It was released as the third single from the album Glass Houses and later included on on Greatest Hits Volume 2.

Joel had Top 40 hits in the 1970s, 1980s, and 1990s, achieving 33 Top 40 hits in the United States, all of which he wrote himself. He is also a six-time Grammy Award winner, a 23-time Grammy nominee and has sold over 150 million records worldwide. He was inducted into the Songwriter's Hall of Fame (1992), the Rock and Roll Hall of Fame (1999), and the Long Island Music Hall of Fame (2006). In 2008, Billboard magazine released a list of the Hot 100 All-Time Top Artists to celebrate the US singles chart's 50th anniversary, with Billy Joel positioned at No. 23. With the exception of the 2007 songs "All My Life" and "Christmas in Fallujah," Joel stopped recording pop/rock material after 1993's River of Dreams, but he continued to tour extensively until 2010

The song is performed by the Electric Light Orchestra and Olivia Newton-John. Newton-John sings the primary vocals, with ELO (Jeff Lynne) adding "parenthetic" vocals in the style of their other songs on the Xanadu soundtrack, along with providing the instrumentation. A rare collaboration for ELO, the single reached no.1 in several countries and was the band's only UK #1 single when it peaked there for two weeks in July 1980. The song peaked at #8 on the Billboard Hot 100 in the US. This was the first song beginning with the letter 'X' to ever chart on the Billboard Hot 100 and it remained the only one until 2010's "X" by Xzibit.

The song was written by Bernard Edwards and Nile Rodgers (of the band Chic) with Aretha Franklin in mind to record. When Franklin turned down the offer to record the album Motown passed the material and project to Ross.

However, in a 2011 interview, Nile Rodgers said "Diana Ross was the first big star we ever worked with and we took it very seriously." Rodgers and Edwards interviewed her for several days. "This was the first time in her life somebody cared about who she was; what she was - everyone previously had treated her the way we had treated Sister Sledge - they got her in and said 'Sing this'. We (took a more personal approach)."

"Magic" became Newton-John's biggest Adult Contemporary hit to date, and her biggest pop hit until "Physical" ruled the Hot 100 for ten weeks beginning in November 1981. Billboard magazine ranked "Magic" as the third most popular single of 1980, behind only "Call Me" by Blondie and "Another Brick in the Wall, Part II" by Pink Floyd.  

Olivia Newton-John, AO, OBE (born 26 September 1948) is an English-Australian singer and actress. She is a four-time Grammy award winner who has amassed five No. 1 and ten other Top Ten Billboard Hot 100 singles and two No. 1 Billboard 200 solo albums. Eleven of her singles (including two platinum) and 14 of her albums (including two platinum and four double platinum) have been certified gold by the RIAA. Her music has been successful in multiple formats including pop, country and adult contemporary and has sold an estimated over 100 million albums worldwide. She co-starred with John Travolta in the film adaptation of the Broadway musical Grease, which featured one of the most successful film soundtracks in Hollywood history.

Newton-John has been a long-time activist for environmental and animal rights issues. Since surviving breast cancer in 1992, she has been an advocate for health awareness becoming involved with various charities, health products and fundraising efforts. Her business interests have included launching several product lines for Koala Blue and co-owning the Gaia Retreat & Spa in Australia.

During the 1990s, Loggins continued his album career, including the popular 1994 children's album Return to Pooh Corner, which included the title single, a reworking of "House at Pooh Corner", written for his newborn son Luke.

During 1991, Loggins recorded and produced Leap of Faith, which included the single "Conviction of the Heart". Former vice president Al Gore billed this song as "the unofficial anthem of the environmental movement". On Earth Day 1995, Loggins performed at The National Mall in Washington, D.C. before a live audience of 500,000.

After the 1979 release of Freedom at Point Zero (which spawned the hit single "Jane" (#14)), the new lineup toured, augmented by saxophonist Steve Schuster. (Schuster, along with horn player David Farey, had played on Jefferson Starship's 1978 tour, and he had also appeared on Freedom At Point Zero.)

The song can be described as an uptempo ballad. In the US, it would be Elton's highest-charting single co-written with Gary Osborne, while in the UK, where the song only reached number 33, "Blue Eyes" would eventually hold that honour.

