Mozart

The Dreams Of Candlelight

Requiem (The Fifth)

I'll Keep Your Secrets

The Dark

Für Elise

After The Fall

A Last Illusion

This Is Who You Are

Beethoven

Mephistopheles' Return

Misery

Who Is This Child

A Final Dream

(Closing Poetry)

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New Line Cinema, copyright holders of the A Nightmare on Elm Street film franchise, sued DJ Jazzy Jeff & The Fresh Prince’s record label for copyright infringement, forcing the label to destroy a music video produced for the song (though a copy of the video did survive and is available online. Both sides eventually settled out of court, but as a result, vinyl pressings of the album He’s the DJ, I’m the Rapper contain a disclaimer sticker that says, “[This song] is not part of the soundtrack…and is not authorized, licensed, or affiliated with the Nightmare on Elm Street films.” The song samples Charles Bernstein’s musical motif from A Nightmare on Elm Street.

The original track as included on the original LP and cassette pressings of the album He’s the DJ, I’m the Rapper ran 6:09. However, the entire album could not fit onto compact discs of the time, so for the CD release, many tracks were shortened; the single version “A Nightmare on My Street” was used in place of the original. This version is not simply an edit of the original album cut, as it included different lyrics in certain sections. The version included on DJ Jazzy Jeff & the Fresh Prince’s Greatest Hits album is not the original single version. Although it is labeled “Single Edit” and runs the same length, it is simply an edited version of the original recording and does not include the different lyrics recorded for the single.

SIDE A:

A Nightmare On My Street (Extended Mix) 6:13

A Nightmare On My Street (Single Edit) 4:53

SIDE B:

A Nightmare On My Street (Instrumental) 6:13

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Booker’s production gives “The Crypt Jam” a slick early-’90s new jack swing feel—thick, punchy beats, funky synth bass, and layers of spooky samples. What could have been a mere novelty track is instead surprisingly danceable and well-crafted, thanks to Booker’s polished touch.

The Crypt Keeper’s signature cackles, graveyard puns, and horror humor are all here in full force—making it a fun, campy club track that bridges the gap between horror fandom and early ’90s dance culture.

The music video, featuring the Crypt Keeper rapping, dancing, and surrounded by creepy party guests, aired on MTV and was included on various Tales from the Crypt home video releases. It’s gloriously over-the-top: part Halloween special, part hip-hop parody, and pure early-’90s entertainment.

Though “The Crypt Jam” didn’t chart, it found an afterlife as a Halloween cult favorite. Fans of Booker’s production can easily hear his rhythmic fingerprints throughout, turning the Crypt Keeper’s macabre humor into something that could have haunted any club floor in 1992.

💀 Fun Fact:

Chuckii Booker’s involvement makes this one of the rare novelty singles tied to a TV character that actually carries legitimate R&B and dance credentials. Booker handled everything from songwriting to production, giving the track a professional polish that sets it apart from most TV tie-ins of the era.

🕸️ For this post, I created custom sleeve artwork to give this undead dance floor classic the proper cover it never had. Inspired by vintage Tales from the Crypt comic art and early-’90s horror design, it captures the ghoulish fun and funky energy of The Crypt Jam.

Even after three decades, this spooky groove proves that when it comes to beats from beyond the grave, nobody does it deader than the Crypt Keeper.

SIDE A:

Scales From The Crypt (Club Mix) 7:08

SIDE B:

The Crypt Jam (Album Version) 4:31

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Waite re-recorded the song with country/bluegrass artist Alison Krauss which appeared on her album A Hundred Mile or More: A Collection, and released it to Country music radio in 2007. The re-recording peaked at number 34 on the Hot Country Songs chart. The original recording has been featured in the films, Selena (1997) and Warm Bodies (2013).

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Background

The film Spies Like Us was a goofy Cold War buddy comedy, and Warner Bros. wanted a big-name theme song to match. Enter Paul McCartney, who had already proven with “Live and Let Die” that he could craft cinematic pop with flair. This time, though, instead of lush orchestrations, McCartney leaned heavily into synths, drum machines, and Fairlight sampling, hallmarks of the mid-80s studio sound.

The single was produced by McCartney himself, with Hugh Padgham (known for his work with Genesis, Phil Collins, and The Police) contributing his signature gated drum textures.

The Song

“Spies Like Us” is a quirky mix of playful lyrics, staccato vocal chants, and punchy electronic rhythms. McCartney doesn’t play it straight; instead, the song mirrors the slapstick tone of the movie. The hook, “Ooh ooh, what do you do, no one else can dance like you,” is pure Macca—catchy and cheeky at the same time.

While not universally loved by critics (some dismissed it as lightweight compared to his more serious work), the track’s off-kilter energy feels in line with the zany espionage antics of Chase and Aykroyd. It’s Paul having fun, and that spirit comes through.

Chart Performance

Despite mixed reviews, “Spies Like Us” did surprisingly well commercially. It peaked at #7 on the Billboard Hot 100 in early 1986, marking McCartney’s last U.S. Top 10 hit to date. In the UK, however, it stalled at #13.

The music video, directed by John Landis, featured McCartney performing the song intercut with clips from the film—though Chase and Aykroyd also appear goofing around as “backing musicians,” adding to the lightheartedness. MTV gave it steady rotation at the time.

Legacy

“Spies Like Us” is often overlooked when discussing McCartney’s career highlights, but it remains a fascinating curio. It captures a moment when one of the world’s greatest songwriters was still experimenting, still adapting, and still landing hits two decades after the Beatles.

Final thought: “Spies Like Us” may not sit alongside Band on the Run or Maybe I’m Amazed in McCartney’s pantheon, but it’s undeniably catchy, delightfully odd, and very much of its time. A Top 10 hit from a Cold War comedy—only Paul could pull that off.

SIDE A:

Spies Like Us (Party Mix) 7:13

Mixed By – John Potoker

Spies Like Us (Alternative Mix-Known To His Friends As “Tom”) 3:59

Mixed By – Art Of Noise*

SIDE B:

Spies Like Us (DJ Version) 3:48

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Written by frontman Roland Gift and bassist David Steele, and co-produced by the band along with David Z (a longtime Prince collaborator), “She Drives Me Crazy” has one of the most iconic snare sounds of the era. The distinctive “pop” of the drum was no accident—David Z employed an inventive technique during the recording sessions at Prince’s famed Paisley Park Studios in Minneapolis. The snare part was recorded separately, then played back through a speaker placed on top of the snare drum while a mic underneath captured the sound again—creating that sharp, tight punch that helped the track cut through on both radio and the dancefloor.

Chart-wise, the single became the band’s biggest hit. In the UK, it reached No. 5—making it their highest-charting release at home. But it was in the U.S. that the song really took off, hitting No. 1 on the Billboard Hot 100 and staying there for a week in April 1989. It also topped charts in Australia, Canada, New Zealand, Austria, and Spain, cementing Fine Young Cannibals’ global success. Two different music videos were shot for the track—one by French choreographer/director Philippe Decouflé and another by Pedro Romhanyi.

🎤 Monie Love Rap Version

Also included is a special remix featuring a rap by British MC Monie Love, who was just breaking into the U.S. scene at the time. Her verse adds a dynamic, female perspective that contrasts sharply—but playfully—with the neurotic male energy of the original. It’s laid over a remix that sits closer to the album version than the club mixes but features subtle edits and production tweaks to mesh with Monie’s bars. This version was never commercially released and remains a rare slice of cross-Atlantic collaboration.

SIDE A:

She Drives Me Crazy (David Z Remix) 7:05

She Drives Me Crazy (The Justin Strauss Remix) 7:42

SIDE B:

She Drives Me Crazy (Extended Version) 8:25

Featuring Moni Love

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I Can't Make It Amore

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Originally released as the title track to Springsteen’s 1984 album, “Born In The U.S.A.” was issued as a 12″ single in 1985, backed with “Shut Out the Light.” The single version boasted an extended intro and booming mix that pushed Max Weinberg’s snare hits front and center, paired with Roy Bittan’s iconic synth riff that practically defined ‘80s heartland rock.

Produced by Chuck Plotkin, Jon Landau, and Springsteen himself, this version of the song was a club-ready update to the album cut—without losing an ounce of its gritty, anthemic fire. It’s Springsteen at his most anthemic, yet still bleeding through with disillusionment, despair, and blue-collar rage.

While “Born In The U.S.A.” is one of Springsteen’s signature tracks, its chart performance is often overshadowed by the massive success of other singles from the same album. “Born In The U.S.A.” reached number 9 on the Billboard Hot 100 chart in January 1985. It was the third of seven top 10 singles from the album “Born In The U.S.A.”, which also tied Michael Jackson’s record for the most top 10 singles from one album.

Despite—or perhaps because of—its lyrical complexity and booming sound, “Born In The U.S.A.” was quickly adopted as a campaign theme by politicians (notably Ronald Reagan, mistakenly), sports teams, and patriotic rallies. But listen closely, and the pain of forgotten veterans and working-class struggle comes roaring through. It’s a song with dual identities: triumphant and tragic.

This 12″ remix captures that paradox perfectly—its towering production commands attention, but under the layers of synth and reverb, Springsteen’s voice still carries the weight of a soldier’s haunted memories.

SIDE A:

Born In The U.S.A. (The Freedom Mix) 7:20

SIDE B:

Born In The U.S.A. (Radio) 6:11

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Produced by Palmer himself, “Simply Irresistible” features an explosive horn section, stomping drums, and his signature vocal coolness, delivered with razor-sharp precision. The song’s infectious chorus, underscored by a wall of sound production, became an instant earworm that dominated radio and MTV alike.

The 12″ mix expands on the already high-octane energy of the single, giving DJs and fans a longer dose of that irresistible groove. Clocking in at just over six minutes, this extended version retains all the bombast of the original while giving the arrangement more breathing room — emphasizing the pulsing basslines, pounding percussion, and layers of synth and guitar that made the track a dance-rock juggernaut.

Visually, “Simply Irresistible” was immortalized by a striking music video directed by British fashion photographer Terence Donovan, featuring a cadre of identically styled women in black dresses and red lipstick, moving in mechanical precision. It was a continuation of the stylized aesthetic from “Addicted to Love” and helped cement Palmer’s image as the epitome of 80s cool.

