'80s No. 1 Rock Songs From Worst to Best

The ’80s started with holdovers from the earlier decade nonetheless holding sway, then shortly started to morph. Some of these first- and second-generation traditional rockers tailored to an period outlined by synthesizers, music movies and hairspray. But they had been quickly joined by new faces that bent and formed pop and rock in a brand new picture.

This winding musical journey performed out on the high of the Billboard Hot 100. The following countdown of ’80s No. 1 rock songs ranks all of them from worst to greatest.

We’re admittedly stretching the definition of “rock” with a few of these chart-toppers. But in every case, they had been singles by acts like Paul McCartney, Phil Collins, Heart and Chicago who’ve been credibly described as members of the traditional rock style – even when within the case of Starship, it is solely via a unfastened affiliation going again to Jefferson Airplane.

In some circumstances, these had been profession firsts. In others, they had been profession lasts. And some figures, like Collins, had been merely inescapable. Every one in every of these singles represents a memorable signpost, each for the artists themselves and on the broader musical panorama. So a lot in regards to the period is retold by these smash hits.

Which one was greatest? Here’s our record of ’80s No. 1 rock songs ranked from worst to greatest:

“We Are the World,” USA for Africa (1985)
Weeks at No. 1: 4

Great sentiment, in fact. But no person is popping this up.

“We Built This City,” Starship (1985)
Weeks at No. 1: 2

Told the premise of this tune, singer Grace Slick stated, “Oh, you’re shitting me. That’s the worst song ever!” She wasn’t fallacious.

“Ebony and Ivory,” Paul McCartney and Stevie Wonder (1982)
Weeks at No. 1: 7

Great sentiment, in fact. But no person is popping this up.

“When I’m With You,” Sheriff (1989)
Weeks at No. 1: 1

Still with out a hit tune and now flat broke, Arnold Lanni reportedly wrote this as a present for his future spouse. So principally, issues went from unhealthy to worse.

“A Groovy Kind of Love,” Phil Collins (1988)
Weeks at No. 1: 2

In the primary (however very a lot not the final) of his appearances on this record, Phil Collins transforms a enjoyable Carole Bayer Sager-written hit by the Mindbenders into mind-numbingly boring soundtrack ballad.

“Every Rose Has Its Thorn,” Poison (1988)
Weeks at No. 1: 3

Bret Michaels was at a Dallas laundromat when he discovered his girlfriend was dishonest on him. I’d somewhat watch his garments dry than pay attention to this.

“Nothing’s Gonna Stop Us Now,” Starship (1987)
Weeks at No. 1: 2

Somewhere, a white rabbit is uncontrollably weeping.

“Two Hearts,” Phil Collins (1989)
Weeks at No. 1: 2

Thankfully, Lamont Dozier labored with brothers Brian and Eddie Holland again within the Motown days, somewhat than “Two Hearts” collaborator Phil Collins. His complete profession may need been derailed.

“Can’t Fight This Feeling,” REO Speedwagon (1985)
Weeks at No. 1: 3

Sure you’ll be able to. It’s all about making use of your self.

“Separate Lives,” Phil Collins and Marilyn Martin (1985)
Weeks at No. 1: 1

Songwriter Stephen Bishop misplaced the Oscar for Best Original Song to Lionel Richie’s tune “Say You, Say Me,” one other horrible tune from White Nights movie.

“The Flame,” Cheap Trick (1988)
Weeks at No. 1: 2

Saddled with this tune by his label, guitarist (and most important songwriter) Rick Nielsen reportedly pulled the demo from a tape participant and crushed it beneath his boot heel. If solely that was the top of the story.

“Private Eyes,” Daryl Hall and John Oates (1981)
Weeks at No. 1: 2

The worst tune on their greatest album.

“These Dreams,” Heart (1986)
Weeks at No. 1: 1

Nancy Wilson was affected by a chilly when she sang this, making a extra rough-hewn vocal. After “These Dreams” turned their first No. 1 single, their new label reps at Capital reportedly requested: “Can’t you just get sick again?”

“Stuck With You,” Huey Lewis and the News (1986)
Weeks at No. 1: 3

One of these love songs that is probably not a love tune in any respect.

“We Didn’t Start the Fire,” Billy Joel (1989)
Weeks at No. 1: 2

Along the best way, Nazis commit genocide, John F. Kennedy is murdered, and nuclear annihilation looms. Finally, he exclaims “I can’t take it anymore!” – after referencing … the cola wars?