Despite its impressive performance in the US charts, Elton has rarely performed "Little Jeannie" live, doing so only on his 1980 tour and during 2000's One Night Only concerts  

Sir Elton Hercules John, CBE (born Reginald Kenneth Dwight on 25 March 1947) is an English rock singer-songwriter, composer, pianist and occasional actor. He has worked with lyricist Bernie Taupin as his songwriter partner since 1967; they have collaborated on more than 30 albums to date.

In his four-decade career John has sold more than 250 million records, making him one of the most successful artists of all time. His single "Candle in the Wind 1997" has sold over 33 million copies worldwide, and is the best selling single in Billboard history. He has more than 50 Top 40 hits, including seven consecutive No. 1 US albums, 56 Top 40 singles, 16 Top 10, four No. 2 hits, and nine No. 1 hits. He has won six Grammy Awards, four Brit Awards, an Academy Award, a Golden Globe Award and a Tony Award. In 2004, Rolling Stone ranked him Number 49 on its list of the 100 greatest artists of all time

Since its release, the song has continued to infiltrate public consciousness due to its use in television advertisements by popular brands such as Heinz, McDonald's, State Farm, Ford and Samsung, and its prominent appearance in the comedy film Caddyshack released the same year of the song. The song is also played multiple times, in the television series Chuck. It was also featured during the middle of The Simpsons episode "Viva Ned Flanders" and in the closing scene of the episode "Burns, Baby Burns", as well as at the ending of the episode "The C Word" of the TV series House. It was voted the 80th best hard rock song of all time by VH1 viewers.

According to cowriter Steve Perry, the song was heavily influenced by Irish rock band Thin Lizzy and more particularly by bassist leader Phil Lynott. In July 1979, Journey was touring with Thin Lizzy across the United States when Lynott, Perry and Schon decided to share rhyme scheme exercises during a hanging out in Miami. The "basic" work on "the guitar-vocal-guitar-vocal interchange thing that happened between Phil and his lyrics and the guitarist and his arrangements, inspired the Any Way You Want It sorta give and take thing. It's guitar-voice, guitar-voice, more guitar-guitar-guitar-voice. It be voice-voice and back and forth and that's something that Neal and I think just instinctually picked up by hanging out with him" commented Perry. Schon and Perry would then rework on the song in the band bus, with Schon on acoustic guitar and Perry for vocals Lynott's contribution later influenced other songs built on the same scheme such as "Stone In Love".

This was the first single released from Double Fantasy, and the first new recording Lennon had released since 1975. It was chosen by Lennon not because he felt it was the best track on the album, but because it was the most appropriate following his five year absence from the recording industry. He referred to it during production as the "Elvis/Orbison" track, as he "tongue in cheek" impersonated their vocal styles. The uplifting bell at the intro of the song serves as the antidote to the morose bell sound which opens Lennon's first solo album, Lennon seeing it as his having come full circle.

Although its origins were in unfinished older compositions like "Don’t Be Crazy" and "My Life", it was one of the last songs to be completed in time for the Double Fantasy sessions. “We didn’t hear it until the last day of rehearsal,” producer Jack Douglas said in 2005. Lennon finished the song while on holiday in Bermuda, and recorded it at The Hit Factory in New York City just weeks later.

It is his biggest solo American hit, staying at number 1 for five weeks. (When Lennon was shot in New York City on 8 December 1980 the single was at number 3 in the US and reached the summit for the week ending 27 December, making it the fourth posthumous number one song on the US chart.) In the UK it had peaked at number 8 in the charts and had fallen to position number 21 before Lennon's death propelled it to number 1, making an unprecedented number 21 to number 1 move. It was infamously bumped from the Christmas Number One Single rank by the St Winifred's School Choir's "There's No One Quite Like Grandma," finishing at number 2 on that list. By 6 January 1981 there were three Lennon songs in the UK top 5, a feat never achieved before or since.   Billboard's All Time Top Songs listed it at number 53

The song was the first release credited solely to Gary Numan after he dropped the band name Tubeway Army, with which he had released four singles and two LPs, including the number one UK hit "Are 'Friends' Electric?", and its parent album, Replicas. Musically, the new song was somewhat lighter and more pop-oriented than its predecessors, Numan later conceding that he had chart success in mind: "This was the first time I had written a song with the intention of 'maybe it could be a hit single'; I was writing this before 'Are "Friends" Electric?' happened."

