In homage to this pivotal year, we present a countdown of the 100 best singles from the year pop truly exploded. To qualify for this list of 1984 songs, each track had to be released in 1984 or have achieved significant chart success during that year, securing a spot on the prestigious Billboard Hot 100. Get ready to journey back to a year where pop music reigned supreme, with this ultimate list of 1984 songs.
100. Corey Hart, “Sunglasses at Night”
Corey Hart’s “Sunglasses at Night,” a quintessential 1984 song, peaked at Number Seven on the Hot 100, driven by its distinctive, Orwellian synth riff and Hart’s brooding vocals. Produced with the expertise of Jon Astley, known for his work on The Who’s Who Are You, this track epitomized the era’s synth-pop paranoia. Despite early success and offers like a Marty McFly audition and “Danger Zone” recording, Hart’s career trajectory was somewhat unconventional. However, his songwriting and collaborations with Celine Dion in the Nineties demonstrated his lasting musical talent, proving “Sunglasses at Night” as more than just a fleeting 1984 hit.
99. Scandal feat. Patty Smyth, “The Warrior”
“The Warrior,” a powerful 1984 song by Scandal featuring Patty Smyth, also reached Number Seven on the Hot 100. Penned by Holly Knight, who previously wrote Pat Benatar’s “Love Is a Battlefield,” and Nick Gilder, of “Hot Child in the City” fame, this track fused martial melodrama with urban grit. Smyth’s commanding vocals perfectly captured the tough, 80s-infused attitude of the song. Her subsequent collaborations with artists like the Hooters and Don Henley showcased her versatility, yet “The Warrior” remains a defining moment, a testament to her rock prowess and a standout 1984 track.
98. Dead or Alive, “You Spin Me Round (Like a Record)”
Dead or Alive’s “You Spin Me Round (Like a Record),” a defining 1984 song, peaked at Number 11 in the US but soared to Number One in the UK, rescuing frontman Pete Burns from being labeled a Boy George imitator. Seeking a hit, Burns collaborated with the production team Stock Aitken Waterman, who had previously worked with Divine. This partnership birthed a synth-disco anthem born from a reported 36-hour, cocaine-fueled studio session, blending influences from Luther Vandross and Little Nell. Its enduring appeal is undeniable, with multiple re-releases over two decades and a resurgence to Number One in 2009 thanks to a Flo Rida and Ke$ha reimagining, solidifying its place as a timeless 1984 dance-pop classic.
97. Peter Wolf, “Lights Out”
“Lights Out,” Peter Wolf’s 1984 hit song, reached Number 12 on the Hot 100, marking his successful solo venture after leaving the J. Geils Band. Produced by Wolf and electro-funk pioneer Michael Jonzun, the track expertly blended Wolf’s signature swagger with then-contemporary R&B and synth elements. Its infectious bassline, squealing guitar, and percussion-heavy breakdown hinted at extended dance remixes, and indeed, it peaked at Number 11 on the Hot Dance Club Play chart. “Lights Out” showcased Wolf’s ability to translate post-bar flirtations into a compelling and danceable 1984 single.
96. Tears for Fears, “Mothers Talk”
“Mothers Talk,” a thought-provoking 1984 song by Tears for Fears, reached Number 27 on the Hot 100 and served as the lead single from their iconic album Songs From the Big Chair. Inspired by the graphic novel When the Wind Blows, the track’s sonic landscape, blending electronic churn with Art of Noise and Run-D.M.C. influences, was both innovative and politically charged. While overshadowed by later hits like “Shout,” “Mothers Talk” encapsulates the rebellious spirit of Roland Orzabal and Curt Smith, making it a significant, if underrated, 1984 song.
95. Depeche Mode, “People Are People”
Depeche Mode’s “People Are People,” a memorable 1984 song, peaked at Number 13 in the US, becoming their first American hit. Songwriter Martin Gore tackled complex themes like racism with surprising accessibility, crafting a catchy yet meaningful track. Despite its success and important message, the band grew weary of the song, retiring it from their live performances after 1988. “People Are People” remains a powerful statement and a key 1984 song that showcased Depeche Mode’s ability to blend social commentary with pop sensibilities.
94. Bon Jovi, “Runaway”
“Runaway,” Bon Jovi’s debut single and a classic 1984 song, reached Number 39 on the Hot 100, setting the stage for their glam-metal dominance. Written years prior in 1980 or 81, the song perfectly captured youthful desperation and rockstar ambition with its slithering synths and suggestive lyrics. While hinting at the anthemic power ballads to come, “Runaway” established Bon Jovi’s signature blend of heartfelt emotion and hard rock energy, making it a foundational 1984 track in their impressive career.