“Kokomo,” The Beach Boys (1988)
Weeks at No. 1: 1

What in the event you wrote a horrible Beach Boys pastiche and the Beach Boys really carried out it?

“Look Away,” Chicago (1988)
Weeks at No. 1: 3

Cheap Trick had been provided the selection of both “The Flame” or “Look Away.” They selected poorly.

“Bad Medicine,” Bon Jovi (1988)
Weeks at No. 1: 2

In the video, comic Sam Kinison hijacks the shoot in hopes of bettering on the same old “slop that we get from these glam-rock pretty boys.” Pity he could not have executed that with the tune, too.

“I Want to Know What Love Is,” Foreigner (1985)
Weeks at No. 1: 2

Lou Gramm argued with bandmate Mick Jones over credit score for this tune, with Jones in the end taking 100%. The better part is the New Jersey Mass Choir – they usually bought zero.

“I’ll Be There for You,” Bon Jovi (1989)
Weeks at No. 1: 1

Almost each tune on New Jersey was too lengthy, like Bon Jovi was making an attempt to make glam prog. Even with a minute lopped off on the only model, “I’ll Be There For You” overstays its welcome, too.

“Shakedown,” Bob Seger (1987)
Weeks at No. 1: 1

He’s a staple of traditional rock playlists, however his singles weren’t all the time that vast. (“Turn the Page,” as an example, did not chart in any respect.) So naturally, he lastly topped the charts with a tune that does not sound like Bob Seger in any respect.

“Alone,” Heart (1987)
Weeks at No. 1: 3

You’ll by no means persuade me this is not a Jim Steinman manufacturing.

“Here I Go Again,” Whitesnake (1987)
Weeks at No. 1: 1

Ironically, the video for this glam-metal breakup tune stars David Coverdale’s future ex-wife Tawny Kitaen.

“Love Bites,” Def Leppard (1988)
Weeks at No. 1: 1

Among different issues.

“Another Day in Paradise,” Phil Collins (1989)
Weeks at No. 1: 4

More proof that at this level, he might sing something and have a success – even lyrics that could be charitably described as painfully over-earnest.

“The Reflex,” Duran Duran (1984)
Weeks at No. 1: 2

Remixer extraordinaire Nile Rodgers knew simply what to do with Simon Lebon’s annoying “why-yi-yi-yi”: weaponize it for the dance flooring.

“When I See You Smile,” Bad English (1989)
Weeks at No. 1: 2

They had been approach higher than this prefab tune from an out of doors author. Trying to match (or actually, dwell down) this success proved to be the group’s undoing.

“One More Night,” Phil Collins (1985)
Weeks at No. 1: 2

Martin Scorsese used “One More Night” for the scene in The Color of Money the place Tom Cruise impresses Paul Newman whereas hustling individuals at a pool desk. Smart. The first single from No Jacket Required continued the sad-sack tone of Collins’ latest divorce-themed songs, when the album was principally stuffed with innocuous pop songs.

“St. Elmo’s Fire (Man in Motion),” John Parr (1985)
Weeks at No. 1: 2

This is one other a kind of moments – you, Chicago 16 – the place producer David Foster introduced in a bunch of ringers from Toto to guarantee a success. Unfortunately, Parr simply is not very attention-grabbing.

“Invisible Touch,” Genesis (1986)
Weeks at No. 1: 1

Plasticine rubbish, however simply so hummable.

“Hard to Say I’m Sorry,” Chicago (1982)
Weeks at No. 1: 2

Literally, extra members of Toto seem on this tune than members of Chicago.

“Amanda,” Boston (1986)
Weeks at No. 1: 2

What if Boston performed your highschool promenade?

“Jacob’s Ladder,” Huey Lewis and the News (1987)
Weeks at No. 1: 1

What if Huey Lewis and the News determined to get all critical?

“Maneater,” Daryl Hall and John Oates (1982)
Weeks at No. 1: 4

John Oates’ authentic demo had extra of a reggae really feel. Then Daryl Hall had the thought of ripping off the Supremes’ No. 1 smash “You Can’t Hurry Love.”

“Heaven,” Bryan Adams (1985)
Weeks at No. 1: 2

There’s actually not a lot occurring right here, then Steve Smith does one in every of his patented Journey drum fills. Then, not a lot begins occurring once more.

“Against All Odds (Take a Look at Me Now),” Phil Collins (1984)
Weeks at No. 1: 3

He nearly – however not fairly – saves it with some “In the Air Tonight”-style drumming.

