45 REVELATIONS

45 REVELATIONS

DEPARTMENTS

Ken Barnes

It’s the April ’85 issue of CREEM, so what better time to indulge myself with a recap of the best singles of ’84? (Actually, thanks to advanced production and distribution techniques, my deadline for this column is December 28, 1984, so it is the right time for me to indulge myself.) Below are my top 45s for the past year. They’re unranked, but each comes with a capsule comment reminding you why it (the record, not the comment) should be clasped to your collection.

BRYAN ADAMS—“Run To You”: Probably 1984’s best mainstream rocker; dazzling production and hooks enough for three hits. DEBORAH ALLEN—“I’ve Been Wrong Before”: Proof that the best rock ’n’ roll is often found in country these days.

ASSEMBLY—“Never Never”: Synth pop’s finest minutes this year, thanks to wonderful tune and Feargal Sharkey vocal. BANANARAMA—“Cruel Summer”: On the list for the second straight year, this year it became America’s Song of the Summer. BANANARAMA—“Hot Line To Heaven”: Dreamiest anti-drug song of the year. BANANARAMA—“Robert DeNiro’s Waiting”: Dreamiest renunciation of the male species.

BANANARAMA—“Rough Justice”: Dreamiest antiestablishmentarian rant.

BANGLES—“Going Down To Liverpool”: Most inspired cover (of Katrina & The Waves) in 1984.

BANGLES—“Hero Takes A Fall”: Magnificent radio presence; admirable vocals.

BIFF BANG POW—“The Chocolate Elephant Man”: Whimsical U.K. resuscitated art-pop folk-rock.

BIG COUNTRY—“Wonderland”: My favorite of a solid set of singles, thanks to a standout rhythm track.

BRONSKI BEAT—“Smalltown Boy”: Out here now, and still haunting; only one of theirs that’s holding up under repeated hearings, though.

JACQUI BROOKES—“Lost Without Your

Love”: Swirling synthesizer pop.

ELLY BROWN—“Don’t Hang Up”: New (December) pop hiphop stunner.

TOM BROWNE w/ SIEDAH GARRETT— “Secret Fantasy”: Even a better “Juicy Fruit” revamp than Mtume’s own.

JENNY BURTON—“Remember What You Like”: Early ’84’s pop hiphop standout. CHANGE—“Change Of Heart”: One of many Jimmy Jam/Terry Lewis black pop production showcases.

CLAY ALLISON—“Fell From The Sun”: Folk ballad with howling feedback—an unearthly delight.

BRUCE COCKBURN—“Lovers In A Dangerous Time”: Terrific mainstream rocker; should’ve been a hit.

COCTEAU TWINS—“Pearly-Dewdrops’ Drops”: Beyond ethereal; like an overdose of ether, in fact.

LLOYD COLE & THE COMMOTIONS— “Perfect Skin”: Debut of the year, instant classic—U.S. release likely by the time you read this.

LLOYD COLE & THE COMMOTIONS— “Rattlesnakes”: A warm wash of seductive sentimentality.

COLOR ME GONE—“Lose Control”: Fabulous folk-rocker.

JULIAN COPE—“The Greatness And Perfection Of Love”: Reasonably straight pop from a heavy mental hero.

ELVIS COSTELLO—“Withered And Died”: Flipside Elvis down a bleaker street than ever, courtesy of Richard Thompson.

GAIL DAVIES—“Jagged Edge Of A Broken Heart”: Country chorus of the year; spine-tingling.

dB’S—“Love Is For Lovers”: Excellent poprock and not quirky.

DROOGS—“Change Is Gonna Come”: Ghost-of-the-Yardbirds guitar and a neat tune too.

EURYTHMICS—“Who’s That Girl”: A 1983 U.K. release, but a welcome hit here; the “Suspicion” of 1984.

EVERLY BROTHERS—“On The Wings Of A Nightingale”: A song and production to match their harmony.

FACE TO FACE—“10-9-8”: Hiphop production meets pop-rock...compatibly.

FICTION FACTORY—“(Feel Like) Heaven”: Lush neoSpector production with concealed irony.

FLOY JOY—“Until You Come Back To Me”: Gorgeous soul ballad.

GENERAL PUBLIC—“Tenderness”: Welldeserved hit; the year’s catchiest.

GO-GO’S—“Turn To You”: Representative irresistible rocker.

HALL & OATES—“Out Of Touch”: Their melodic mastery held up remarkably well for a #1 record.

HOODOO GURUS—“I Want You Back”: Unfairly neglected Australian pop wizardry. HUSKER DU—“Eight Miles High”: Roaring remake that somehow preserves the mystery. INDEEP—“The Record Keeps Spinning”: “Last Night A DJ Saved My Life” Pt. XI, but wondrous once again.