Commercially, the single was a major success:

#2 on the US Billboard Hot 100

#1 on the Billboard Mainstream Rock chart

Top 20 in Canada, Australia, and several European countries

Though some critics at the time were divided, accusing Palmer of recycling the formula that brought him success in 1986, fans embraced it wholeheartedly, and decades later, it’s still celebrated as a quintessential late-80s power pop anthem.

If Addicted to Love made Robert Palmer a superstar, “Simply Irresistible” proved it was no fluke — he truly had an irresistible formula.

SIDE A:

Simply Irresistible (Extended Version) 6:33

SIDE B:

Simply Irresistible (Instrumental) 4:46

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Produced by the legendary Nile Rodgers, “Wild Boys” was the only studio track on the band’s live album Arena and perfectly fused the band’s pop sensibility with Rodgers’ cutting-edge production and dancefloor sensibilities. The result was a sonic assault of heavy synths, aggressive guitar stabs, tribal drums, and Simon Le Bon’s defiant vocal delivery.

The Extended Mix takes the drama up several notches, building the tension with a long, cinematic intro that recalls the dystopian atmosphere of the video. The breakdowns and effects-laden passages give the song more room to breathe and further highlight Rodgers’ intricate production.

Chart-wise, “Wild Boys” was a smash. It reached #2 in both the US and UK, blocked from the top in the US by Hall & Oates’ “Out of Touch.” It also gave Duran Duran their first #1 in Germany and South Africa, proving the band’s international staying power as they transitioned from New Romantic heartthrobs into global pop powerhouses.

Fun fact: Simon Le Bon nearly drowned during the filming of the video, which featured the band tied to a windmill and submerged in a water tank. It’s a miracle the band made it out intact—both literally and figuratively.

“Wild Boys” remains a touchstone of mid-80s maximalism: all attitude, danger, and style. It’s the sound of a band pushing their limits—and taking us along for the ride.

SIDE A:

The Wild Boys (Wilder Than Wild Boys) (Extended Mix) 8:00

SIDE B:

The Wild Boys (45) 4:18

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Written in 1984 by Bob Geldof and Midge Ure, the song was created to raise funds for the 1983–1985 Ethiopian famine relief efforts. Recorded in just one day at Sarm West Studios in Notting Hill, London, on November 25, 1984, the session brought together a supergroup of prominent British and Irish musicians assembled by Geldof and Ure.

Released in the UK on December 7, 1984, “Do They Know It’s Christmas?” made an immediate impact, debuting at number one on the UK singles chart and holding the top spot for five weeks. It became the fastest-selling single in UK history at the time, moving one million copies in its first week. By the end of 1984, it had sold over three million copies in the UK and topped the charts in 13 other countries. In the United States, despite limited radio play, the song sold approximately 2.5 million copies by 1985. Globally, it reached 11.7 million in sales by 1989, and its UK sales alone stood at 3.8 million by 2017.

The single raised £8 million within its first year, far surpassing Geldof’s initial expectations. Due to its success, “Do They Know It’s Christmas?”was reissued on November 29, 1985, featuring an updated B-side titled *”One Year On (Feed the World).” This version included a spoken message from Geldof and Midge Ure and highlighted the tangible impact of the funds raised, listing the resources and aid provided. Notably, this updated version was only ever released on vinyl.

“Do They Know It’s Christmas?” remains a testament to the power of music to inspire change and unite people for a common cause.

SIDE A:

Do They Know It’s Christmas? (12″ Mix) 6:17

SIDE B:

One Year On (Feed The World)+ 4:34

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In the song, Freddy raps alongside the Fat Boys, warning listeners to be “Ready for Freddy” as he claims his next victims. It’s a playful take on the horror genre, mixing Freddy’s menacing persona with the Fat Boys’ fun and energetic delivery.

In the video, Prince Markie Dee’s “Uncle Frederick” has died, and his lawyer (Bert Remsen) meets the group outside the Nightmare on Elm Street house. The lawyer informs Markie that he must spend the night inside Uncle Frederick’s home to earn his inheritance, so the group enters. Not long after, Freddy Krueger appears and begins to chase the band throughout the house, slashing with his claw while stopping to rap.

This track remains a memorable example of how hip-hop crossed over with other genres and pop culture phenomena in the 80s, creating unexpected and memorable pairings.

The song was also included in the Fat Boy’s LP “Coming Back Hard Again”.

SIDE A:

Are You Ready For Freddy (12″ Version) 7:00

SIDE B:

Are You Ready For Freddy (7″ Version) 3:34

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The title references the 42nd Street Shuttle in New York City, linking the song to urban culture. While it achieved significant success in the UK, hitting number one for two weeks, its performance in the US was more modest, peaking at number 91 on the Billboard Hot 100 but reaching the top of the Hot Dance Club Play chart. The track also made an international impact, ranking well in Australia and West Germany. Its influence remains evident in the dance music scene today.

In the U.S.A. versions, an unnamed vocalist provided replacements for some of the vocal samples (“Uno, dos, uno dos tres quatro!”, “No, that’s good!”, and scream for daddy near the end that turned into “scream for mommy”.)

PLATFORM 1:

Theme From S-Express (12″ U.S.A. Mix)* 5:57

PLATFORM 2:

Theme From S-Express (7″ U.S.A. Mix) 3:56

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The song’s lyrics deal with a man confessing that he’s been a bit of a “Casanova” in the past but now wants to change his ways for the right woman.

“Casanova” helped establish LeVert as a key player in the R&B scene of the late 1980s. The group, led by brothers Gerald and Sean Levert, was known for its smooth vocals and energetic performances. Gerald Levert later had a successful solo career before his untimely death in 2006.

This song is often remembered for its infectious hook and danceable beat, contributing to its longevity in the world of classic R&B.

SIDE A:

Casanova (Extended Mix Version) 8:00

SIDE B:

Casanova (Dance Mix) 5:00

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The song was originally performed by British pop group Racey, with the title “Kitty”, and was included on their debut studio album Smash and Grab in 1979. The original Racey song did not include the “Oh Mickey, you’re so fine” chant, which Basil added.

For years, it was rumored that the name was changed to Mickey because Basil developed a crush on the Monkees’ drummer and lead vocalist Micky Dolenz, after meeting him on the set of their movie, Head, for which she was the choreographer. However, that claim has been denied by Basil, who has said that she “didn’t really know Micky at all”. In January 2020, Basil released a re-recording of the song as “Hey Mickey” to digital and streaming platforms.

On August 31, 2017, Basil filed a multi-claim lawsuit against Razor & Tie Direct, Forever 21, Disney, Viacom, VH1, and South Park. Basil alleged that the defendants had commercially used the song “Mickey” without a license and damaged her right of publicity, claiming excess of $25,000 in damages. Basil also filed a lawsuit against AMC on May 12, 2020, for the unauthorized use of “Mickey” in a trailer for Preacher. On August 27, 2020, a California state of appeals court affirmed dismissal of Basil’s case.

The music video was directed, produced and choreographed by Basil herself. The cheerleaders featured in the video were members of a championship squad from Carson High School in Carson, California. The cheerleading uniform Basil wore in the music video was the one she actually wore in high school. According to Basil, “They didn’t put anything in the budget, I did everything myself. And this is the actual cheer sweater from Las Vegas High.”

“Mickey” was Basil’s only U.S. Billboard Top 40 single.

SIDE A:

Mickey (Special Club Mix) 5:57

SIDE B:

Mickey (Spanish Version) 5:13

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SIDE A:

Suspense (Club Version) 6:57

SIDE B:

Suspense (Dub Version) 6:05

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This 12″ also includes the exclusive “Mega-Idol Mix” a megamix which comprises “Flesh For Fantasy,” “Hot in the City” and “Dancing With Myself”.

SIDE A:

White Wedding (Parts 1 & 2) (Shot Gun Mix) 8:21

SIDE B:

Mega-Idol Mix 8:00

B1 Flesh For Fantasy

B2 Hot In The City

B3 Dancing With Myself

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John Leland of Spin noted the song's, "parodic extremes. I mean, no one has a beat this big and this wet. While this platter delivers ample boasts for the buck, the Beasties never take themselves or their genre too seriously."

THIS SIDE:

Rock Hard 4:57

Party’s Getting Rough 6:03

THAT SIDE:

Beastie Groove 3:37

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The single was certified platinum by the RIAA for sales in excess of two million in the United States. It was also the recipient for Golden Raspberry Award for Worst Original Song. The song's radio airplay on the BBC was restricted to post-watershed hours due to concerns that it might promote promiscuity and could be counterproductive to contemporary campaigns about AIDS awareness.

Although it was one of Michael's biggest hits, the singer ignored the song following its release; he never performed it after the Faith Tour and although the Rhythm Two version appears on Ladies & Gentlemen: The Best of George Michael, it does not appear on the 2006 retrospective Twenty Five; furthermore, the "Monogamy Mix" does not appear on the 2011 remastered release of Faith. In an interview with Mark Goodier, included in the large-format book released with the 2011 remaster, Michael said that he still likes the second "Rhythm" but not the first, and that he distanced himself from the song because its production sounded too much like Prince; indeed, "Rhythm 1", as well as a few other tracks on the Faith album (such as "Hard Day"), features Michael simulating female vocals by artificially pitching up and altering his own voice, much the same way as Prince was doing at the time with his pseudo-female alter ego Camille. In the interview, Michael admits that he was "deeply enamoured" with Prince, and adds that he thought it was very bad for him to be infatuated with a colleague of his. Rolling Stone editor David Fricke described this song as 'a new bump-and-grind original that sounds more like Prince's stark, sexy "Kiss" than anything in the Wham! catalog'. In 2016, after Michael's death, Andrew Unterberger of Billboard ranked the song number eight on his list of Michael's 15 greatest songs.

The music video, directed by Andy Morahan, featured Michael and his then-girlfriend Kathy Jeung to emphasize that he was in a monogamous relationship; at one point, he is shown using lipstick to write the words "explore" and "monogamy" on her back, which is photographed and retouched at the end of the video to reveal the phrase "explore monogamy". A Spanish model was also used for naked scenes in a way that allowed the audience to assume they were the same woman; these shots are interspersed with intentionally blurred footage of George Michael dancing and singing the song.

In a 2004 interview with Adam Mattera for UK magazine Attitude, Michael reflected: "It was totally real. Kathy was in love with me but she knew that I was in love with a guy at that point in time. I was still saying I was bisexual...She was the only female that I ever brought into my professional life. I put her in a video. Of course she looked like a beard. It was all such a mess, really. My own confusion and then on top of that what I was prepared to let the public think."