“Eye of the Tiger,” Survivor (1982)
Weeks at No. 1: 6

Sylvester Stallone wished to use “Another One Bites the Dust” in Rocky III, however Queen stated no. So that is completely Queen’s fault.

“Footloose,” Kenny Loggins (1984)
Weeks at No. 1: 3

This sounded so immediately acquainted as a result of it is constructed on a basis from rock’s early period. Opening riff: Duane Eddy’s “Rebel Rouser.” Bass line: Little Richard’s “Good Golly Miss Molly.” Tempo: Chuck Berry’s “Johnny B. Goode.” In truth, “Footloose” was so overstuffed with concepts that they’d to hyperlink 4 24-track tape decks collectively to full the tune.

“Sussudio,” Phil Collins (1985)
Weeks at No. 2: 1

More plasticine rubbish. But additionally, so hummable.

“Mony Mony,” Billy Idol (1987)
Weeks at No. 1: 1

Two consecutive covers of Tommy James and the Shondells songs one way or the other went to No. 1 in 1987, starting with Tiffany’s gooey model of “I Think We’re Alone Now.” Stick with this one.

“The Tide Is High,” Blondie (1981)
Weeks at No. 1: 1

Debbie Harry apparently wished to document this cowl with the Specials because the their profession started to fade. The British ska revivalists stupidly turned her down, and by no means scored a Hot 100 hit.

“Tell Her About It,” Billy Joel (1983)
Weeks at No. 1: 1

Pproducer Phil Ramone hit No. 1 the week earlier than with Michael Sembello’s “Maniac,” and that gives necessary perspective when making an attempt to type out why this well-meaning Motown tribute felt so plastic.

“Say Say Say,” Paul McCartney and Michael Jackson (1983)
Weeks at No. 1: 6

The video, the place these two play hucksters, felt revealing. They knew this was garbage, and that you just’d purchase it anyway.

“Abracadabra,” Steve Miller Band (1982)
Weeks at No. 1: 2

He was reportedly touring abroad when the video for this synthy ploy for an ’80s hit was shot, and so would not seem. How becoming.

“Livin’ on a Prayer,” Bon Jovi (1987)
Weeks at No. 1: 4

Basically a parody of Bruce Springsteen, however with a chat field.

“Rapture,” Blondie (1981)
Weeks at No. 1: 2

That trash disco beat is so nice that you would be able to forgive a bizarre rap a few man from Mars and his wholesome urge for food for automobiles, guitars and, properly, you.

“Addicted to Love,” Robert Palmer (1986)
Weeks at No. 1: 1

Model Kathy Davies, seen right here miming the drums, later admitted that she spent most of this shoot merely looking at Robert Palmer’s ass.

“Out of Touch,” Daryl Hall and John Oates (1984)
Weeks at No. 1: 2

Everything gave the impression of this in 1984, in order that they joined in. Kind of like the best way they lastly realized to play that big drum.

“Roll With It,” Steve Winwood (1988)
Weeks at No. 1: 4

He was making an attempt just a little too onerous to make one thing that had the chicken-fried grit of Jr. Walker and the All Stars’ “(I’m a) Road Runner.” Composers Holland-Dozier-Holland ended up getting retroactive co-writing credit for “Roll With It,” too.

“La Bamba,” Los Lobos (1987)
Weeks at No. 1: 3

They’d develop into one thing else completely, however Los Lobos was as soon as merely a ubiquitous native marriage ceremony band. You can hear echoes of that of their straight-forward professionalism with this cowl. The authentic has far more fireplace.

“Keep On Loving You,” REO Speedwagon (1981)
Weeks at No. 1: 1

That refrain is so massive that they by no means even get round to a second verse.

“It’s Still Rock and Roll to Me,” Billy Joel (1980)
Weeks at No. 1: 2

So, to recap: Billy Joel says he will not change his model to match the instances, really adapts his model to match the instances, and earns his first No. 1 single.

“A View to a Kill,” Duran Duran (1985)
Weeks at No. 1: 2

This band had cut up into two camps for some time, forming Power Station and Arcadia. When they bought again collectively, Duran Duran instantly sounded just like the Power Station – solely not nearly as good.

“Coming Up (Live at Glasgow),” Paul McCartney (1980)
Weeks at No. 1: 3

Paul McCartney put out two self-titled solo recordings. Both of them produced Top 10 hits, however solely after the songs had been carried out dwell by Wings.