"Cars" is based on two musical sections: a verse/instrumental break and a bridge. The recording features a conventional rock rhythm section of bass guitar and drums, although the rest of the instruments used are analog synthesizers, principally the Minimoog (augmenting the song's recognisable bass riff) and the Polymoog keyboard, providing austere synthetic string lines over the bass riff. The bridge section also includes a tambourine part. Numan's vocal part is sung in an almost expressionless, robotic style. There is no "chorus" as such.

The song is incorrectly noted by some sources as being the last number one hit of the 1970s and the first of the 1980s on the Billboard Hot 100. In fact, it was only the number one song for the chart week of January 5, 1980, making it the first #1 single of the 1980s. It was both preceded and followed at number one by "Escape (The Piña Colada Song)" by Rupert Holmes, which dropped to number two for the week that "Please Don't Go" was number one. The B-side, "I Betcha Didn't Know That", peaked at #25 on the R&B Singles Chart.

The song was also an international chart hit, reaching #1 in Australia and Canada and charting in Belgium (#8), Germany (#20), Ireland (#5), the Netherlands (#7), New Zealand (#3), Norway (#4) and the UK (#3).

By peaking at number eight on the Billboard Hot 100, "Tired of Toein' the Line" tied "You're Sixteen" as the highest-charting Hot 100 single from a member of the Burnette family. The single was also #1 in Australia.

In 1988, British singer Shakin' Stevens released a cover version of the song on his album "A Whole Lotta Shaky  

Rocky Burnette (born Jonathan Burnette, 12 June 1953) is an American rock and roll singer/musician and the son of rock and roll pioneer, Johnny Burnette. He is best known for his 1980 hit single "Tired of Toein' the Line."

Rocky Burnette was born in Memphis, Tennessee, and became part of the early 1980s revival of the rockabilly style. He released his first album, Son of Rock 'n' Roll, on EMI America in 1979. In the summer of 1980, his single "Tired of Toein' the Line" became a Top Ten hit in the United States. The song was also popular internationally, becoming a #1 hit in Australia and peaking at #3 in South Africa. It reached #58 in the UK Singles Chart.^[2]EMI America's financial problems interfered with promotion efforts for the follow-up singles (several of which became hits in other countries), and Burnette's second album, Heart Stopper, was not successful.

In 1981, Burnette toured Europe with the final version of his late father's The Rock and Roll Trio. He also used the band on his next album, Get Hot or Go Home! on Enigma Records. It also sold poorly, and Enigma dropped Burnette and the Trio rather than release a follow-up.

The bass line was inspired by the song "Good Times" by the disco group Chic. In an interview with New Musical Express, Chic co-founder Bernard Edwards stated, "...that Queen record came about because that Queen bass player... spent some time hanging out with us at our studio".

The song garnered Queen a Grammy nomination for Best Rock Performance by a Duo or Group with Vocal. The band lost to Bob Seger's album Against the Wind. The music video for "Another One Bites the Dust" was filmed at Reunion Arena in Dallas, Texas. This song is played when the Chicago Bulls win a home game.

In the early 1980s, "Another One Bites the Dust" was one of many popular rock songs that Christian evangelists alleged contained subliminal messages through a technique called backward masking. It was claimed that the chorus, when played in reverse, will be heard as "decide to smoke marijuana" or "It's fun to smoke marijuana". A spokeswoman for Hollywood Records (Queen's current US label) has denied that the song contains a backward message.

In 1979, Ross commissioned Chic founders Nile Rodgers and Bernard Edwards to create material for a new album after taking her daughters to see the band in concert, following the success of Ross's final Ashford & Simpson-composed and produced LP, The Boss . Rodgers got the idea for "I'm Coming Out" after noticing three different drag queens dressed as Diana Ross at a New York club called the GG Barnum Room. The lyrics hold an additional meaning to Ross, as she was leaving Motown Records and "coming out" from under the thumb of Berry Gordy.

The song was a hit, peaking at number five on the U.S. Pop Singles chart. It is also notable for being the first song usually performed at Ross' performances and concerts since 1980.