The video generated controversy over its sexual themes. In 2002, MTV2's countdown of MTV's Most Controversial Videos Ever to Air on MTV included the video for "I Want Your Sex" at number 3. The original video cut appears on the Twenty Five compilation 2-DVD set.

SIDE A:

I Want Your Sex (Monogamy Mix) 13:13

-Rhythm 1 Lust

-Rhythm 2 Brass In Love

-Rhythm 3 A Last Request

SIDE B:

Hard Day 4:53

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Although it reached the top 20 on the Billboard 200 albums chart, the album did not sell as well as the band's previous albums, Sports and Fore!. However, Lewis himself stated in a Behind the Music interview that the recording process for Small World had the most favorable working conditions.

SIDE A:

Small World (Part One & Two) 7:39

SIDE B:

Small World (Extended Dance Mix) 7:11

Perfect World 4:05

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SIDE A:

Jeopardy (Dance Mix) 6:47

SIDE B:

Jeopardy (Instrumental Version) 6:33

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The song won a Juno Award in 1985 for the “Single of the Year”, and was certified Platinum in Canada for sales of over 100,000 copies in 1985.

The music video features a storyline of Hart leaving his home after an argument with his father and hitchhiking his way to a major city where he finds himself alone and ends with a ‘live’ performance with his band. Portions of the video were filmed on Yonge Street, Spadina Avenue, and Queen Street West in downtown Toronto, including the now-defunct Crest Grill. The video’s director, Rob Quartly, had worked with Hart on three previous music videos and Quartly was again nominated for a Juno Award for his work on this video.

SIDE A:

Never Surrender (Album Version) 4:53

SIDE B:

Never Surrender (Edited Version) 4:25

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The single reached No. 21 on the Billboard Hot 100 singles chart, making it Twisted Sister’s only Top 40 single. It is the band’s highest-selling single in the United States, having been certified Gold on June 3, 2009, for sales of over 500,000 units. The song was ranked No. 47 on 100 Greatest 80’s Songs and No. 21 on VH1’s 100 Greatest One Hit Wonders of the 80s.

In 1985, it received criticism when the Parents Music Resource Center included the song on its “Filthy Fifteen” list for alleged violent lyrical content, allegations that were repudiated by lead singer Dee Snider.

MUSIC VIDEO:

The music video was directed by Marty Callner with an emphasis on slapstick comedy. The video begins with a disobedient son, played by Callner’s son, Dax, playing Twisted Sister songs in his bedroom while the rest of the family is eating dinner. The father, “Douglas C.”, played by Mark Metcalf as a character similar to his Douglas C. Niedermeyer from the 1978 film Animal House, goes to the boy’s room and scolds him for being interested only in his guitar and Twisted Sister.

At the end of the speech, he screams “What do you want to do with your life?”, to which the son replies “I Wanna Rock!”. He strums his guitar and the sound blasts the father out of a nearby window. The boy transforms into Dee Snider, and the music begins. Snider sings to the other children, who turn into the rest of the band, and they wreak havoc on the family.

The father gets the worst of the band’s mischief, as he repeatedly tries and fails to get back at the band members, getting knocked out of more windows and even a wall. Still, even after a series of the father’s failed retaliations, his wife happens by to awkwardly recover him, such as throwing a bucket of water onto him, dropping a first aid kit onto him, and even spraying his face with a hose.

“I Wanna Rock” is a song written and composed by Dee Snider and performed by his band Twisted Sister. It was released as the second single from their 1984 album Stay Hungry. The record reached No. 68 on the Billboard Hot 100 singles chart.

MUSIC VIDEO

Like the earlier “We’re Not Gonna Take It”, the video features actor Mark Metcalf, best known as the abusive ROTC leader Douglas C. Neidermeyer from the movie National Lampoon’s Animal House.

In the video, he plays a teacher with a similar personality to Neidermeyer, who harasses a student for drawing the Twisted Sister logo on one of his textbooks. He chastises the student by shouting, “What kind of a man desecrates a defenseless textbook?! I’ve got a good mind to slap your fat face!”, which echoes a line from Animal House (“What kind of man hits a defenseless animal [a misbehaving horse]? I’ve got a good mind to smash your fat face in!”).

Metcalf’s character reprises his question from the “We’re Not Gonna Take It” video, “What do you want to do with your life?!” This provides a lead-in for the track, as the student answers with the first line of the song, “I wanna rock!”, after which he and four of his classmates are instantly transformed into Twisted Sister’s five members.

The abusive teacher’s repeated attempts to stop his rock-loving students not only fail; they also backfire on him.

Notes:

This U.S. 12″ promo includes the introductions from the music videos for both tracks.

SIDE A:

We’re Not Gonna Take It (Video Intro Edit) 6:31

SIDE B:

I Wanna Rock (Video Intro Edit) 4:31

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The song features David Gilmour from Pink Floyd on guitars including the soaring solos and fills throughout the song. Reflecting upon the recording in a radio interview before 1990’s Knebworth concerts, Gilmour told Jim Ladd that “No More Lonely Nights” was the last thing McCartney recorded for the film (late 1983/early 1984), and that he told McCartney to give his session fee to a charity of his choice.

“No More Lonely Nights” reached number 6 in the US and number 2 in the UK.

NOTES:

Track A differs from the sleeve and record label. On the cover, it's titled “Extended Version”, and on the label, it's titled “Playout Version”.

SIDE A:

No More Lonely Nights (Extended Version) 8:10

SIDE B:

No More Lonely Nights (Ballad) 4:39

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In 1989 "Rock On" was covered by soap opera star and singer Michael Damian, and featured in the teen film Dream a Little Dream, starring Corey Haim and Corey Feldman among others. Damian's version, which he also released from his independent album Where Do We Go from Here on the Cypress Records label, was a harder-edged interpretation that employed none of the vocal or instrumental distortion in the original 1973 David Essex version.

"Rock On" became Damian's first hit in eight years, since his 1981 cover of Eric Carmen's song "She Did It". His rendition became a gold record. It reached the number one position on the Billboard Hot 100 chart, thus outperforming Essex's original Billboard ranking. However, the song did get to number one for Essex in 1974 on the US Cashbox Top 100, in the same week it was at number 11 on the Billboard charts. In addition, Haim, Feldman, and Meredith Salenger all appeared in Damian's music video for the song. This version was ranked number 99 on VH1's 100 Greatest One Hit Wonders of the 80s (despite the fact that Damian actually had four Billboard-charting singles during the 1980s).

SIDE A:

Rock On (12″ Extended Dance Mix) 6:32

SIDE B:

Rock On (Original Dance Mix) 4:58

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“Y.M.C.A.” is a song by American disco group Village People, written by Jacques Morali (also the record’s producer) and singer Victor Willis and released in October 1978 by Casablanca Records as the only single from their third studio album, Cruisin’ (1978). A medley with “Hot Cop” reached No. 2 on the US Billboard Dance Music/Club Play Singles chart, while the song reached No. 2 on the Billboard Hot 100 in early 1979, placing behind both “Le Freak” by Chic and “Da Ya Think I’m Sexy?” by Rod Stewart. Outside the US, “Y.M.C.A.” reached No. 1 on the UK Singles Chart around the same time, becoming the group’s biggest hit. It has sold 12 million copies worldwide.

"Macho Man” was released as the second single and title song of their album of the same name (1978). The song entered the Billboard Hot 100 on June 24, 1978 (when the album had already been charting since March) before picking up more airplay that August. It became the Village People’s first charting hit in the United States, peaking on the Hot 100 at number 25 on the week of September 2.

SIDE A1:

Y.M.C.A. (Disco Mix) 6:47

SIDE A2:

Macho Man (Disco Mix) 5:15

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"Borderline" is a song by American singer Madonna from her debut self-titled studio album (1983), written and produced by Reggie Lucas. In 1982, Madonna was signed on by Sire Records for the release of two 12" singles; after the success of first single "Everybody", the label approved the recording of an album, and the singer decided to work with Lucas. A pop song with post-disco elements, its sounds recall the music of the 1970s, while the lyrics find a woman complaining of her lover's chauvinism.

In the United States, it was released as single on February 15, 1984, whereas in Europe it was published twice: first on June 1984, and then on January 1986. Upon release, "Borderline" was acclaimed by music critics, who lauded the singer's vocals; in retrospective reviews, it has been referred to as Madonna's breakout song, and as one of the best songs from the 1980s. It became her first top-ten hit in the US Billboard Hot 100, reached the top 3 in the United Kingdom, Belgium and The Netherlands, and number one in Ireland.

The song's music video was directed by Mary Lambert; in it, Madonna portrays the girlfriend of a Hispanic Man, to whom she returns after being enticed to pose and model for a white British photographer. Authors pointed out that with the visual, the singer broke the taboo of interracial relationships. "Borderline" has been performed in the singer's Virgin (1985) and Sticky & Sweet (2008) concert tours. It has also been covered by bands like Counting Crows and The Flaming Lips, and singers like Duffy and Kelly Clarkson.

Notes:

**The Single Version has never been released anywhere, other then the 45 RPM record I had in my collection.

SIDE A:

Borderline (12" Version) 6:54

SIDE B:

Borderline (Single Version) 3:58

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"She Bop" is a song by American singer-songwriter Cyndi Lauper, released as the third single from her debut studio album She's So Unusual. It reached number three on the U.S. Billboard Hot 100 chart in September 1984. Worldwide, the song is her most commercially successful single after "Girls Just Want to Have Fun" and "Time After Time", and reached number 46 on the UK Singles Chart and number 6 on the ARIA Singles Chart. "She Bop" was her third consecutive Top 5 on the Hot 100.

The song was considered controversial, as it dealt with the subject matter of masturbation. It was also included on the Parents Music Resource Center's "Filthy Fifteen" list, due to its sexual lyrics; this led to the creation of the Parental Advisory sticker. (Other songs on the "Filthy Fifteen" list included tracks by Madonna, Prince, and AC/DC.) In an interview on The Howard Stern Show, Lauper stated that she recorded the vocals of the song while nude.

Lauper said she wanted little kids to think the song was about dancing, and to understand the real meaning as they got older. It could receive airplay as she never directly stated in the song what the meaning was.

Lauper stated at a concert during her 2013 She's So Unusual anniversary tour that she recorded the song topless in a dark room and tickled herself under her arms, which is why there is her laughter on the track.