93. The Jacksons feat. Mick Jagger, “State of Shock”
“State of Shock,” a high-energy 1984 song by The Jacksons featuring Mick Jagger, reached Number Three on the Hot 100. Coming on the heels of Michael Jackson’s Thriller phenomenon, this arena-funk collaboration paired Michael’s dynamic vocals with Jagger’s iconic rock rasp. A live favorite, performed by Jagger with Tina Turner at Live Aid and by The Jacksons on their Victory Tour, “State of Shock” marked The Jacksons’ final Top Five hit and a memorable 1984 musical event.
92. Tommy Shaw, “Girls With Guns”
Tommy Shaw’s “Girls With Guns,” a surprising 1984 song hit peaking at Number 33, showcased the Styx guitarist’s solo versatility. Departing from Styx’s heavy metal roots, this track, backed by British musicians including Wings drummer Steve Holley, embraced a giddy, New Wave-infused power-pop sound. Its upbeat enthusiasm and quirky charm, reminiscent of Bad Religion’s powerpop era, made “Girls With Guns” a unique and unexpected 1984 hit for Shaw.
91. Laid Back, “White Horse”
Laid Back’s “White Horse,” a darkly humorous 1984 song, reached Number 26 on the Hot 100, becoming an electro-funk standard despite its ambiguous anti-drug message. Employing a wheezing 808 beat, proto-acid synths, and comically ominous vocals, Danish duo Tim Stahl and John Guldberg crafted a playfully naughty, time-capsule of synth-and-drum-machine eccentricity. Initially a B-side, its US success, reaching Number One on the dance chart and Number 26 pop, was boosted by Prince’s influence, cementing its status as a cult 1984 hit.
90. Bruce Springsteen, “Cover Me”
Bruce Springsteen’s “Cover Me,” a powerful 1984 song, peaked at Number Seven on the Hot 100 and was the second single from his landmark album Born in the U.S.A. Originally penned for Donna Summer, Springsteen kept the song, delivering a fiery, pleading performance enhanced by a lightning-bolt guitar line and precise drumming. Arthur Baker’s shimmering dub remix further highlighted the song’s dance potential, making “Cover Me” a dynamic and versatile 1984 track.
89. Steve Perry, “Oh Sherrie”
Steve Perry’s “Oh Sherrie,” a chart-topping 1984 song, reached Number Three on the Hot 100, marking his successful solo debut while still fronting Journey. Written for his then-girlfriend Sherrie Swafford, the song echoed Journey’s signature sound with soaring guitars and Perry’s passionate vocals. The MTV video, featuring Swafford and a relatable everyman Perry, became a staple, solidifying “Oh Sherrie” as a lasting 1984 power ballad.
88. Lionel Richie, “Stuck on You”
Lionel Richie’s “Stuck on You,” a genre-bending 1984 song, peaked at Number 3 on the Hot 100, showcasing his country-pop crossover appeal. Drawing from his Alabama roots and country influences, Richie blended R&B crooning with a countrypolitan arrangement, achieving chart success across pop, country, and R&B charts. “Stuck on You” exemplified Richie’s versatility and solidified his status as a crossover king with this memorable 1984 hit.
87. The Pointer Sisters, “Jump (for My Love)”
“Jump (for My Love),” a vibrant 1984 song by The Pointer Sisters, reached Number Three on the Hot 100, exemplifying their successful transition to synth-pop. Their transformation into glossy 80s electronics proved as exciting as the Bee Gees’ disco evolution. Released around the same time as Van Halen’s “Jump,” this gravity-defying hit solidified the “Jump Theorem”—that every hit song titled “Jump” is inherently awesome—and remains a beloved 1984 dance anthem.
86. The Police, “Wrapped Around Your Finger”
“Wrapped Around Your Finger,” a sophisticated 1984 song by The Police, reached Number Eight on the Hot 100 and stands as the underrated gem from their album Synchronicity. While overshadowed by the mega-hit “Every Breath You Take,” its moody keyboards, delicate percussion, and Sting’s literary lyrics create a powerful and atmospheric track. Paired with “Tea in the Sahara,” it forms a compelling album closer, making “Wrapped Around Your Finger” a standout 1984 song within The Police’s catalog.
