminem, Dr. Dre, 50 Cent)
Eminem's verses here are just gross. No one needs to hear anyone rap about how cheese originating from one's nether regions. Not to mention, this song feels objectifying even for the 2000's standards.
Eminem's verses here are just gross. No one needs to hear anyone rap about how cheese originating from one's nether regions. Not to mention, this song feels objectifying even for the 2000's standards.
971: Right Round (Flo Rida)
Even hip-hop's taking cues from EDM. This song includes an uncredited Kesha and relies on the Dead or Alive sample. Unfortunately, it's yet another song about strippers at the club, because apparently we needed more of that.
Even hip-hop's taking cues from EDM. This song includes an uncredited Kesha and relies on the Dead or Alive sample. Unfortunately, it's yet another song about strippers at the club, because apparently we needed more of that.
972: Poker Face (Lady Gaga)
Gaga's follow-up single is a masterclass of getting one past the censors. Unlike Just Dance, she sets herself apart from the crowd though flirty female innuendo and knowing when to be electronic and when not to.
Gaga's follow-up single is a masterclass of getting one past the censors. Unlike Just Dance, she sets herself apart from the crowd though flirty female innuendo and knowing when to be electronic and when not to.
973: Boom Boom Pow (Black Eyed Peas)
Of all the mega-hit #1s, this one has to be the most out there. The Black Eyed Peas have gone full electro, and the lyrics and video are all about how they're so futuristic. The standard verse-chorus structure has been virtually disregarded.
Of all the mega-hit #1s, this one has to be the most out there. The Black Eyed Peas have gone full electro, and the lyrics and video are all about how they're so futuristic. The standard verse-chorus structure has been virtually disregarded.
Boom Boom Pow was #1 for 12 weeks, and it has a pulsating beat that pierces through any club. I find it hard to argue with will.i.am's production, and I have a lot of respect for pop acts that try something completely out there, at least compared to the mainstream.
On the other hand, what are those lyrics? Why are chickens jackin' Fergie's style? (Also, her voice in her verse doesn't really mesh with the rest of the song.) Dissing on someone for being two-thousand-and-late doesn't work for a song released in 2009!
974: I Gotta Feeling (Black Eyed Peas)
For a full half of 2009, the Black Eyed Peas held an iron grip on the top of the charts, as they replaced themselves at #1 and outdid themselves with a 14-week run for I Gotta Feeling. Their 6-month streak is a record to this day.
For a full half of 2009, the Black Eyed Peas held an iron grip on the top of the charts, as they replaced themselves at #1 and outdid themselves with a 14-week run for I Gotta Feeling. Their 6-month streak is a record to this day.
I Gotta Feeling is expertly designed for parties and clubs, filled with hooks and easy-to-sing-along-to lyrics. And of course, those people would be there to have a good, good night and paint the town. The lyrics are super simple and repetitive, but that's almost the point.
If you're listening to I Gotta Feeling at home hoping for good music, you'd be disappointed (and as someone who didn't get invited to college parties, that was me). But if it comes on during a night out, it fits the bill perfectly. Context matters a ton.
975: Down (Jay Sean feat. Lil Wayne)
This is the rare British hip-hop song to make it big in the States. It would be a fine, serviceable but forgettable track that quickly fades into the background, but then Lil Wayne does his verse of whatever that was.
This is the rare British hip-hop song to make it big in the States. It would be a fine, serviceable but forgettable track that quickly fades into the background, but then Lil Wayne does his verse of whatever that was.
976: 3 (Britney Spears)
Britney's 3rd #1 doesn't beat around the bush, but I really do wonder how often people call a three-way a "Peter, Paul, and Mary". The song's a bit heavy on the Auto-tune, which does her a bit of a disservice, IMO.
Britney's 3rd #1 doesn't beat around the bush, but I really do wonder how often people call a three-way a "Peter, Paul, and Mary". The song's a bit heavy on the Auto-tune, which does her a bit of a disservice, IMO.
977: Fireflies (Owl City)
So I didn't know that Owl City was just one guy. Adam Young made music on MySpace and he got noticed by the right people. It's an electronic song, but it still manages to elicit a warm feeling and an indie-pop mood.
So I didn't know that Owl City was just one guy. Adam Young made music on MySpace and he got noticed by the right people. It's an electronic song, but it still manages to elicit a warm feeling and an indie-pop mood.
978: Whatcha Say (Jason Derulo)
As far as I can tell this song is designed entirely to cash in on the Imogen Heap song, but only the sample's memorable. I can't decide if it's trying to be confessional or a grand piece with horns and Auto-tune aplenty.
As far as I can tell this song is designed entirely to cash in on the Imogen Heap song, but only the sample's memorable. I can't decide if it's trying to be confessional or a grand piece with horns and Auto-tune aplenty.
979: Empire State of Mind (Jay-Z, Alicia Keys)
We end the decade with a love letter to New York City, full of references. Jay-Z's rapping holds its own and reminds me of early-2000s stuff, but Keys' chorus steals the show and gives a sense of optimism.
We end the decade with a love letter to New York City, full of references. Jay-Z's rapping holds its own and reminds me of early-2000s stuff, but Keys' chorus steals the show and gives a sense of optimism.
980: Tik Tok (Ke$ha)
We start the decade like how we'll end it, with Tik Tok. The grand tradition of an infectious beat and a great song to dance to but rather questionable but memeable lyrics continues. But hey, I'll take silly over offensive any day.
We start the decade like how we'll end it, with Tik Tok. The grand tradition of an infectious beat and a great song to dance to but rather questionable but memeable lyrics continues. But hey, I'll take silly over offensive any day.
981: Imma Be (Black Eyed Peas)
And here I thought Womanizer was too repetitive. The quartet specifies they're a bee one hundred five times. apl.de.ap's verse is the sole standout on a song that doesn't do much to cover their big flaws.
And here I thought Womanizer was too repetitive. The quartet specifies they're a bee one hundred five times. apl.de.ap's verse is the sole standout on a song that doesn't do much to cover their big flaws.
982: Break Your Heart (Taio Cruz feat. Ludacris)
Ludacris was suggested to join in as an attempt to garner more attention, and only shows up for the intro and bridge. This song is firmly in the electro/dance-pop category, but it's super in-your-face.
Ludacris was suggested to join in as an attempt to garner more attention, and only shows up for the intro and bridge. This song is firmly in the electro/dance-pop category, but it's super in-your-face.
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