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Johnny Lee: Lookin' For Love - On Solid Gold - September 13, 1980 (My "Stereo Studio Sound" Re-Edit) "Lookin' for Love" is a song written by Wanda Mallette, Bob Morrison and Patti Ryan, and recorded by American country music singer Johnny Lee. It was released in June 1980 as part of the soundtrack to the film Urban Cowboy, released that year. Marcy Levy was one of the female singers who provided backing vocals on the track. "Lookin' for Love" was reissued as the lead song on Lee's October 1980 album of the same name. Lee, whose biggest hit to date had been a 1977 cover of Ricky Nelson's "Garden Party", had been the main nightclub act (behind Mickey Gilley himself) at Gilley's, a nightclub owned by Sherwood Cryer and country music superstar Mickey Gilley. Record executive Irving Azoff offered Lee the chance to record "Lookin' For Love", a song that 20-plus artists had rejected. Critical reaction to the song has been mixed. The Boston Globe called it "a powerful new ballad," noting "Lee's rich southern baritone and thick phrasing." AllMusic determined that "the MOR country-pop of 'Lookin' for Love' is so appealing that one suspects it could have been a hit even without the publicity from Urban Cowboy." Country music historian Bill Malone once noted that "Lookin' for Love" – in his words, a "lilting little pop song" – became the featured song of Urban Cowboy and a huge commercial hit largely because "actor John Travolta (the movie's co-star) expressed a liking for it." Critic Kurt Wolff panned the song as an example of "watered-down cowboy music." Public reaction was better. "Lookin' for Love" rose to No. 1 (for a three-week stay) on the Billboard Hot Country Singles chart, and was a No. 5 Billboard Hot 100 hit as well. On the US Cash Box Top 100, the song spent two weeks at No. 4. The song is now recognized as a standard in country music, praised by country music fans and critics alike. "Lookin' for Love" was certified gold in 1980 for shipments of 1,000,000 units by the Recording Industry Association of America.

Huey Lewis & The News: Do You Believe In Love - On Solid Gold May 01, 1982 (My "Stereo Studio Sound" Re-Edit) "Do You Believe in Love" is the first US top-ten hit for the American rock band Huey Lewis and the News, peaking at number seven in April 1982, off their second album Picture This. It was written by Robert John "Mutt" Lange. When Lange wrote the song and submitted it to the band, it was entitled "We Both Believe In Love", but was retitled after Lewis made some lyrical revisions. The unrevised version was originally recorded by British band Supercharge, on which Lange sang lead vocals, on the 1979 album Body Rhythm. The song became the band's breakthrough hit, peaking at number seven on the Billboard Hot 100 pop singles chart. A music video for the song was filmed in February, 1982 in Los Angeles.The music video features a scene with the band singing into a sleeping woman's ear, followed by the next morning, singing in the kitchen. This video received heavy airplay in the early days of MTV, contributing to the breakthrough popularity of both the song and the band. In the UK, the song was released as a double A side with "The Power of Love" in 1985. This release peaked at number nine on the UK Singles Chart, the band's only top ten hit in the territory.

John Cougar Mellencamp: Jack and Diane - On Solid Gold (1982) (My "Stereo Studio Sound" Re-Edit) "Jack & Diane" is a song written and performed by American singer-songwriter John Mellencamp, then performing as "John Cougar." Described by critics as a "love ballad", this song was released as the second single from Mellencamp's 1982 album American Fool, and was chosen by the Recording Industry Association of America (RIAA) as one of the Songs of the Century. It spent four weeks at number one on the Billboard Hot 100 in 1982 and is Mellencamp's most successful hit single. According to Mellencamp, "Jack & Diane" was based on the 1962 Tennessee Williams film Sweet Bird of Youth. He said of recording the song: "'Jack & Diane' was a terrible record to make. When I play it on guitar by myself, it sounds great; but I could never get the band to play along with me. That's why the arrangement's so weird. Stopping and starting, it's not very musical." Mellencamp has also stated that the clapping was used only to help keep time and was supposed to be removed in the final mix. However, he left the clapping in once he realized the song would not work without it.In 2014, Mellencamp revealed that the song was originally about an interracial couple, where Jack was African American and not a football star, but the record company persuaded him to change it.The song was recorded at Criteria Studios in Miami, Florida, and was produced by Mellencamp and Don Gehman (with Gehman also engineering). Backing Mellencamp were guitarists/backing vocalists Mick Ronson, Mike Wanchic, Larry Crane, drummer Kenny Aronoff, bassist/backing vocalist Robert Frank and keyboardist Eric Rosser.