85. Bryan Adams, “Run to You”
Bryan Adams’ “Run to You,” a driving 1984 song, reached Number Six on the Hot 100 and showcased his peak creative and commercial power. Borrowing guitar jangle from The Byrds, Adams and co-writer Jim Vallance crafted an impassioned performance about forbidden love. Originally intended for Blue Öyster Cult, Adams kept the song for himself, turning a moral dilemma into his signature hit and a quintessential 1984 rock anthem.
84. R.E.M., “So. Central Rain (I’m Sorry)”
“So. Central Rain (I’m Sorry),” R.E.M.’s breakthrough 1984 song, reached Number 85 on the Hot 100, signaling their crossover potential. Initially nameless and later known as “Southern Central Rain,” this almost country-tinged track was recognized as R.E.M.’s shot at mainstream success. Recorded in a pro studio with Pete Buck using a “Rockman” amp, the song’s cryptic lyrics and insistent drone, culminating in Stipe’s wailing “I’m sorry,” marked R.E.M.’s transition from cult band to a commercially viable act, making it a pivotal 1984 song.
83. Diana Ross, “Swept Away”
Diana Ross’ “Swept Away,” a captivating 1984 song, reached Number 19 on the Hot 100, marking her last great single and a surprising rock-infused turn. Featuring backing vocals, production, and a guitar solo by Daryl Hall, and Arthur Baker’s machine-funk percussion, Ross delivered a powerful and oceanic performance. From its spoken intro to its Middle Eastern-tinged vocals and themes of fleeting romance, “Swept Away,” especially in its extended 12-inch version, is a dynamic and memorable 1984 track.
82. John Lennon, “Nobody Told Me”
John Lennon’s “Nobody Told Me,” a posthumous 1984 song, reached Number Five on the Hot 100, offering a glimpse into what might have been. Recorded during the Double Fantasy sessions but set aside for a future album, this track showcases Lennon’s natural vocal talent and sharp wit. Originally written for Ringo Starr, “Nobody Told Me” stands as a poignant and powerful final Top 10 hit for Lennon, a bittersweet addition to the list of 1984 songs.
81. Jocelyn Brown, “Somebody Else’s Guy”
Jocelyn Brown’s “Somebody Else’s Guy,” a soulful 1984 song, reached Number 75 on the Hot 100, becoming her biggest solo hit after years in the disco scene. Inspired by a real-life experience of shared infidelity, this funky lament resonated deeply. Despite initial rejections from major labels who deemed it “too old-fashioned,” its indie release became a massive success, proving the enduring appeal of Brown’s powerful vocals and the song’s relatable theme, making it a significant 1984 R&B track.
80. Robin Gibb, “Boys Do Fall in Love”
Robin Gibb’s “Boys Do Fall in Love,” a New Wave-infused 1984 song, reached Number 37 on the Hot 100, showcasing his late-career genre shift. This stuttering synth-pop track, echoing Italodisco and Latin freestyle influences, achieved success in Italy and resonated with the emerging freestyle scene. With its cheerful melody masking a hidden sadness and sci-fi video set in 2184, “Boys Do Fall in Love” is a quirky and memorable 1984 synth-pop entry.
79. Genesis, “That’s All”
“That’s All,” a pivotal 1984 song for Genesis, reached Number 6 on the Hot 100, marking their transition from prog-rock to pop hitmakers. This simple, piano-driven tune, written as an homage to The Beatles, became their first US Top 10 hit and Phil Collins’ first songwriting success. It foreshadowed Collins’ solo chart dominance later in the decade and signaled Genesis’ full embrace of mainstream pop with this accessible 1984 single.
78. The Cars, “You Might Think”
“You Might Think,” a polished 1984 song by The Cars, reached Number Seven on the Hot 100, showcasing producer “Mutt” Lange’s pop-metal influence. Known for his work with Def Leppard and AC/DC, Lange streamlined The Cars’ art-pop and New Wave sound into chrome-plated hooks and precise instrumentation. Elliot Easton’s guitar work and Greg Hawkes’ repetitive keyboards contribute to the song’s stalker-esque theme, making “You Might Think” a sharp and catchy 1984 hit.
77. Hall and Oates, “Out of Touch”
“Out of Touch,” a chart-topping 1984 song by Hall and Oates, reached Number One on the Hot 100, reflecting the era’s crossover appeal. Daryl Hall noted the growing convergence of AOR and black-white crossover music, and “Out of Touch” exemplified this trend, hitting pop, R&B, dance, and adult contemporary charts. With its dual bass lines and drum machine percussion, it even gained traction with New York mix-show DJs, solidifying its status as a genre-bending 1984 smash.