"She Bop" was released on July 2, 1984 and became a success. The single debuted on the Billboard Hot 100 at #52 in the issue dated July 21, 1984, and spent a total of twenty-five weeks on the chart, reaching a peak position of #3 in the issue dated September 8, 1984. It was the third single from Lauper's debut album to make the top 10 of the Hot 100. The single also reached number ten on the Hot Dance/Club Play Songs chart the week of September 15, 1984 and placed at 34 on the Billboard year-end chart of 1984. On April 17, 1989, the song was certified gold by the Recording Industry Association of America (RIAA) for the shipment of a million copies across the United States.

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The most successful version of “Gloria”‘ was featured on the 1982 album Branigan, the first album released by Laura Branigan. Although another track, “All Night with Me”, was chosen as the album’s lead single, Branigan also performed the cover song during her promotional television appearances at the time of the album’s release. The track was chosen as the album’s second single in June 1982, first becoming a disco favorite, and gradually accruing radio support to enter the pop charts in July. The single reached number two on the Billboard Hot 100 on 27 November 1982, behind Lionel Richie’s “Truly”, and remained there the following two weeks, through 11 December—when Richie had been supplanted by Toni Basil’s “Mickey”.

“Gloria” earned Branigan a nomination for the Best Pop Vocal Performance Female Grammy Award for 1982. The song remained in the Top 40 for 22 weeks, and its total Hot 100 residency of 36 weeks established a new record for a single by a solo female act. The song also topped Cash Box magazine’s chart. Certified platinum for one million sales in the United States alone, “Gloria” was also an international success, most notably in Australia where it held the top position for seven consecutive weeks, from 7 February to 21 March 1983. “Gloria” also reached number one in Canada, number four in Ireland, number six in New Zealand and the United Kingdom, and number nine in South Africa.

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The single reached No. 21 on the Billboard Hot 100 singles chart, making it Twisted Sister's only Top 40 single. It is the band's highest-selling single in the United States, having been certified Gold on June 3, 2009, for sales of over 500,000 units. The song was ranked No. 47 on 100 Greatest 80's Songs and No. 21 on VH1's 100 Greatest One Hit Wonders of the 80’s.

In 1985, it received criticism when the Parents Music Resource Center included the song on its “Filthy Fifteen” list for alleged violent lyrical content, allegations that were repudiated by lead singer Dee Snider.

MUSIC VIDEO:

The music video was directed by Marty Callner with an emphasis on slapstick comedy. The video begins with a disobedient son, played by Callner’s son, Dax, playing Twisted Sister songs in his bedroom while the rest of the family is eating dinner. The father, “Douglas C.”, played by Mark Metcalf as a character similar to his Douglas C. Niedermeyer from the 1978 film Animal House, goes to the boy’s room and scolds him for being interested only in his guitar and Twisted Sister.

At the end of the speech, he screams “What do you want to do with your life?”, to which the son replies “I Wanna Rock!”. He strums his guitar and the sound blasts the father out of a nearby window. The boy transforms into Dee Snider, and the music begins. Snider sings to the other children, who turn into the rest of the band, and they wreak havoc on the family.

The father gets the worst of the band’s mischief, as he repeatedly tries and fails to get back at the band members, getting knocked out of more windows and even a wall. Still, even after a series of the father’s failed retaliations, his wife happens by to awkwardly recover him, such as throwing a bucket of water onto him, dropping a first aid kit onto him, and even spraying his face with a hose.

This U.S. 12″ promo includes the introduction from the music video.

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MUSIC VIDEO

Like the earlier “We’re Not Gonna Take It”, the video features actor Mark Metcalf, best known as the abusive ROTC leader Douglas C. Neidermeyer from the movie National Lampoon’s Animal House.

In the video, he plays a teacher with a similar personality to Neidermeyer, who harasses a student for drawing the Twisted Sister logo on one of his textbooks. He chastises the student by shouting, “What kind of a man desecrates a defenseless textbook?! I’ve got a good mind to slap your fat face!”, which echoes a line from Animal House (“What kind of man hits a defenseless animal [a misbehaving horse]? I’ve got a good mind to smash your fat face in!”).

Metcalf’s character reprises his question from the “We’re Not Gonna Take It” video, “What do you want to do with your life?!” This provides a lead-in for the track, as the student answers with the first line of the song, “I wanna rock!”, after which he and four of his classmates are instantly transformed into Twisted Sister’s five members.

The abusive teacher’s repeated attempts to stop his rock-loving students not only fail; they also backfire on him. He crawls into the school principal’s office, only to be confronted by the principal, played by Stephen Furst, who played Kent “Flounder” Dorfman in Animal House, opposite Metcalf. Furst’s character, who suddenly approves Twisted Sister and its music, reprises one of his lines from the movie, “Oh boy, is this great!”, before he sprays water from a seltzer bottle at the teacher, who collapses in defeat.

This U.S. 12″ promo includes the introduction from the music video.

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In 1989, Wash recorded a song "(You're My One and Only) True Love" as a demo, produced by David Cole who would later form C+C Music Factory. Cole later gave the song to then-upcoming female group Seduction. The song appeared on Seduction's debut album Nothing Matters Without Love, released in September 1989, retaining the use of Wash's lead vocals and added Seduction's background vocals to the song. In addition, she was only credited for her background vocals and Cole remixed and altered Wash's lead vocals of the song to make her voice less recognizable on the song.

"(You're My One and Only) True Love" was released as Seduction's second single in July 1989. The single became an unexpected success when it peaked at number twenty-three on the Billboard Hot 100 chart and number three on the Dance chart. Wash would file a lawsuit against the producers and A&M Records for unauthorized use of her voice. The case reached an out-of-court settlement in December 1990.

Martha wash was also uncredited as lead vocalist on tracks from Black Box, and C+C Music Factory.

Martha wash did not appear in the song's music video instead Seduction lip-synced to her vocals.

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On "Let the Beat Hit 'Em", Lisa Lisa and Cult Jam sampled "Ghetto Heaven" by The Family Stand, The Emotions' 1977 single "Best of My Love" and "Set It Off" by Strafe. and Donald Byrd Think Twice.

"Let the Beat Hit 'Em" was also sampled by Kylie Minogue on the track "Too Much of a Good Thing" off her 1991 album Let's Get To It.

A black-and-white music video was made to accompany the song, directed by German director Marcus Nispel.

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The song received positive reviews from contemporary critics. "The Way You Make Me Feel" became Bad's third consecutive single to peak at number one on the Billboard Hot 100 and charted mainly within the top ten and twenty internationally. A music video for the song was released at the time, showing Jackson pursuing and dancing with model Tatiana Thumbtzen.

The song has been performed on all of Jackson's world concert tours as a solo artist and was planned to have been performed during the This Is It concerts from 2009 to 2010. Notable live performances of the song by Jackson include at the 30th Grammy Awards (1988).

"The Way You Make Me Feel" generally charted within the top ten and top twenty positions on music charts worldwide. The song climbed to number seven on the Billboard Hot 100 on the chart's issue date of December 26, 1987. After charting within the top ten for five weeks, the song peaked at number one on the Hot 100 on January 23, 1988. "The Way You Make Me Feel" became the album's third consecutive single to reach number one on the Hot 100. The song charted on Billboard's Adult Contemporary chart, peaking at number nine, and on the Hot Dance Music/Maxi Single Sales chart at the peak of number three. The song also charted at number one on the Billboard Hot Black Singles chart and Dance Club Play Singles chart.

The song entered the United Kingdom singles charts at number sixteen on December 5, 1987. The following week the song moved up thirteen spaces to number three, which was the song's peak position. The song stayed at its peak position for two consecutive weeks, and remained on the country's chart for ten weeks, before falling out of the top 100 positions, only to re-enter the charts two weeks later.

 The song has sold over 2 million digital copies as of August 2018.

The music video for "The Way You Make Me Feel" was directed by Joe Pytka and was filmed in June 1987 at Skid Row, Los Angeles. It was choreographed by Jackson and Vincent Paterson. The short version of the video is six minutes and forty-four seconds long and the full version is nine minutes and thirty-three seconds long. The video begins with a group of men trying to pick up women, but failing. One of the men, Jackson, is told to go home and not to hang around with the other guys anymore. When Jackson walks home, an elderly man (played by Joe Seneca), who is sitting on the steps of his house, tells him to just be himself. Jackson notices a woman, played by model/dancer Tatiana Thumbtzen, walking down the streets alone.

Shortly after, Jackson walks out of an alley and stands in front of Thumbtzen while she is walking down the street. However, she ignores him and keeps walking, which prompts the other guys to make fun of him. Jackson shouts at them, which gets the attention of everyone, including Thumbtzen. After walking up to her, Jackson begins singing "The Way You Make Me Feel" to her while also dancing. Uninterested, Thumbtzen walks away. He follows her, having been cheered on by his friends to pursue her. This leads to the man to continue to pursue the woman throughout the neighborhood. The video ends with the man eventually winning the woman over, and embracing her, while a fire hydrant sprays out water. The videoclip features an appearance by his sister La Toya as one of Thumbtzen's friends.

The music video was released on October 31, 1987, and received one nomination at the 1988 MTV Video Music Awards Ceremony. The video, alongside Jackson's "Bad" video, was nominated for Best Choreography, but lost to Jackson's younger sister Janet's video "The Pleasure Principle".

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The single was certified platinum by the RIAA for sales in excess of two million in the United States. It was also the recipient for Golden Raspberry Award for Worst Original Song. The song's radio airplay on the BBC was restricted to post-watershed hours due to concerns that it might promote promiscuity and could be counterproductive to contemporary campaigns about AIDS awareness.

Although it was one of Michael's biggest hits, the singer ignored the song following its release; he never performed it after the Faith Tour and although the Rhythm Two version appears on Ladies & Gentlemen: The Best of George Michael, it does not appear on the 2006 retrospective Twenty Five; furthermore, the "Monogamy Mix" does not appear on the 2011 remastered release of Faith. In an interview with Mark Goodier, included in the large-format book released with the 2011 remaster, Michael said that he still likes the second "Rhythm" but not the first, and that he distanced himself from the song because its production sounded too much like Prince; indeed, "Rhythm 1", as well as a few other tracks on the Faith album (such as "Hard Day"), features Michael simulating female vocals by artificially pitching up and altering his own voice, much the same way as Prince was doing at the time with his pseudo-female alter ego Camille. In the interview, Michael admits that he was "deeply enamoured" with Prince, and adds that he thought it was very bad for him to be infatuated with a colleague of his. Rolling Stone editor David Fricke described this song as 'a new bump-and-grind original that sounds more like Prince's stark, sexy "Kiss" than anything in the Wham! catalog'. In 2016, after Michael's death, Andrew Unterberger of Billboard ranked the song number eight on his list of Michael's 15 greatest songs.