Rodgers convinced his neighbor, producer Meco Monardo, to contract the horns for the album in return for a commitment by Rodgers to co-produce Monardo's then-upcoming album of music from The Empire Strikes Back. Monardo, a former first-call session player who had a string of hits in the late 1970s with disco versions of film music, also played trombone on the album and is featured in a solo towards the end of "I'm Coming Out":

The song was written and produced by Lionel Richie, recorded in 1980, and ranks among Kenny Rogers's biggest hits. Rogers once told an interviewer, "The idea was that Lionel would come from R&B and I'd come from country, and we'd meet somewhere in pop."  The success of "Lady" also boosted Richie's career. The production work on the song was his first outside the Commodores and foreshadowed his success as a solo act during the 1980s. Rogers was also a featured vocalist on "We Are the World," co-written by Richie. Richie performed the song himself on his 1998 album, Time, and he and Rogers performed the song as a duet on Richie's 2012 release "Tuskegee"

Since his breakup with the First Edition, Rogers had tasted considerable success as a solo act, with nine No. 1 entries on the Billboard magazine Hot Country Singles chart (prior to the release of "Lady"), plus several Top 10 hits on the Billboard Hot 100 and Adult Contemporary Singles charts.   "Lady," according to music historian Fred Bronson, would prove to be an important record for both Richie and Rogers. It became the first record of the 1980s to chart on all four of Billboard magazine's singles charts - country, Hot 100, adult contemporary and Top Black Singles.   It reached No. 1 on three of those charts in late 1980, including a six-week run on the Hot 100 and one week on the Hot Country Singles chart. "Lady" also peaked at number forty-two on the Top Black Singles chart.   As a country entry, "Lady" was Rogers' 10th chart-topping hit in a career that saw him collect 20 No. 1 songs between 1977 and 2000. On the Hot 100, it was his only solo chart-topping song, although Rogers would have a duet No. 1 three years later (1983's "Islands in the Stream" with Dolly Parton). On the Adult Contemporary Singles chart, "Lady" was Rogers' second (of eight) songs that reached the chart's summit.

The song was the main theme song of the film American Gigolo. European disco producer Giorgio Moroder originally asked Stevie Nicks from Fleetwood Mac to help compose and perform a song for the soundtrack, but she declined (as a recently signed contract with Modern Records prevented her from working with Moroder). It was at this time that Moroder turned to Debbie Harry and Blondie. Moroder presented Harry with a rough instrumental track called "Man Machine." Harry was asked to write the lyrics and melody, a process that Harry states took only a few hours. Harry stated that the song is about driving, and that "When I was writing it, I pictured the opening scene, driving on the coast of California." The completed song was then recorded by the band, with Moroder producing. The bridge of the original English language version also includes Harry singing "Call Me" in Italian ("Amore, chiamami") and French ("Appelle-moi, mon cheri").

The single was released in the United States in February 1980. It peaked at #1 for 6 consecutive weeks, and was certified Gold (for one million copies sold) by the RIAA. It also spent four weeks at number two on the U.S. dance chart. The single was also #1 on Billboard magazine's 1980 year-end chart. It was released in the UK two months later, where it became Blondie's fourth UK no.1 single in little over a year. The song was also played on a British Telecom advert from the 1980s. Twenty-five years after its original release, "Call Me" was ranked at #283 on the list of Rolling Stone's 500 Greatest Songs of All Time. In 1981, the song was also nominated for a Grammy Award for Best Rock Performance by a Duo or Group with Vocal. The song lists at #44 on Billboard's All Time Top 100

A live version of the song was recorded in Glasgow, Scotland on 17 December 1979 by Wings during their tour of the UK. This version had a much fuller sound and was included as one of the two songs on the B-side of the single; the other B-side was also a Wings song, "Lunchbox/Odd Sox", that dated back to the Venus and Mars sessions. Both B-sides were credited to Paul McCartney & Wings.  In the US, Columbia Records promoted the live version which subsequently received more airplay than the studio version. McCartney was unaware Columbia planned to promote the live version, otherwise he might have pushed for the A-side, which he thought was the stronger version. An executive from Columbia Records explained the switch by stating "Americans like the sound of Paul McCartney's real voice."

In the US, "Coming Up" reached number one on the Billboard Hot 100 and was certified Gold by the Recording Industry Association of America for sales of over one million copies. Although the live version received more airplay, Billboard listed the A-side on the Hot 100 for the first 12 weeks on the chart, including three weeks at number one, before switching to the more popular B-side for the remaining nine weeks on the chart

Having composed "Crazy Little Thing Called Love" on guitar, Mercury played rhythm guitar while performing the song live, which was the first time he played guitar in concert. Queen played the song live between 1979 and 1986, and a live performance of the song is recorded in the albums Queen Rock Montreal and Queen at Wembley. Since its release, the song has been covered by a number of artists. The song was played live on 20 April 1992 during The Freddie Mercury Tribute Concert, performed by Robert Plant with Queen. The style of the song was described by author Karl Coryat as rockabilly in his 1999 book titled The Bass Player Book

Recorded between June and October 1979, "Emotional Rescue" is a disco-influenced number, somewhat similar to the band's 1978 hit "Miss You". The song is notable as one of the earliest songs by the group to show the growing rift between Jagger and Richards. Although Richards plays guitar and added backing vocals towards the end of this track, he is noted to not have liked the direction in which Jagger was trying to take the band with disco-like compositions, although this may have been exaggerated by the press and Richards' hard-rock-oriented image.