76. General Public, “Tenderness”
“Tenderness,” a melancholic yet upbeat 1984 song by General Public, reached Number 27 on the Hot 100, showcasing the post-English Beat project of Dave Wakeling and Ranking Roger. Featuring former members of The Clash and Dexys Midnight Runners, the song blended sparkling keyboards with pumped-up melancholia. Mick Jones of The Clash contributed guitars to the track, which laid the groundwork for modern rock’s funny-cry-happy appeal and foreshadowed tracks like Robyn’s “Dancing on My Own,” making “Tenderness” a significant 1984 release.
75. Billy Joel, “Uptown Girl”
Billy Joel’s “Uptown Girl,” a playful 1984 song, reached Number Three on the Hot 100, becoming iconic for its Frankie Valli-inspired style and music video. Written about model Elle Macpherson, the song became more associated with Christie Brinkley, Joel’s co-star in the video and later wife. This vocal-group revisionism captured the era’s retro-pop sensibilities, although Joel later removed it from his setlists after his split with Brinkley, marking “Uptown Girl” as a personal and public 1984 hit.
74. J. Blackfoot, “Taxi”
J. Blackfoot’s “Taxi,” a soulful 1984 song, reached Number 90 on the Hot 100, but was a Top Five R&B hit, representing a late-career peak for the former Soul Children member. “Taxi” is a blues-infused Southern soul track from his City Slicker album, depicting a country man navigating urban life. This tale of chasing lost love across town with blues guitar and heartfelt vocals marks “Taxi” as a unique and soulful 1984 hit.
73. Def Leppard, “Bringin’ on the Heartbreak”
“Bringin’ on the Heartbreak,” Def Leppard’s re-energized 1984 song, reached Number 61 on the Hot 100, capitalizing on their “Photograph” success. Originally released in 1981, a synth-infused remix for the High ‘n’ Dry reissue transformed the hard-rock ballad into a bombastic anthem, foreshadowing their late-80s dominance. Mariah Carey’s 2002 R&B version further cemented its versatility, making “Bringin’ on the Heartbreak” a resurrected 1984 hit.
72. Twisted Sister, “We’re Not Gonna Take it”
Twisted Sister’s “We’re Not Gonna Take it,” an anthemic 1984 song, reached Number 21 on the Hot 100, becoming an MTV staple and enduring protest anthem. With its shout-along chorus and parent-versus-kids video, the song’s simplistic, catchy melody resonated widely. Covered by Joan Jett, Green Day, and “Weird Al” Yankovic, and featured in the musical Rock of Ages, “We’re Not Gonna Take It” remains a timeless 1984 rock anthem.
71. Jellybean, “Sidewalk Talk”
“Sidewalk Talk,” Jellybean’s 1984 hit song, reached Number 18 on the Hot 100, penned by Madonna and featuring her on the chorus. Similar to the ramped-up club sound of “Holiday,” produced by Jellybean Benitez, this track captured the fast-paced, cautious energy of New York City. With verses sung by Catharine Buchanan, “Sidewalk Talk” distilled the essence of urban 80s club culture into a catchy 1984 single.
70. Midnight Star, “No Parking (on the Dance Floor)”
“No Parking (on the Dance Floor),” Midnight Star’s electro-funk 1984 song, reached Number 81 on the Hot 100, contributing to their double-platinum album success. Hailing from Frankfort, Kentucky, Midnight Star masterfully blended Kraftwerk’s minimalist blips with pop hooks. This single, with its hypnotic Rick James grooves and vocoder sizzle, and Prince-esque video, solidified their place in the 1984 electro-funk scene.
69. Ray Parker Jr., “Ghostbusters”
Ray Parker Jr.’s “Ghostbusters,” a chart-topping 1984 song, reached Number One on the Hot 100, becoming the quintessential blockbuster movie theme. Despite controversy over similarities to Huey Lewis’s work, “Ghostbusters” with its exuberant horns and catchy chorus, proved undeniably popular. While the song marked Parker Jr.’s career peak and sparked legal battles, its iconic status and Reagan-era optimism make it a defining 1984 cultural touchstone.