The music video, directed by Andy Morahan, featured Michael and his then-girlfriend Kathy Jeung to emphasize that he was in a monogamous relationship; at one point, he is shown using lipstick to write the words "explore" and "monogamy" on her back, which is photographed and retouched at the end of the video to reveal the phrase "explore monogamy". A Spanish model was also used for naked scenes in a way that allowed the audience to assume they were the same woman; these shots are interspersed with intentionally blurred footage of George Michael dancing and singing the song.

In a 2004 interview with Adam Mattera for UK magazine Attitude, Michael reflected: "It was totally real. Kathy was in love with me but she knew that I was in love with a guy at that point in time. I was still saying I was bisexual...She was the only female that I ever brought into my professional life. I put her in a video. Of course she looked like a beard. It was all such a mess, really. My own confusion and then on top of that what I was prepared to let the public think."

The video generated controversy over its sexual themes. In 2002, MTV2's countdown of MTV's Most Controversial Videos Ever to Air on MTV included the video for "I Want Your Sex" at number 3. The original video cut appears on the Twenty Five compilation 2-DVD set.

The song was broken up in 3 parts on the album. 1-2 were together, but 3 was the final song on the album. This mix puts them all together.

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**This is the full version, which includes a live intro that was featured as a bonus track on the album. I added it to the beginning of the song.

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Several years later, Irish singer-songwriter Sinéad O'Connor recorded a version of the song for her second studio album, I Do Not Want What I Haven't Got (1990). It was released as the album's second single in early 1990 and became a worldwide hit. O'Connor co-produced the record with Nellee Hooper, and its music video, directed by John Maybury, received heavy rotation on MTV. In December 1990, Billboard named "Nothing Compares 2 U" as the "#1 World Single" of 1990 at its first Billboard Music Awards.

Prince released his own rendition of "Nothing Compares 2 U", with Rosie Gaines on guest vocals in 1993. This live version of the song was included on his compilation album The Hits/The B-Sides. His original 1984 studio recording of the song was eventually released in 2018 as a single and later on the 2019 posthumous compilation Originals.

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The track reached number 14 on the Billboard Hot 100, number 41 on the Hot Dance Club Play chart, number four on the Mainstream Rock Tracks chart, number 22 on the Canadian RPM Top Singles chart and number 45 on the UK Singles Chart. It was re-released in early 1990 and peaked at number 20 in the UK. It was certified gold in the UK for sales and streams exceeding over 400,000 units.

The song was written by lead singer Steven Tyler, lead guitarist Joe Perry and songwriter Desmond Child.

The song talks about a man who is mistaken for a woman. According to Desmond Child, Steven Tyler came up with the idea after mistaking Mötley Crüe singer Vince Neil for a woman with long blonde hair. Tyler's bandmates made fun of him, joking about how the "dude looked like a lady". In his book The Heroin Diaries, Mötley Crüe's Nikki Sixx concurs that the song was inspired by Neil.

Despite the song's mainstream success, "Dude (Looks Like a Lady)" has been accused of being transphobic, with "its lyrics and music video’s offensive insinuations about trans women." In 2012, Desmond Child said, "I talked Aerosmith into the whole scenario of a guy that walks into a strip joint and falls in love with the stripper on stage, goes backstage and finds out it's a guy." In 2019, Child confirmed that the song was about a man who "just walks into a bar and sees this gorgeous blonde up on the stage and then goes backstage after the show and then she 'whips out a gun, tries to blow me away.'"

Vox's Abbey White pointed out that "the song also plays on the idea that trans women intentionally deceive men or are 'in disguise', that they are unattractive or repulsive ... and at one point mixes pronouns, going from 'Oh she like it' in one line to 'Oh, he was a lady,' in the next."

Child has refuted all allegations of transphobia, describing the song as "accepting" because of the lyric, "Never judge a book by its cover, or who you're going to love by your lover."

On August 27, 2013, Fox News played this song while introducing Chelsea Manning. As well as the network's use of masculine pronouns and Manning's deadname, playing this song received backlash from commentators.

After Caitlyn Jenner called "Dude (Looks Like a Lady)" her "theme song" in 2017, backlash ensued from fans and from LGBT activists due to the perceived transphobia.

The video for "Dude (Looks Like a Lady)" features the band performing live onstage as well as random moments of characters portraying drag queens, including a cameo appearance by A&R man John Kalodner dressed up in a wedding dress at one point. This is a joke based on the fact that Kalodner always dresses in white. Joe Perry's wife Billie also appears in the music video, pretending to play the saxophone on stage.

There are also some provocative sexual performances, both led by singer Steven Tyler as well as a presumed female who has her skirt torn off to reveal the Aerosmith "wings" tattoo on her buttocks. The video was directed by Marty Callner.

"Dude" picked up two MTV Video Music Award nominations in 1988 (the first for the band). It was nominated for Best Group Video and Best Stage Performance, but failed to gain the wins. The band made up for it eventually, winning over 10 "moon-men" and 4 Grammys in the 1990s.

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The track reached number 14 on the Billboard Hot 100, number 41 on the Hot Dance Club Play chart, number four on the Mainstream Rock Tracks chart, number 22 on the Canadian RPM Top Singles chart and number 45 on the UK Singles Chart. It was re-released in early 1990 and peaked at number 20 in the UK. It was certified gold in the UK for sales and streams exceeding over 400,000 units.

The song was written by lead singer Steven Tyler, lead guitarist Joe Perry and songwriter Desmond Child.

The song talks about a man who is mistaken for a woman. According to Desmond Child, Steven Tyler came up with the idea after mistaking Mötley Crüe singer Vince Neil for a woman with long blonde hair. Tyler's bandmates made fun of him, joking about how the "dude looked like a lady". In his book The Heroin Diaries, Mötley Crüe's Nikki Sixx concurs that the song was inspired by Neil.

Despite the song's mainstream success, "Dude (Looks Like a Lady)" has been accused of being transphobic, with "its lyrics and music video’s offensive insinuations about trans women." In 2012, Desmond Child said, "I talked Aerosmith into the whole scenario of a guy that walks into a strip joint and falls in love with the stripper on stage, goes backstage and finds out it's a guy." In 2019, Child confirmed that the song was about a man who "just walks into a bar and sees this gorgeous blonde up on the stage and then goes backstage after the show and then she 'whips out a gun, tries to blow me away.'"

Vox's Abbey White pointed out that "the song also plays on the idea that trans women intentionally deceive men or are 'in disguise', that they are unattractive or repulsive ... and at one point mixes pronouns, going from 'Oh she like it' in one line to 'Oh, he was a lady,' in the next."

Child has refuted all allegations of transphobia, describing the song as "accepting" because of the lyric, "Never judge a book by its cover, or who you're going to love by your lover."

On August 27, 2013, Fox News played this song while introducing Chelsea Manning. As well as the network's use of masculine pronouns and Manning's deadname, playing this song received backlash from commentators.

After Caitlyn Jenner called "Dude (Looks Like a Lady)" her "theme song" in 2017, backlash ensued from fans and from LGBT activists due to the perceived transphobia.

The video for "Dude (Looks Like a Lady)" features the band performing live onstage as well as random moments of characters portraying drag queens, including a cameo appearance by A&R man John Kalodner dressed up in a wedding dress at one point. This is a joke based on the fact that Kalodner always dresses in white. Joe Perry's wife Billie also appears in the music video, pretending to play the saxophone on stage.

There are also some provocative sexual performances, both led by singer Steven Tyler as well as a presumed female who has her skirt torn off to reveal the Aerosmith "wings" tattoo on her buttocks. The video was directed by Marty Callner.

"Dude" picked up two MTV Video Music Award nominations in 1988 (the first for the band). It was nominated for Best Group Video and Best Stage Performance, but failed to gain the wins. The band made up for it eventually, winning over 10 "moon-men" and 4 Grammys in the 1990s.

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Although it reached the top 20 on the Billboard 200 albums chart, the album did not sell as well as the band's previous albums, Sports and Fore!. However, Lewis himself stated in a Behind the Music interview that the recording process for Small World had the most favorable working conditions.

**This song was seperated into 2 parts on the album. This is the full song in it's entirety.

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The song was also parodied by Italian comedy music duo Giovanni Alamia and Tony Sperandeo with the title of "Rap Ghiaccio" and was taken from their album of the same year of the release of the song "Brutti, sporchi e monelli".

A music video was produced to promote the single. It featured Hammer and several of his dancers performing in their unique style around the Addams mansion as well as most of the cast of the film. The video opens with Hammer pleading with Wednesday (Christina Ricci) and Pugsley (Jimmy Workman) to refrain from chopping his head off with a guillotine. It concludes with several scenes taking place in the Addamses' backyard cemetery, including Thing crawling up and down a Hammer dancer and Gomez (Raúl Juliá) dueling in a sword-fight with Hammer over Morticia (Anjelica Huston).

The music video was played prior to the beginning of the film during its theatrical release. The video also features a 13-year old Jimmy Rollins as an extra.

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The first recording of "Supersonic" was released in 1987 by the original line-up of J.J. Fad as the B-side to "Anotha Ho" on Dream Team Records. The new line-up re-recorded and released "Supersonic" in April 1988 as a single; this version reached number 10 on the Billboard Hot Dance/Club Play Songs and number 22 on the Hot R&B/Hip-Hop Singles & Tracks chart. "Supersonic" stayed on the dance charts for eight weeks. The single was certified gold by RIAA, and also got nominated for a Grammy Award for Best Rap Performance in 1989, making them the first all-female rap group to be nominated for a Grammy award. They lost the award to DJ Jazzy Jeff & The Fresh Prince for "Parents Just Don't Understand".

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The song started as an instrumental track by Teddy Riley for which Keith Sweat wrote lyrics. Sweat ultimately passed on the song that was originally written for his 1987 debut Make It Last Forever. Kemp recorded a demo of the new song, intending for it to be used by another singer; his "scratch vocal" ended up on the final release.