Michael McDonald: I Keep Forgettin' - On Solid Gold (1982) (My "Stereo Studio Sound" Re-Edit) "I Keep Forgettin' (Every Time You're Near)" (also known as "I Keep Forgettin'") is a 1982 song by American singer-songwriter Michael McDonald, from his debut album If That's What It Takes (1982). It was written by McDonald and Ed Sanford. Released as a single, it peaked at No. 4 on the U.S. Billboard Pop Singles charts, #7 R&B and #8 on the Adult Contemporary chart.Similarity to Chuck Jackson's 1962 song "I Keep Forgettin'", composed by Jerry Leiber and Mike Stoller, resulted in Leiber and Stoller also being given a songwriting credit for the song. Michael McDonald recorded it with his sister Maureen McDonald providing background vocals. It was featured on If That's What It Takes, his first solo album away from The Doobie Brothers.Greg Phillinganes, Steve Lukather and Jeff Porcaro of the band Toto played the clavinet, guitar and drums respectively. Bassist Louis Johnson, from The Brothers Johnson, laid down the song's pronounced bass-line.

Olivia Newton-John: Make A Move On Me - On Solid Gold (1982) (My "Stereo Studio Sound" Re-Edit) "Make a Move on Me" is a song recorded by singer Olivia Newton-John for her eleventh studio album. Physical (1981). It was written by John Farrar and Tom Snow, and produced by the former. The follow-up single to the number-one hit "Physical", it was released in January 1982 and peaked at number five on the US Billboard Hot 100 that April. It also became her twelfth and final single to be certified Gold by the Recording Industry Association of America (RIAA). In Canada, "Make a Move on Me" reached number four on the pop chart and number two for two weeks on the Adult Contemporary chart. It was blocked from the top spot on that chart by "Key Largo" by Bertie Higgins. Record World said that John's "saucy vocal solicitation and John Farrar's production make pop-A/C magic."

John Cougar Mellencamp: Hurts So Good - On Solid Gold (1982) (My "Stereo Studio Sound" Re-Edit) "Hurts So Good" is a song by American singer-songwriter John Mellencamp, then performing under the stage name "John Cougar". The song was a number two hit on the Billboard Hot 100[3] for the singer/songwriter. It was the first of three major hit singles from his 1982 album American Fool. The others were "Jack & Diane" and "Hand to Hold On To," which were all released in 1982. The song was also a critical success with Mellencamp, winning the Best Rock Vocal Performance, Male at the 25th Grammy Awards on February 23, 1983. "Hurts So Good" was written by Mellencamp and George Green, Mellencamp's childhood friend and occasional writing partner. The song was first conceived, Mellencamp claims, when he had uttered the phrase "hurt so good.” Mellencamp repeated the lines to Green, and they finished the song very quickly. In 2004, Mellencamp expounded on the writing of "Hurts So Good" in an interview with American Songwriter magazine: "George Green and I wrote that together. We exchanged lines back and forth between each other and laughed about it at the time. Then I went and picked up the guitar, and within seconds, I had those chords."The song was recorded at Cherokee Studios in Los Angeles, California and was engineered by Don Gehman and George Tutko. Backing Mellencamp were Larry Crane and Mike Wanchic (guitars, backing vocals), Kenny Aronoff (drums), George "Chocolate" Perry (bass) and Dave Parman (backing vocals).