68. Van Halen, “Hot for Teacher”
“Hot for Teacher,” Van Halen’s high-energy 1984 song, reached Number 56 on the Hot 100, and served as David Lee Roth’s swan song with the band. Featuring Alex Van Halen’s legendary drum intro and a wildly entertaining video co-directed by Roth, the song captured Van Halen’s signature bravado. Roth’s departure shortly after cemented “Hot for Teacher” as the final hurrah of Van Halen’s original lineup and a memorable 1984 rock anthem.
67. Madonna, “Like a Virgin”
Madonna’s “Like a Virgin,” a groundbreaking 1984 song, reached Number One on the Hot 100, catapulting her to icon status. While often interpreted for its sexual ambiguity, songwriter Billy Steinberg conceived it as a tender ballad about new love after heartbreak. Madonna embraced the song’s double entendre and even inspired “Weird Al” Yankovic’s parody “Like a Surgeon.” “Like a Virgin” remains a defining 1984 pop culture moment and a testament to Madonna’s transformative artistry.
66. Elton John, “I Guess That’s Why They Call It the Blues”
“I Guess That’s Why They Call It the Blues,” Elton John’s heartfelt 1984 song, reached Number Four on the Hot 100, marking his finest 80s hit and reunion with lyricist Bernie Taupin. Despite Taupin’s reservations about certain lyrics, the song elicited one of Elton’s most soulful performances, enhanced by Stevie Wonder’s harmonica. “I Guess That’s Why They Call It the Blues” remains a timeless 1984 ballad showcasing Elton John’s enduring musicality.
65. Laura Branigan, “Self Control”
Laura Branigan’s “Self Control,” a booming 1984 song, reached Number 4 on the Hot 100, following the success of “Gloria.” An English version of an Italian hit, “Self Control” blended dance-pop with post-punk and gothic undertones. Its video, directed by William Friedkin, added a decadent, Eurotrash visual element, enhancing the song’s themes of nighttime danger and hidden desires, making it a darkly alluring 1984 hit.
64. Matthew Wilder, “Break My Stride”
Matthew Wilder’s “Break My Stride,” a jaunty 1984 song, reached Number Five on the Hot 100, becoming his signature hit. This pop-reggae track with its upbeat chorus and Wilder’s light vocals offered a feel-good anthem. Despite being his only Top 10 hit, its influence extended beyond the 80s, interpolated by Puff Daddy and showcasing Wilder’s production talents with artists like No Doubt and Miley Cyrus, solidifying “Break My Stride” as a lasting 1984 feel-good classic.
63. ZZ Top, “Legs”
ZZ Top’s “Legs,” a chart-topping 1984 song, reached Number One on the Hot 100, becoming the biggest hit of their career. Originally inspired by a woman running from the rain, the song, from their Eliminator album, became synonymous with its lascivious video and MTV appeal. Adapting surprisingly well to the MTV era, ZZ Top’s “Legs” with its infectious riff and video presence, remains a defining and enduring 1984 rock hit.
62. Animotion, “Obsession”
Animotion’s “Obsession,” a synth-pop 1984 song, reached Number Six on the Hot 100, epitomizing 80s sleaze. Originally recorded by co-writers Michael Des Barres and Holly Knight, Animotion’s version amplified the song’s seductive undertones with ultimate 80s synth-pop production. Its inclusion in the film A Night in Heaven added to its 80s credentials, making “Obsession” a quintessential and alluring 1984 track.
61. Yes, “Owner of a Lonely Heart”
Yes’ “Owner of a Lonely Heart,” a surprising 1984 song, reached Number 1 on the Hot 100, revitalizing the prog-rock band with a pop-infused sound. Producer Trevor Horn, formerly of The Buggles, merged Yes’ prog ambitions with cutting-edge synth-pop. This unexpected hit from the 90125 album showcased a successful genre fusion, making “Owner of a Lonely Heart” a unique and chart-topping 1984 comeback.
60. John Cougar Mellencamp, “Pink Houses”
John Cougar Mellencamp’s “Pink Houses,” a heartland rock 1984 song, reached Number 8 on the Hot 100, solidifying his populist appeal. Adding “Mellencamp” to his name, he embraced small-town Midwest themes with lyrics open to interpretation. Despite potential misinterpretations, the song resonated with Reagan-era realities, and Mellencamp’s band, anchored by Kenny Aronoff, delivered a folk-rock anthem that influenced artists from Leather Nun to Kenny Chesney, making “Pink Houses” a culturally resonant 1984 track.