The song hit No. 1 on the U.S. R&B and Dance charts and reached No. 10 on the Billboard Hot 100.

"Just Got Paid" received a Grammy Award nomination for Best R&B Song at the 31st Grammy Awards in 1989. It lost out to Anita Baker's "Giving You the Best That I Got".

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The song started as an instrumental track by Teddy Riley for which Keith Sweat wrote lyrics. Sweat ultimately passed on the song that was originally written for his 1987 debut Make It Last Forever. Kemp recorded a demo of the new song, intending for it to be used by another singer; his "scratch vocal" ended up on the final release.

The song hit No. 1 on the U.S. R&B and Dance charts and reached No. 10 on the Billboard Hot 100.

"Just Got Paid" received a Grammy Award nomination for Best R&B Song at the 31st Grammy Awards in 1989. It lost out to Anita Baker's "Giving You the Best That I Got".

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In mid-1982, British rock band After the Fire recorded an English version, also titled "Der Kommissar", and released it as a single, but the record floundered. Coming off a tour opening for Van Halen, After the Fire was working on material for a new album when in December 1982, the group announced onstage during a concert that they were disbanding. Both the After the Fire and Falco versions were rising on the Canadian charts at the time, but neither had cracked the US pop charts. Around that time, American singer Laura Branigan began working on her second studio album, Branigan 2, and she recorded "Deep in the Dark", a new song written over the melody and arrangement of "Der Kommissar" which was prepared for release. Then the After the Fire version finally hit the US Billboard Hot 100 on 22 February 1983, and started rising. Though its version barely nicked their home country's Top 50, in 1983 the song's music video received extensive airplay on MTV propelling its popularity on US radio. The song entered the US top 40 on 5 March 1983, peaking at No. 5, and spending a total of 14 weeks in the top 40. The single was released under the Epic Records label. Amidst all this renewed attention to the composition, Falco's own version, which had done well in some US markets but not charted nationally, was re-released, but the German-language record remained essentially a novelty hit there, charting concurrently with the After the Fire version but not rising above No. 74 on the Cashbox chart.

In Canada, Falco's version had peaked at No. 11 the same late-January week that After the Fire's version peaked at No. 12. After the Fire's record company, CBS, pleaded with the band to regroup, but to no avail. While UK promotional singles for "Deep in the Dark" were pressed (the After the Fire version missed the UK top 40 and the Falco version failed to chart there), Branigan's record company, Atlantic, officially released "Solitaire" in the United States, where that song peaked at No. 7.

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The song's sound marked a considerable change in the musical direction for Heart, moving from the hard rock and folk rock of their earlier work to a more polished, power ballad sound. "What About Love" received extensive airplay on MTV and returned Heart to the top-10 of the U.S. Billboard Hot 100 for the first time in five years, peaking at No. 10.

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The song peaked at number one on the Billboard Hot 100. Outside the United States, "We Built This City" topped the charts in Australia and Canada, peaked inside the top 10 of the charts in Germany, the Republic of Ireland, Sweden and Switzerland, the top 20 on the charts in Belgium, New Zealand and the United Kingdom and the top 30 of the charts in Austria and the Netherlands.

The song has gained significant scorn, both for the inscrutability of its lyrics (notably the line "Marconi plays the mamba"), and for the contrast between the song's anti-corporate message and its polished, "corporate rock" sound. It topped a 2011 Rolling Stone poll of worst songs of the 1980s by a wide margin, and the magazines Blender and GQ both called it the worst song of all time.

Billboard said that this "unusual rock 'n' roll anthem is as wise as it is rebellious." Cash Box called it "an ear-catching tune" and described it as "dance rock with sharp hooks."

"We Built This City" received a Grammy Award nomination for Best Rock Vocal Performance by a Duo or Group in 1986.

The song was engineered by producer Bill Bottrell, written by Bernie Taupin, Martin Page, Dennis Lambert and Peter Wolf and arranged by Bottrell and Jasun Martz. The song was based on a demo by Page and Taupin with a darker feel and based on how clubs were dying in Los Angeles, leaving live performers without work. Wolf reworked the song's arrangement with a more upbeat tone.

The song features Mickey Thomas and Grace Slick sharing lead vocals. MTV executive and former DJ Les Garland provided the DJ voiceover during the song's bridge. Additionally, some radio stations, with the help of jingle company JAM Creative Productions, inserted their own opening lines to promote their stations.

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The song critiques the US intervention in Central America, particularly in the then-ongoing Contra War, in which the Reagan administration funded the right-wing rebel group Contras to overthrow the socialist Sandinista National Liberation Front government in Nicaragua.

Backing vocals for the song was provided by Patty Smyth of the band Scandal, and Martha Davis, lead singer of the Motels.

When Kortchmar was asked about the song, he said, "I had the groove and the music going. That record was made back when the technology had just started to really take over in music. I had one of the first Yamaha DX7s, which was a keyboard that was used a ton in the '80s, but we ended up luckily getting one of the first ones in the United States. It's a synthesizer keyboard, and I used it to get that sound that you hear the record starting with."

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The single was an immediate success throughout Europe with notable peaks worldwide, including Australia and the US. It is arguably the most famous of the band's singles in the United States having charted at number 14 on the US Billboard Hot Dance Club Play chart, number 17 on the Billboard Top 40 Mainstream and number 38 on the Billboard Hot 100, making it the band's only top-40 hit in the US. In the UK, the single went to number two on the UK Singles Chart.

The song is one of the most frequently played songs at sporting events around the world. It earned one of BMI's Pop Awards of 1996, honoring the songwriters, composers and music publishers of the song. In 2010, Pitchfork included it in their list of "Ten Actually Good 90s Jock Jams".

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"We Don’t Need Another Hero (Thunderdome)" was released on the heels of Turner’s multiplatinum album Private Dancer. The song’s lyrical content is written from the perspective of those being oppressed and not wanting to get their hopes up in yet another “hero” who may or may not save them. The song was released as a 7″ single, and an extended version was released as a 12″ single and on the film’s soundtrack album. In the UK, a shaped picture disc was also released.

In 1986, the song received a Golden Globe nomination for Best Original Song and a Grammy nomination for Best Female Pop Vocal Performance. As songwriters, Lyle and Britten received the 1985 Ivor Novello award for Best Song Musically and Lyrically.

Turner was backed by a choral group from King’s House School in Richmond, London. One of the choir members who appeared on the record, Lawrence Dallaglio, became famous in a totally different field as a rugby union star and captain of the England national team.

"We Don’t Need Another Hero (Thunderdome)"” became one of Tina Turner’s biggest worldwide hit singles. The single peaked at #2 on the United States Billboard Hot 100, #3 in the UK and reached #1 in Canada, Australia, Germany, Poland, Spain and Switzerland. "We Don’t Need Another Hero (Thunderdome)" was kept from the top spot by John Parr's "St. Elmos Fire (Man In Motion)"

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"Stir It Up" was the second of two songs she recorded for MCA Records immediately after signing her new contract with them (following "New Attitude"). Her first full-length album for MCA, Winner in You, would follow the next year.

Released as the second single from the soundtrack, which was awarded the 1986 Grammy Award for Best Score Soundtrack for Visual Media, it reached number five on the US Hot R&B/Hip-Hop Songs chart. "Stir It Up" was also used as the theme song to the short-lived sitcom Stir Crazy, based on the 1980 movie.

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"Stir It Up" was the second of two songs she recorded for MCA Records immediately after signing her new contract with them (following "New Attitude"). Her first full-length album for MCA, Winner in You, would follow the next year.

Released as the second single from the soundtrack, which was awarded the 1986 Grammy Award for Best Score Soundtrack for Visual Media, it reached number five on the US Hot R&B/Hip-Hop Songs chart. "Stir It Up" was also used as the theme song to the short-lived sitcom Stir Crazy, based on the 1980 movie.

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The song topped the US Billboard Dance Club Songs chart in March 1987 and remained there for four weeks. Soon after, the single was picked up by Top 40 radio, and it charted on the Billboard Hot 100 spending eight weeks in the Top 40 in May and June 1987, peaking at #21. It became Company B’s most successful hit single in the U.S. and is one of the first freestyle songs to enter the Top 40 on the Billboard Hot 100.

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The song debuted on the Billboard Hot 100 during the week of February 9, 1985, at position 43, when "Like a Virgin" was descending out of the top ten. The single climbed the Hot 100 quickly, jumping 13 spots to number five the week of March 9, 1985, and eventually spent two weeks at number two, held off by REO Speedwagon's "Can't Fight This Feeling" and Phil Collins' "One More Night". The week when the song slipped to position three, her upcoming single "Crazy for You" reached number four, giving Madonna two simultaneous top-five hits. "Material Girl" reached the top of the Hot Dance Club Songs but was less successful on the Hot R&B/Hip-Hop Songs chart, failing to enter the top 40 and peaking at number 49. It was placed at number 58 on the year-end chart for 1985, with Madonna becoming the top pop artist for the year. In Canada, the song debuted on the RPM Singles Chart at number 76, on the issue dated February 16, 1985. After five weeks, it reached a peak position of four on the chart and was present on the chart for a total of 21 weeks. It was ranked at number 46 on the RPM Year-End chart for 1985.

In the United Kingdom, "Material Girl" debuted on the UK Singles Chart at number 24 on March 2, 1985, and reached a peak position of number three. It was present for a total of ten weeks on the chart. Across Europe, the song reached the top-ten in Austria, Belgium, Ireland, Netherlands, Spain and the Eurochart Hot 100 Singles, while reaching the top 40 of Germany, Italy and Switzerland.

In Australia, the single debuted at number 25 on 17 March 1985 and peaked at number four three weeks later. It also reached the Top 5 in New Zealand and Japan.

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Critics reacted positively to the dance-pop nature of the track. “Dress You Up” became Madonna’s sixth consecutive top-five single in the United States. It also reached the top-ten in Australia, Belgium, Canada, Ireland, New Zealand and the United Kingdom. “Dress You Up” was added to the “Filthy Fifteen” list of the Parents Music Resource Center, due to the sexual nature of its lyrics.

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"Step by Step" was initially recorded by one of Maurice Starr's other groups, The Superiors. It was released as a single in 1987 on Motown Records but it was not successful. The New Kids cover of the song on the other hand was a huge worldwide hit, becoming one of the biggest selling singles of 1990. The New Kids on the Block's cover spent three weeks at No. 1 on the US Billboard Hot 100 and was eventually certified platinum; it also spent two weeks at No. 1 on the Canadian Singles Chart, in total "Step by Step" spent five weeks at No. 1 in the North American charts. It also peaked at No. 2 on the UK Singles Chart and was also a top 10 hit in the Australian, French, West German, Irish and Norwegian charts.