“You Give Love a Bad Name,” Bon Jovi (1986)
Weeks at No. 1: 1

The entire glam-metal factor? It begins proper right here.

“The Power of Love,” Huey Lewis and the News (1985)
Weeks at No. 1: 2

Chris Hayes opens his guitar solo with a bend clearly swiped from their opening act, Stevie Ray Vaughan.

“Centerfold,” The J. Geils Band (1982)
Weeks at No. 1: 6

Before this, most important songwriter Seth Justman stated the J. Geils Band by no means employed synths as a result of they could not afford to purchase one. The belated buy actually paid off.

“Got My Mind Set on You,” George Harrison (1988)
Weeks at No. 1: 1

George Harrison really got here to America earlier than the Beatles did, stopping in to see his older sister in 1963 at her dwelling exterior St. Louis. One of the albums he purchased throughout this go to included James Ray’s cowl of “Got My Mind Set On You” by Rudy Clark.

“Shout,” Tears for Fears (1985)
Weeks at No. 1: 3

This non-specific protest tune clearly had one very particular purpose: Filling dance flooring. It’s principally simply the identical hook, over and over and over.

“Kiss on My List,” Daryl Hall and John Oates (1981)
Weeks at No. 1: 3

Hall and Oates created a demo of this tune for as a information for its co-writer, as soon as an aspiring pop star. Then label execs insisted the tough draft of “Kiss On My List” seem on Voices. They had been proper.

“Missing You,” John Waite (1984)
Weeks at No. 1: 1

“Missing You” knocked “What’s Love Got to Do With It” out of the No. 1 slot, however Tina Turner clearly had no onerous emotions. She later lined it.

“Africa,” Toto (1983)
Weeks at No. 1: 1

Kilimanjaro is nowhere close to the Serengeti, however “Africa” is an thought tune, not a travelogue. Its deep sense of craving has helped Toto transcend a long time of unfair mockery. And that rhythm monitor, in fact.

“Crazy Little Thing Called Love,” Queen (1980)
Weeks at No. 1: 4

Freddie Mercury, whose rudimentary guitar work fashioned the fundamental monitor, later admitted that “Crazy Little Thing Called Love” was “not typical of my work, but that’s because nothing is typical of my work.” Another style left flip for Queen offered their first American chart-topper.

“I Love Rock ‘n’ Roll,” Joan Jett and the Blackhearts (1982)
Weeks at No. 1: 7

All the very best covers supply new perspective on a well-known tune. This is definitely a kind of.

“Sweet Child o’ Mine,” Guns N’ Roses (1988)
Weeks at No. 1: 2

The first No. 1 listed on the primary publication of the Billboard Hot 100 was “Poor Little Fool,” a tune written by Sharon Sheeley about Don Everly of the Everly Brothers. Some 30 years later, the No. 1 tune on the Hot 100 was “Sweet Child o’ Mine,” a tune about Don’s daughter, Erin Everly.

“Jump,” Van Halen (1984)
Weeks at No. 1: 5

For the tune, Eddie Van Halen’s fats keyboard riff carries the tune in a approach David Lee Roth’s vocals by no means might. But the video, set on a naked stage and with totally no plot, can be nothing with out Roth’s cheeky stage presence.

“Jack & Diane,” John Mellencamp (1982)
Weeks at No. 1: 4

Taking his cue from “In the Air Tonight,” John Mellencamp requested his drummer for an enormous drum break. Kenny Aronoff had been within the breakroom, worrying over his job safety for the reason that tune in any other case employs a then-new Linn LM-1 drum machine.

“Need You Tonight,” INXS (1988)
Weeks at No. 1: 1

Andrew Farriss was heading out for a flight to meet Michael Hutchence for a writing session when this riff got here to him. He ran again into the home to make a fast recording whereas the cab driver waited. Hope he bought an unbelievable tip.

“Higher Love,” Steve Winwood (1986)
Weeks at No. 1: 1

Steve Winwood wasn’t a brand new face, however this setting (name it Beer Commercial Yuppie Blues Rock) definitely was – and for a short time, Winwood was its full personification.

“Call Me,” Blondie (1980)
Weeks at No. 1: 6

Screenwriter Paul Schrader confirmed Debbie Harry a tough reduce of American Gigolo as a type of inspiration. She’d fully inhabit the glitzy salaciousness that surrounds our introduction to Richard Gere’s character, kicking off the ’80s in model.