59. Pat Benatar, “Love Is a Battlefield”
Pat Benatar’s “Love Is a Battlefield,” a crossover 1984 song, reached Number Five on the Hot 100, becoming her biggest hit. Originally a new studio track on her live album, the song’s dramatic video, despite its campy dialogue, became a pop culture phenomenon. Benatar’s reluctant dance sequence in the video further propelled the song’s popularity, making “Love Is a Battlefield” a visually and sonically iconic 1984 hit.
58. Rebbie Jackson, “Centipede”
Rebbie Jackson’s “Centipede,” a slithering 1984 song, reached Number 24 on the Hot 100, becoming her biggest hit, written and produced by her brother Michael Jackson. Its electro-funk groove and suggestive lyrics explored themes of repressed sexuality. With metaphors of a centipede and snake, the song showcased a darker, Jackson family sound, making “Centipede” a unique and memorable 1984 hit for Rebbie Jackson.
57. Scorpions, “Rock You Like a Hurricane”
Scorpions’ “Rock You Like a Hurricane,” a fist-pumping 1984 song, reached Number 25 on the Hot 100, becoming their breakthrough hit in the US. Its anthemic guitar riff and powerful energy resonated with rock fans, leading to arena stardom for the German band. The song and its Mad Max-esque video propelled Scorpions to mega-stardom, paving the way for further hits and solidifying “Rock You Like a Hurricane” as a defining 1984 hard rock anthem.
56. Bronski Beat, “Smalltown Boy”
Bronski Beat’s “Smalltown Boy,” a poignant 1984 song, reached Number 48 on the Hot 100, becoming an anthem for disenfranchised LGBT youth. Jimmy Somerville’s soulful falsetto conveyed both melancholia and resilience, encouraging listeners to find their own paths to acceptance. Its synth-pop sound found a home in clubs, and its enduring message continues to resonate, with Somerville revisiting the song as a piano ballad, making “Smalltown Boy” a timeless and impactful 1984 track.
55. Billy Idol, “Rebel Yell”
Billy Idol’s “Rebel Yell,” an iconic 1984 song, reached Number 46 on the Hot 100, solidifying his MTV stardom. While the album Rebel Yell was released in 1983, the title track gained momentum in 1984 after the success of “Eyes Without a Face.” Inspired by Mick Jagger and Keith Richards drinking Rebel Yell whiskey, the song became a signature Idol anthem, fueled by his rebellious image and MTV presence, making “Rebel Yell” a quintessential 1984 rock track.
54. Paul McCartney and Michael Jackson, “Say, Say, Say”
“Say, Say, Say,” the collaboration between Paul McCartney and Michael Jackson, reached Number One for six weeks between 1983 and 1984, marking a significant moment in pop history. Their second duet, after “The Girl Is Mine,” found common ground in an uptempo rock song, showcasing their intergenerational friendship and musical synergy. “Say, Say, Say” became a massive hit and a notable 1984 chart-topper, highlighting the combined star power of McCartney and Jackson.
53. “Weird Al” Yankovic, “Eat It”
“Weird Al” Yankovic’s “Eat It,” a comedic 1984 song, reached Number 12 on the Hot 100, becoming his signature parody and Grammy winner. Spoofing Michael Jackson’s “Beat It,” “Eat It” with its food-themed lyrics and visual gags, became an MTV sensation. The video and song helped solidify both MTV’s influence and “Weird Al”‘s comedic genius, with Michael Jackson himself reportedly enjoying the parody, making “Eat It” a culturally significant and hilarious 1984 hit.
52. Cherrelle, “I Didn’t Mean to Turn You On”
Cherrelle’s “I Didn’t Mean to Turn You On,” a sultry 1984 song, reached Number 79 on the Hot 100, showcasing the emerging Minneapolis sound of producers Jimmy Jam and Terry Lewis. With its sweeping synths and crisp bass lines, the track became a signature Jam & Lewis production, influencing Janet Jackson and others. While only a minor hit for Cherrelle, its later versions by Robert Palmer and Mariah Carey amplified its impact, making “I Didn’t Mean to Turn You On” a foundational 1984 R&B track.
51. Dan Hartman, “I Can Dream About You”
Dan Hartman’s “I Can Dream About You,” a retro-futuristic 1984 song, reached Number Six on the Hot 100, becoming a hit from the movie Streets of Fire. While Hartman’s version wasn’t in the film itself, it dominated radio, capturing the mid-80s vogue for Motown callbacks. Originally written for Hall & Oates, Hartman’s impassioned vocals and guitar solo made “I Can Dream About You” a timeless and nostalgic 1984 hit.