The accompanying music video for "Step by Step" was directed by American director Larry Jordan. Donnie Wahlberg's brother Mark Wahlberg also appears in the video.

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"Step by Step" was initially recorded by one of Maurice Starr's other groups, The Superiors. It was released as a single in 1987 on Motown Records but it was not successful. The New Kids cover of the song on the other hand was a huge worldwide hit, becoming one of the biggest selling singles of 1990. The New Kids on the Block's cover spent three weeks at No. 1 on the US Billboard Hot 100 and was eventually certified platinum; it also spent two weeks at No. 1 on the Canadian Singles Chart, in total "Step by Step" spent five weeks at No. 1 in the North American charts. It also peaked at No. 2 on the UK Singles Chart and was also a top 10 hit in the Australian, French, West German, Irish and Norwegian charts.

The accompanying music video for "Step by Step" was directed by American director Larry Jordan. Donnie Wahlberg's brother Mark Wahlberg also appears in the video.

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"Forever Your Girl" spent two weeks at the top of the US Billboard Hot 100 in May 1989, reached number 28 on the Dance Club Songs chart, and number 11 on the Adult Contemporary chart.

The song is about loyalty in a relationship. The female vocalist proclaims that, despite rumors that others may be interested in her, none of those matter because she will remain faithful to the man she loves; she will remain "forever his girl." The single version differs slightly from the album version, as it uses more of the background male vocal featuring the Wild Pair, Bruce DeShazer, and Marvin Gunn.

The accompanying music video for the song was directed by David Fincher, and features Abdul acting as a choreographer and director of a children's performance. An 8-year old Elijah Wood appears in the video, playing the kid in the suit. It also parodies Robert Palmer's Addicted to Love video with three girls dressed like the women on the video.

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The single version has more pronounced bass. Also when Joe Strummer screams "The crowd caught a whiff / Of that crazy casbah jive" at the end of the third verse the word "jive" is sustained for several seconds with digital delay. Additionally, the sound effects of the jet fighters in the last verse are lower in the mix, particularly just after "drop your bombs between the minarets." The single version of the song is what is played in the music video. "Mustapha Dance", which features in many releases of the single, is an instrumental/dub remix of the song.

The song tells the story of a military dictator who has banned rock music, but his people still find ways to hear it. The people take to the rooftops, singing and playing the forbidden music, and the general orders his air force to bomb them. The song ends with the people standing defiantly and singing their song, refusing to be silenced. The lyrics and powerful music of “Rock the Casbah” have resonated with countless people around the world and have become a timeless classic. The song serves as a reminder of the power of music to bring people together and stand up against injustice.

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The song was a No. 1 hit in several countries, including Canada, the Netherlands, Ireland, and the United Kingdom. In the U.S., it spent 23 weeks on the Billboard Hot 100 chart, including 7 weeks in the Top 10, and peaked at No. 2 the weeks of 2 February 1985 and 9 February 1985, behind the chart-topping "I Want to Know What Love Is" by Foreigner. In the UK Singles Chart, it reached No. 1, staying there for four weeks. The single sold over a million copies in the U.S. and was certified gold, as the RIAA requirement for a platinum single disc was not lowered to one million units until 1989. In addition, "Easy Lover" has been certified platinum by the British Phonographic Industry (BPI) and Music Canada.

"Easy Lover" won an MTV Video Music Award for Best Overall Performance in a Video in 1985 and was Grammy Award nominated for Best Pop Performance by a Duo or Group With Vocals in 1986.

In 1984, Phil Collins was hired as the producer for Philip Bailey's solo album, Chinese Wall. According to Collins, Bailey approached him at the end of the sessions for the album and asked him to write a song together. In "Phil Collins: My Life in 15 Songs", a 2016 interview he gave to Rolling Stone magazine, Collins said of the song: "So we just started having a jam one night, and went round and round and turned it into a verse and a chorus. We recorded it that night so we wouldn't forget it. That song doesn't sound like any particular era. It's just fantastic." According to the official sheet music, the song is in the key of F minor and has a tempo of 105 BPM, though the studio recording has a tempo of 130 BPM.

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Billboard said that Hall & Oates "pop-r&b style renews its freshness and interest."

The song entered the Billboard Hot 100 when "Out of Touch" was still on the top of the chart; it debuted at #50 for the week ending December 15. After eight weeks it peaked at #5 staying there for a week; the single remained on the chart for 19 weeks. Curiously, on the January 19, 1985, issue this song was at #21 while the aforementioned Out of Touch was at #22.

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Rock Me Amadeus is a song recorded by Austrian musician Falco, for his third studio album, Falco 3 (1985). The single was made available for physical sale in 1985 in German-speaking Europe, through A&M. “Rock Me Amadeus” was written by Falco along with Dutch music producers Bolland & Bolland. To date, the single is the only German language song to peak at number one of the Billboard Hot 100, which it did on 29 March 1986.

It topped the singles charts on both sides of the Atlantic. It was Falco’s only number one hit in both the United States and the United Kingdom, despite the artist’s popularity in his native Austria and much of Europe.

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Rock Me Amadeus is a song recorded by Austrian musician Falco, for his third studio album, Falco 3 (1985). The single was made available for physical sale in 1985 in German-speaking Europe, through A&M. “Rock Me Amadeus” was written by Falco along with Dutch music producers Bolland & Bolland. To date, the single is the only German language song to peak at number one of the Billboard Hot 100, which it did on 29 March 1986.

It topped the singles charts on both sides of the Atlantic. It was Falco’s only number one hit in both the United States and the United Kingdom, despite the artist’s popularity in his native Austria and much of Europe.

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The song is about the classical composer Wolfgang Amadeus Mozart (1756-1791). Mozart was a child prodigy who performed his first musical tour at the age of five. His last three years were his most successful and he had an extremely excessive lifestyle. The basic concept is the suggestion that Mozart was the rock’n’roll rebel of his day. Some of the lyrics in “Rock Me Amadeus” reflect this. Here’s an English translation:

He was the first punk ever to set foot on this earth.

He was a genius from the day of his birth.

He could play the piano like a ring and a bell

And everybody screamed: Come on, rock me Amadeus

With a bottle of wine in one hand and a woman in the other

His mind was on rock and roll and having fun

Because he lived so fast he had to die so young

But he made his mark in history

Still everybody says: Rock me Amadeus

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It topped the singles charts on both sides of the Atlantic. It was Falco’s only number one hit in both the United States and the United Kingdom, despite the artist’s popularity in his native Austria and much of Europe.

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The song is about the classical composer Wolfgang Amadeus Mozart (1756-1791). Mozart was a child prodigy who performed his first musical tour at the age of five. His last three years were his most successful and he had an extremely excessive lifestyle. The basic concept is the suggestion that Mozart was the rock’n’roll rebel of his day. Some of the lyrics in “Rock Me Amadeus” reflect this. Here’s an English translation:

He was the first punk ever to set foot on this earth.

He was a genius from the day of his birth.

He could play the piano like a ring and a bell

And everybody screamed: Come on, rock me Amadeus

With a bottle of wine in one hand and a woman in the other

His mind was on rock and roll and having fun

Because he lived so fast he had to die so young

But he made his mark in history

Still everybody says: Rock me Amadeus

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When released, the song was a top 10 hit in the United States, peaking at number seven, after reaching number three on the UK Singles Chart earlier in the year. It was a number one song on the Canadian RPM Top Singles chart peaking on May 10, 1986. The song also hit number five in the Netherlands as well as No. 14 in Belgium and No. 27 in New Zealand. AllMusic notes that "the song's oddball mix of hip-hop, Latin pop, disco, and new wave, crossed radio formats, from R&B to Top-40 to 'Rock of the ‘80s' stations ruled by the Smiths and the Cure." On the strength of the single's multiformat success, the band's album hit the top 40 in two formats as well, peaking at number 31 on the Top 200 Albums chart and at number 34 on the Top R&B Albums chart.

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The track begins with synthesizer-processed chanting, with the lines "Simonini" repeating over a recurrent buzzing until drums and a synth-led riff begin. The duo of Gary "Mudbone" Cooper and Michael Camacho's harmonized vocals then come in, punctuated with deadpan "yeah, yeah, yeah"s.

When released, the song was a top 10 hit in the United States, peaking at number seven, after reaching number three on the UK Singles Chart earlier in the year. It was a number one song on the Canadian RPM Top Singles chart peaking on May 10, 1986. The song also hit number five in the Netherlands as well as No. 14 in Belgium and No. 27 in New Zealand. AllMusic notes that "the song's oddball mix of hip-hop, Latin pop, disco, and new wave, crossed radio formats, from R&B to Top-40 to 'Rock of the ‘80s' stations ruled by the Smiths and the Cure." On the strength of the single's multiformat success, the band's album hit the top 40 in two formats as well, peaking at number 31 on the Top 200 Albums chart and at number 34 on the Top R&B Albums chart.

**The "Extended Version" here is exclusive to this U.D. & Canadian pressings.

For the first couple minutes it sounds like the standard 5:28 extended mix that appears everywhere else...but scroll to the 2:40 mark...instead of guitars playing in the bridge, It's synthesizers. Also after the last chorus the structure changes...there's an extra chorus inserted before the "we can make a better way" alternate chorus...and an exclusive break before the "nah nah nah" part.

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In the United States, "The Pleasure Principle" debuted at number 78 on the Billboard Hot 100 on the issue dated May 23, 1987. It later reached its peak position of number 14 on August 1, 1987. It became the first single released by Jackson to miss the top-ten until "Son of a Gun (I Betcha Think This Song Is About You)" peaked at number 28 in 2001. "The Pleasure Principle" nevertheless became her fifth chart-topper on the Hot R&B/Hip-Hop Songs chart and her third on the Dance Club Songs chart. It was ranked number 34 on the Hot R&B/Hip-Hop Songs Year-End chart of 1987.

Elsewhere, "The Pleasure Principle" reached the top 40 in most markets, but failed to match the international success of the previous singles from Control.

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"Part-Time Lover" also reached number three on the UK Singles Chart thanks in large part to a performance by Wonder on Top of the Pops in late 1985.