Mick wrote the song on an electric piano and from the beginning it was sung in falsetto (similar to Marvin Gaye's lead vocal on his 1977 hit "Got to Give It Up"). When the song was brought into the studio they kept the electric piano and falsetto lead. With Ronnie Wood on bass and Charlie Watts on drums they worked out the song. They then added the saxophone. Bass guitarist Bill Wyman plays synthesizer on the record, while Jagger and Ian Stewart play electric piano.  Jagger said the song was about "a girl who's in some sort of manhood problems", not that she was going crazy but she's "just a little bit screwed up and he wants to be the one to help her out".   Released as the album's lead single on 20 June 1980, "Emotional Rescue" was well received by some fans. Other fans of the Rolling Stones' work took note of the change in direction and were disappointed by it. Reaching #9 on the UK Singles Chart and #3 in the US., "Emotional Rescue" became popular enough to feature on all of the band's later compilation albums.

Recording on the song started in early 1979. The single peaked at #33 in the UK Singles Chart and #26 on the US Billboard Hot 100 chart in November 1980.

This song was also featured in The Simpsons episode "How I Spent My Strummer Vacation

The song, built on a heavy reggae feel, is an ode to reggae legend Bob Marley; Wonder had been performing with Marley a few times in concerts (and actually billed him as an opening act) on his US tour in the fall of that year. Lyrics mention Marley, joining as "children of Jah", and the end of the civil war in Zimbabwe.    The song was the leading single from Wonder's Hotter than July album. It was a major hit, spending seven weeks at number one on the Billboard R&B singles chart, reaching number five on Billboard's pop singles chart in the fall of 1980 and peaking at number two on the UK Singles chart. It can be played as a follow on segue to Marley's hit "Jamming", and some critics believe it was designed as an extension of that song. The song is also significant for the difficult vocal maneuvers Wonder showcased especially on the line, "I bet you if someone approached you yesterday/to tell you that you would be jammin'/you would not believe it/they would be jammin' thought that you'd be jammin'". The song also includes the "hotter than July" line

The song exhibits a Latin feel. The main section is in 12/8 meter; this section employs an unusual 6-over-4 polyrhythmic groove, with the piano and bass playing 6 beats per measure and the melody (and parts of the drum kit) playing 4 beats per measure. The result is that most of the instruments appear to be playing quarter-note-triplets against the swing of the melody and drum kit. Drummer John Bonham plays a shuffle beat similar to the "Purdie shuffle" rhythm attributed to session drummer Bernard Purdie, along with a samba-style breakdown. A master drum track shows that the samba breakdown (2:25) was recorded separately.

Bass player John Paul Jones and vocalist Robert Plant developed the idea for the samba beat from watching the 1978 FIFA World Cup tournament in Argentina. Guitarist Jimmy Page used an MXR Blue Box effect pedal during the solo to produce the octave sound.

Lyrically, the song is about a man who's supposed to meet a woman on a certain street corner. When the woman does not appear, he is filled with sorrow at being stood up. By the final verse, he realizes that he has not gone to the right place, making him "just a fool waiting on the wrong block," as Plant sings.

In the 1980 promotional video for the song, Schmit (on bass guitar) is accompanied by Frey (electric piano), Henley (drums), Don Felder (electric guitar and guitar solos), and Joe Walsh (organ), along with Joe Walsh's touring sideman Joe Vitale (synthesizer). The studio version became a Top 10 hit in April 1980, reaching #8 and also peaked at number 3 on the Adult Contemporary chart. "I Can't tell You Why" also appears in live versions on Eagles Live in 1980 and Hell Freezes Over in 1994.

Schmit performed the song while on tour with Ringo Starr & His All-Starr Band in 1992. A performance was released on the 1993 live album Ringo Starr and His All Starr Band Volume 2: Live from Montreux.