ISLEY, JASPER, ISLEY—“Look The Other Way”: Fascinating black pop experiment. KC—“Give It Up”: Might belong to ’83, but infectious enough to carry over into ’84. NIK KERSHAW—“Wouldn’t It Be Good”: Scorned in the U.K., not quite a hit here, but an enthralling record anyway.

EVELYN “CHAMPAGNE” KING— “Teenager”: Cute Andre Cymone-produced girl group throwback.

KOOL & THE GANG—“Tonight”: Their most rock influenced in a long string of fine singles.

CYNDI LAUPER—“Money Changes Everything”: Finally a single, an underground classic adroitly exhumed.

CYNDI LAUPER—“Time After Time”: Beautiful ballad and my choice for Grammy marbles.

LIGHTHOUSE KEEPERS—“Gargoyle”: Stevie Nicks meets Lou Reed (already happened on Fleetwood Mac’s “Angel” but this is a tantalizing reintroduction by a new Australian group).

MADONNA—“Lucky Star”: Rarely have a hard R&B track and a yearning pop melody been so expertly combined.

TEENA MARIE—“Lovergirl”: May become her first pop hit, and is more spellbinding than ever on the radio.

CHRISTINE McVIE—“I’m The One”: Would’ve loved this tough little sleeper to’ve become a hit.

MTUME—“C.O.D.”: “Juicy Fruit” variation collects on delivery.

MIKE OLDFIELD w/MAGGIE REILLY— “To France”: Sprightly modernized traditional folk-rock.

POOR HOWARD—“Maybe Tomorrow”: Stirring new U.K. guitar pop in Crenshaw melancholy/lively vein.

PRETENDERS—“Middle Of The Road”: Relentless rocker with snarl to spare. PRINCE—“When Doves Cry”: Inescapable airwave dominator of profound depth. PYROMANIACS—“How Does It Feel”: Explosive modern garage-rocker from Sweden. RAINY DAY FEAT. SUSANNA HOFFS— “I’ll Keep It With Mine”: Exquisite vocal by Bangles singer on folky Dylan-via-Nico chestnut.

RED ROCKERS—“Eve Of Destruction”: Astonishing transformation of folk-rock rant to melodic guitar pop.

REFLECTIONS—“Searching”: Affecting U.K. Spector-style ballad.

R.E.M.—“So. Central Rain”: America’s best band, with a chorus you can sing along with (sorry).

REVOLVING PAINT DREAM—"Flowers In The Sky”: U.K. neopsychedelic nerve-tingler. JOHNNY RIVERS—“Heartbreak Love”: Jittery modern pop, unjustly overlooked. SMOKEY ROBINSON—“And I Don’t Love You”: His cleverest and catchiest in years. ROMEO VOID—“A Girl In Trouble”: Considerable warmth communicated well over the radio.

TURN TO PAGE 62

CONTINUED FROM PAGE 57

SHANNON—“Give Me Tonight”: Edge of desperation added a dimension to this hiphop pop monster.

SMITHS—“How Soon Is Now”: Bo Diddley in space still says it all; revived as U.S. 12-inch A-side and possibly year’s best rock record. SMITHS—“What Difference Does It Make”: Another side to guitar genius Johnny Marr’s artistry.

S.O.S. BAND—“Just The Way You Like It”: More submissive rerun of ’83’s brilliant “Just Be Good To Me”; more marvelous Jam/Lewis production.

S.O.S. BAND—“No One’s Gonna Love You”: Even more marvelous production; a slice of summertime magic (even if it was a fall hit).

BRUCE SPRINGSTEEN—“Dancing In The Dark”: Sturdy airwaves perennial that held up admirably.

DAVE STEWART & BARBARA GASKIN—“I’m In A Different World”: Four Tops transmuted to creamy candy confection. SYLVESTER—“Rock The Box”: Disco vet handles hiphop transition adeptly (and without falsetto).

TED TAYLOR—“I Let You Hurt Me Too Long”: Stunning soul performance by underrated R&B institution.

JIMI RUNNELL—“U-Turn”: Sterling hiphop production by terrific Ligget/Barbosa team (Shannon, Xena, Robin Gibb, etc.). TRACEY ULLMAN—“Sunglasses”: Skeeter Davis Spectorized superbly.

U2—“Pride (In The Name Of Love)”: Brilliant single, passionate playing and singing.

VAN HALEN—“Jump”: A masterful mass breakthrough; synth-rocker of the year.

VAN HALEN—“Panama”: But they can still deliver a guitar cruncher like no one else. SCOTT WALKER—“Track Three”: Song named after its position on the album; brooding spectral music unlike anything else, and a great voice, too.

YES—“Leave It”: Beach Boys-like vocal extravaganza given eleborate Trevor Horn treatment.

PAUL YOUNG—“Everything Must Change”: December release, exceptional ballad vocal performance.