The song featured R&B singer Luther Vandross singing the ad-libs and backing vocals, in addition to Syreeta Wright and Philip Bailey of Earth, Wind and Fire. Wonder earned a Grammy Award nomination for Best Male Pop Vocal Performance in 1986, for the song. Wonder is noted in the liner notes of the 4-CD set Hitsville USA: The Motown Singles Collection Volume 2 1972-1992 as describing the music for the song as an ode to "You Can't Hurry Love" and "My World Is Empty Without You", both by the Supremes, former Motown labelmates of Wonder.

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The song was placed at No. 20 on VH1's list of the 100 Best Hard Rock Songs.

**The front cover photo was also banned and not used for the US market.

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Somebody

It’s Only Love

Diana

Fits Ya Good

Somebody

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The song was written in March 1984 in Vancouver, British Columbia, Canada. It was intended as a light, comedic song about the wedding of Charles, Prince of Wales and Lady Diana Spencer. The song was not included on Adams' Reckless album because Adams was worried about offending the royal couple. Nevertheless, the song was later released as a b-side on the single, "Heaven".

The lyrics of the song admire Diana, a celebrity who the narrator first saw in a magazine, then later on TV. The narrator professes his love for Diana, and indicates that her current husband (never mentioned by name) is not good enough for her. The narrator begs Diana to leave her husband, indicating that she wouldn't have to be part of the "social scene" if she were with him.

Though the song is assumed to be about Diana and Prince Charles, the song never explicitly identifies the characters as such. Furthermore, it is never mentioned what Diana does (other than being a well-known celebrity), nor is Charles mentioned by name or title. A royal connection is made, though, in that Diana is identified by the narrator as "the queen of all my dreams".

According to co-writer Jim Vallance, when the British press obtained a copy of the record, they "attempted to fabricate a scandal" by saying that Adams had inappropriate feelings for Diana and had insulted Prince Charles.

Adams is said to have had an affair with Diana while dating Cecilie Thomsen, but this was ten years after writing the song. Adams often performed the song during his live concerts up until the day of Diana's death after which he retired the song permanently.

In 1985 A&M Records in Canada released a 3-track 12" EP which contained "Diana" along with Adams's hit single "Summer Of 69", and an exclusive Bryan Adams Megamix, remixed by Sanny X.

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Lyrically, the song features Lennox confronting a cheating lover as she leaves him for good. As she declares that she is “walking out the door” and he doubts her, Lennox’s response is “would I lie to you honey? / now would I say something that wasn’t true?” The music video was heavily shown on MTV, the clip beginning with an angry confrontation between Lennox and her boyfriend (during which he calls her a “bitch”), just prior to a Eurythmics performance.

After some friendly encouragement backstage from bandmate Stewart, the full band performs the song, only to have Lennox’s boyfriend return to the venue, climb up onto the stage, and get pushed off into the audience by Lennox. Steven Bauer played the part of the boyfriend. The cover photo of the Be Yourself Tonight album is a screenshot from the music video during the argument scene.

“Would I Lie to You?” is one of Eurythmics’ most recognized tunes. The song continued the bands hit singles run. In the UK, the song peaked at number 17, while it went to number five on the U.S. Billboard Hot 100, becoming their third Top 10 hit in the U.S.. Furthermore, it is the duo’s biggest ever hit in Australia, where it topped the singles chart for two weeks. “Would I Lie to You?” is featured in the 2009 film The Informant! starring Matt Damon.

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"Obsession" was originally written and recorded as a duet by songwriter Holly Knight and musician Michael Des Barres in 1983. This version was played in the 1983 film A Night in Heaven, during a scene in which Christopher Atkins bumps and grinds in Lesley Ann Warren's face in sync with the rhythm of the song. The song was featured on the film's soundtrack, but did not receive enough attention to warrant much radio play or a place on any Billboard charts. That version was also featured in the theatrical trailer to the 1986 film 9½ Weeks, starring Mickey Rourke and Kim Basinger.

The Los Angeles-based synth-pop band Animotion recorded a version of the tune for their self-titled debut album, released in 1984. This version became a massive success, and it remains Animotion's biggest hit.

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In 1982, singer Taco released a synth-pop cover version of "Puttin' On the Ritz" as a single from his album After Eight. The single was accompanied by a music video, the original version of which contains characters in blackface and has since been banned from many networks. An alternative version eliminates many shots of the blackface characters, though some remain.

The cover also musically references other Irving Berlin songs, such as "There's No Business Like Show Business", "Alexander's Ragtime Band", and "White Christmas".

The single was a global hit, reaching No. 4 on the Billboard Hot 100 chart, making Irving Berlin, then 95, the oldest ever living songwriter to have one of his compositions enter the top ten. It was certified Gold by the RIAA for selling over one million copies. It was Taco's only hit in the United States. This version of the song was ranked No. 53 in VH1's 100 Greatest One Hit Wonders of the 80s special.

The song topped the charts in Sweden and New Zealand, and it entered the Top 5 in numerous countries including Australia, Norway, Austria, and Canada.

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“Ghostbusters” is a 1984 song recorded by Ray Parker, Jr. as the theme to the film of the same name starring Bill Murray and Dan Aykroyd. It hit #1 on the Billboard Hot 100 on August 11 in 1984, and stayed there for 3. It also peaked at #2 on the UK Singles Chart on 16 September 1984, where it stayed for 3 weeks. The song is performed in the key of B major.

It was nominated for the Academy Award for Best Music, Original Song, but lost to Stevie Wonder’s “I Just Called to Say I Love You”.

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This is the first UK 12" released for "Ghostbusters" this 12" contains an alternate remix "Searchin' For The Spirit" on the A-side. 

Over the years, the catchphrases "Who you gonna call?" and "I ain't afraid of no ghost." have been etched into fans' memories. The famous "GB break dance/shuffle" performed by Murray and Aykroyd in the 1984 Ray Parker, Jr. music video,"The Real Ghostbusters" end credits and again in "Ghostbusters II" for the party Ray and Winston performed.

Many found the tune similar to Huey Lewis and the News' "I Want a New Drug". Others found the score's synthesizer notes (that were held for several seconds) akin to the chord struck in Gary Numan's "Cars".

Ray Parker Jr. had to get pretty creative with this, as writing a song with the word "Ghostbusters" in it is quite challenging. In an interview with George Cole, author of The Last Miles: The Music of Miles Davis, 1980-1991, Parker said: "It sounds easy now because you've heard the song. But if somebody told you to write a song with the word 'Ghostbusters' in it, it's pretty difficult. That was the hard part - getting the title in the song."

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The single was released only in North America, peaking at #9 in both the U.S. and #5 in Canada. In Australia, it was released in September 1983 as a Double A-side single with Karma Chameleon, peaking at #1 and receiving substantial airplay. With this single, in America, Culture Club was the first band to have three Top 10 singles from a debut album since The Beatles. Much like the group’s two prior American hits, this song was aided by a hugely popular MTV music video.

++ Of note this remix of "I'll Tumble 4 Ya!" was omitted from the recent Japan Deluxe Re-issue of "Kissing To Be Clever".

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The song is ranked at No. 85 on the Rolling Stone list of the 500 Greatest Songs of All Time in 2021, No. 464 in 2010, and No. 461 in 2004. NME ranked the song at No. 4 in their list of The 150 Greatest Singles of All Time,and voted "Kiss" the best single of 1986.

Following Prince's death in April 2016, the song re-charted on the Billboard Hot 100 at No. 28 and jumped to No. 23 a week later. The song also reached No. 2 on the French Singles Chart. As of April 30, 2016, it has sold 1.33 million digital copies in the U.S.

Age of Chance and Art of Noise also released versions of the song that were critical and chart successes.

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"Word Up!" was Cameo's first US Top 40 hit, peaking at number six on the Billboard Hot 100 and spending three weeks at number one on the Billboard R&B chart and one week at number one on the Billboard Hot Dance Singles chart.

In the United Kingdom, "Word Up" spent ten weeks in the top 40 of the UK Singles Chart, peaking at number three on September 21, 1986 – for the week ending date September 27, 1986.

Besides being a commercial success, the track also earned critical acclaim from several publications. "Word Up!" won Cameo the Soul Train Music Award for Best R&B/Soul Single as well as the NME Award for Best Dance Record. Like the band's previous single "Single Life", "Word Up!" features a reference to the opening notes of Ennio Morricone's theme to The Good, the Bad and the Ugly.

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Critical reviews for "What Have You Done for Me Lately" were positive, with music critics believing it erased the former "pop-ingénue image" of Jackson's first two albums, reestablishing her as an "independent woman" figure. The song has been featured in critic lists as one of the greatest songs of all time and received a nomination for Best Rhythm & Blues Song at the 1987 Grammy Awards. The song peaked at number four on the US Billboard Hot 100 and was certified gold by the Recording Industry Association of America (RIAA). It also peaked at number two on the US Dance Club Songs and topped the US Hot Black Singles charts. Outside of the US, it topped the singles chart in the Netherlands and peaked within the top ten in Germany, Switzerland, and the United Kingdom.

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The song was taken from his eponymous debut album.

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"I Wanna Dance with Somebody (Who Loves Me)" received mixed reviews from music critics, who praised Houston's vocal performance but critiqued its musical arrangement comparing it to "How Will I Know" and Cyndi Lauper's "Girls Just Want to Have Fun." Despite the mixed critical response, the song became a worldwide success, topping the charts in eighteen countries including Australia, Italy, Germany and the UK. In the US, it became Houston's fourth consecutive chart topper and is certified 6× platinum with sales of over 6 million copies.

At the 30th Annual Grammy Awards, "I Wanna Dance with Somebody (Who Loves Me)" won for Best Female Pop Vocal Performance, marking Houston's second win in the category.

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"I Wanna Dance with Somebody (Who Loves Me)" received mixed reviews from music critics, who praised Houston's vocal performance but critiqued its musical arrangement comparing it to "How Will I Know" and Cyndi Lauper's "Girls Just Want to Have Fun." Despite the mixed critical response, the song became a worldwide success, topping the charts in eighteen countries including Australia, Italy, Germany and the UK. In the US, it became Houston's fourth consecutive chart topper and is certified 6× platinum with sales of over 6 million copies.

At the 30th Annual Grammy Awards, "I Wanna Dance with Somebody (Who Loves Me)" won for Best Female Pop Vocal Performance, marking Houston's second win in the category.

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