“I Still Haven’t Found What I’m Looking For,” U2 (1987)
Weeks at No. 1: 2

“I Still Haven’t Found What I’m Looking For” was a tune of nice surprise and curiosity, delivered simply earlier than U2’s curiosity in Americana devolved into fetish. Soon, they’d be discovered on stage utilizing Harlem’s New Voices of Freedom choir as a Foreigner-esque prop.

“I Can’t Go for That (No Can Do),” Daryl Hall and John Oates (1982)
Weeks at No. 1: 1

Daryl Hall bumped into Michael Jackson a number of years later on the session for “We Are the World.” “He came up,” Hall stated in a radio interview, “and he said, ‘Hey, man, I hope you’re okay with that. You know, I stole ‘No Can Do’ for ‘Billie Jean.'”

“Owner of a Lonely Heart,” Yes (1983)
Weeks at No. 1: 2

Trevor Horn used an uncleared pattern of a drum breakdown from “Kool Is Back” from an obscure group known as Funk Inc. to give this tune its preliminary propulsion. Then Yes appeared on “Owner of a Lonely Heart” sampled about one million instances. Kismet.

“(Just Like) Starting Over,” John Lennon (1980)
Weeks at No. 1: 5

“(Just Like) Starting Over” was already on the charts when a deranged fan shot John Lennon within the again. A tune of renewal turned one thing else completely: the fourth posthumous tune to hit No. 1 on the Hot 100.

“Money for Nothing,” Dire Straits (1985)
Weeks at No. 1: 3

So a tune complaining about MTV and posh rock stars turns into the best-known promo for MTV with a visitor look by a complicated rock star. Got it.

“Let’s Dance,” David Bowie (1983)
Weeks at No. 1: 1

Nothing about this triumph is sensible, not David Bowie working with Nile Rodgers of Chic recreation, not Stevie Ray Vaughan offering a scorching solo, and undoubtedly not Bowie miming that solo the place white gloves.

“Everybody Wants to Rule the World,” Tears for Fears (1985)
Weeks at No. 1: 2

Like “Shout,” this tune allows you to fill in your personal blanks when it comes to which means. Unlike “Shout,” “Everybody Wants to Rule the World” is sneaky nice, revealing itself in miniature the place Tears for Fears as soon as clubbed you over the top.

“Another One Bites the Dust,” Queen (1980)
Weeks at No. 1: 3

Queen clearly took inspiration from Chic’s “Good Times” then noticed “Another One Bites the Dust” take over No. 1 from “Upside Down” the Diana Ross single written and produced by Chic’s Nile Rodgers and Bernard Edwards.

“Don’t You (Forget About Me),” Simple Minds (1985)
Weeks at No. 1: 1

It took a very long time to persuade Simple Minds to document this cowl tune for a soundtrack, and even as soon as they’d lastly agreed, Jim Kerr wished to do some work on the lyrics. He sang “la-la-la” via the outro as a placeholder, hoping to enhance on issues later. But producer Keith Forsey launched “Don’t You (Forget About Me)” as is.

“With or Without You,” U2 (1987)
Weeks at No. 1: 3

What in the event you might make an influence ballad that did not suck?

“Another Brick in the Wall (Part II),” Pink Floyd (1980)
Weeks at No. 1: 4

Producer Bob Ezrin re-used his child’s choir thought from “School’s Out” on a tune about how a lot college sucks that has none of Alice Cooper’s humor. What the admittedly dour smash hit had as a substitute was a disco beat completely consistent with the instances, and an unforgettably flinty David Gilmour solo.

“Sledgehammer,” Peter Gabriel (1986)
Weeks at No. 1: 1

Peter Gabriel has stated he was impressed to go into music after seeing Otis Redding. He’s additionally stated he meant to pay tribute to his model of ’60s soul on “Sledgehammer,” which additionally featured Redding collaborator Wayne Jackson on trumpet. But the jittery, Fairlight taking part in Gabriel was no R&B shouter, and that is what offers this tune its trendy dance-floor stress.

“Every Breath You Take,” The Police (1983)
Weeks at No. 1: 8

Another a kind of love songs that is probably not a love tune in any respect. Sting strung collectively the creeper lyrics whereas at James Bond creator Ian Fleming’s desk throughout a trip on the Goldeneye property in Jamaica. Andy Summers then added these shimmering, gorgeously echoed guitar traces, tricking a complete bunch of recent brides and promenade queens into making this their first dance.