The Number One Hits Of 1983

A little-known fact about the song “Maneater” by Hall & Oates is that an encounter inspired it with a New York City club scene. The lyrics of “Maneater” were written after Daryl Hall and John Oates observed the predatory nature of certain women they encountered while frequenting nightclubs in the city.

The song’s lyrics, with lines such as “The woman is wild, a she-cat tamed by the purr of a Jaguar,” convey the seductive and dangerous nature of the character portrayed in the song. It became one of Hall & Oates’ biggest hits, reaching number one on the Billboard Hot 100 chart in 1982.

Down Under by Men at Work is that it features a distinct musical reference to the children’s song “Kookaburra Sits in the Old Gum Tree.” The iconic flute melody heard throughout “Down Under” includes a two-bar snippet from the melody of “Kookaburra.”

Kookaburra Sits in the Old Gum Tree is an Australian nursery rhyme by Marion Sinclair in 1932. The inclusion of this melody in “Down Under” was not initially recognized by Men at Work, and it later became the subject of a copyright dispute.

In 2009, Larrikin Music, who held the copyright to “Kookaburra,” filed a lawsuit claiming that the flute riff used in “Down Under” infringed upon their rights. The court ruled in favor of Larrikin Music, resulting in a settlement and a share of the song’s royalties being awarded to the owners of the “Kookaburra” copyright.

However, “Africa” gained significant popularity and quickly became a fan favorite. It received positive feedback from listeners and started receiving substantial airplay on radio stations, which led to the song’s official release as a single. Many consider the song to be one of the most enduring of the 1980s.

Randy Hansen, a musician, and programmer who worked with Quincy Jones, programmed the iconic bassline into the Synclavier using a combination of synthesized and sampled sounds. The result was a powerful and instantly recognizable bassline that became a signature element of “Billie Jean.”

Initially, Eddie Van Halen was hesitant because he didn’t want to appear on a pop album. However, after realizing that Jackson’s request was a sincere invitation to collaborate, Van Halen agreed to contribute to the song.

Van Halen’s guitar solo in Beat It added a rock edge to the track and elevated it to new heights. His distinctive guitar playing and energetic solo became one of the most memorable moments of the song, enhancing its overall appeal.

The collaboration between Michael Jackson and Eddie Van Halen was a groundbreaking moment in music history, as it brought together two different genres and showcased the power of blending styles. The inclusion of Van Halen’s guitar solo in “Beat It” helped the song transcend boundaries and became one of the defining moments of both artists’ careers.

When Lennox and Stewart first composed Sweet Dreams (Are Made of This), they temporarily used a simple synth riff to guide the melody. They intended to replace it with a more polished and refined sound later. However, as they continued working on the track, they found that the raw and distinctive quality of the original synth riff added a certain charm to the song that they couldn’t replicate with other sounds.

The decision to keep the original synth sound was a brilliant move. The riff became one of pop music’s most recognizable and iconic synth melodies. It helped define the song’s distinct character and contributed to its enduring popularity.

In writing Tell Her About It, Joel drew inspiration from artists like Smokey Robinson and the Miracles, Stevie Wonder, and The Four Tops. He aimed to recreate the energy, rhythm, and romantic sentiments characteristic of the Motown sound.

By infusing elements of Motown into “Tell Her About It,” Billy Joel paid tribute to the soulful sound that influenced him as a musician. The song served as a testament to the timeless appeal of Motown and showcased Joel’s ability to capture the essence of different musical genres in his own unique style.

The song’s upbeat tempo, catchy melody, and nostalgic vibe resonated with listeners, appealing to both longtime fans of Motown and a new generation of music enthusiasts.

The Bee Gees originally wrote Islands in the Stream as an R&B ballad. The Bee Gees, known for their success in the disco genre, initially composed the song to record it themselves.

However, when producer Barry Gibb played the song’s demo for country music superstar Kenny Rogers, Rogers saw its potential as a duet and expressed his interest in recording it as a collaboration. The Bee Gees agreed, and the song was reworked into a country-pop duet.

Islands in the Stream was released in 1983 as a single from Kenny Rogers’ album “Eyes That See in the Dark,” featuring Kenny Rogers and Dolly Parton vocals. The song was an instant hit, reaching number one on the Billboard Hot 100 chart and becoming one of the most successful duets in music history.

To achieve this, Richie incorporated phrases and words from various languages into All NIght Long’s lyrics. The most prominent example is the chorus, where he sings “Tom bo li de se de moi ya, yeah, jambo jumbo” – a phrase that does not have a specific meaning but adds to the song’s overall exuberance and global flavor.

The inclusion of multiple languages in “All Night Long” reinforces the universal language of music and serves as a reminder of the power of music to transcend cultural boundaries. It also reflects Richie’s commitment to promoting unity and celebrating diversity through his music.

Paul McCartney and Michael Jackson collaborated on the track during recording sessions in 1981. Initially, the song had a slower tempo and a different feel. However, as they continued to work on it, McCartney and Jackson decided to revamp the song, speeding up the tempo and giving it a more energetic and infectious pop sound.

The decision to transform “Say Say Say” into an uptempo track allowed the song to become more radio-friendly and suited the dynamic chemistry between McCartney and Jackson. The revised version retained the catchy melody and memorable hooks, resulting in a chart-topping hit

The Biggest Pop Artists of 1983 include:
Daryl Hall & John Oates, Angela Bofill, Billy Joel, Bob Seger, Bonnie Tyler, Culture Club, Daryl Hall & John Oates, David Bowie, DeBarge, Don Henley, Donna Summer, Duran Duran, Eurythmics, George Clinton, James Ingram, Irene Cara, Journey, Kenny Rogers, Lionel Richie, Men at Work, Micheal Jackson, Naked Eyes, New Edition, Patti Austin, Parice Rushen, Paul McCartney, The Police, Ray Parker Jr, Prince, Rick James, Rufus, Stray Cats, Styx, Toto

(HPS music data is compiled from charts, including Billboard’s Pop, Rock, Airplay, R&B/Dance, and Singles Charts. The Hot 100 is the primary chart used for this list.)