Men At Work: Who Can It Be Now - On Solid Gold (1982) (My "Stereo Studio Sound" Re-Edit) "Who Can It Be Now?" is a song recorded by Australian band Men at Work. It was released in Australia in 1981, prior to the recording of their 1981 debut album Business as Usual, on which the track was later included. "Who Can It Be Now?" reached No. 2 on the Australian singles chart in August that year, and was awarded a gold disc for sales of over 50,000 copies in Australia. The song also hit No. 45 in New Zealand. Released in Canada in early 1982, the track peaked at No. 8 in late July. This spurred an American release of the song, and the single, by then well over a year old, went on to hit No. 1 in the US in October 1982. "Who Can It Be Now?" was also a modest hit in the UK, reaching No. 45. As one of Men at Work's biggest hits, it was featured on their later compilation albums, and a live version can be found on Brazil. The song remains a popular symbol of new wave music and has been featured on numerous 1980s compilations. The band performed both this song and "Down Under" live on Saturday Night Live on October 23, 1982.

Frank Sinatra: The House I Live In (That's America To Me) Released in 1945, during the post-war era, this song resonated with the American people and became an anthem for unity and tolerance. Its timeless lyrics and soulful melody continue to inspire and captivate audiences to this day. It is from "The House I Live In" a ten-minute short film written by Albert Maltz, produced by Frank Ross and Mervyn LeRoy, and starring Frank Sinatra. Made to oppose anti-Semitism at the end of World War II, it received an Honorary Academy Award and a special Golden Globe Award in 1946.In 2007, this film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It is also in the public domain. Sinatra, playing himself, takes a break from a recording session and steps outside to smoke a cigarette. He sees more than ten boys chasing a dark-haired boy and intervenes, first with dialogue, then with a short speech. His main points are that we are "all" Americans and that one American's blood is as good as another's.

Daryl Hall & John Oates - I Can't Go For That (No Can Do) on American Bandstand - October 16, 1982 (My "Stereo Studio Sound" Re-Edit) "I Can't Go for That (No Can Do)" is a song by American duo Hall & Oates. Written by Daryl Hall, John Oates and Sara Allen, the song was released as the second single from their tenth studio album, Private Eyes (1981). The song became the fourth number one hit single of their career on the Billboard Hot 100. It features Charles DeChant on saxophone and Lead Guitarist GE Smith who went on to lead the SNL Band.. Daryl Hall sketched out the basic song one evening at a music studio in New York City, in 1981, after a recording session for the Private Eyes album. Hall started the Rock 1 setting on Roland CompuRhythm then began playing a bass line on a Korg organ, and sound engineer Neil Kernon recorded the result. Hall then came up with a guitar riff, which he and Oates worked on together. The next day, Hall, Oates and Sara Allen worked on the lyrics. Speaking about the meaning of the lyrics, John Oates has stated that while many listeners may assume the lyrics are about a relationship, in reality, the song, "is about the music business. That song is really about not being pushed around by big labels, managers, and agents and being told what to do, and being true to yourself creatively." This was done intentionally, he explained, to universalize the topic of the song into something everyone could relate to and ascribe personal meaning to in their own way. Naming "Maneater" as another example, he revealed that this was a common theme for the group's songs. The song is composed in the key of C minor (C major for the chorus).

"Do You Really Want to Hurt Me" is a song written and performed by English new wave band Culture Club. Released as a single in September 1982 from the group's platinum-selling debut album, Kissing to Be Clever (1982), this ballad was the band's first UK No. 1 hit. In the United States, the single was released in November 1982 and also became a hit, reaching No. 2 for three weeks. "Do You Really Want to Hurt Me" was the third single released in Europe by Culture Club and their debut release in the United States and Canada. The song became a UK No. 1 single for three weeks in October 1982. It entered the American Pop chart the week ending December 4, 1982, hit No. 1 in Cash Box magazine, and held at No. 2 for three weeks on the Billboard Hot 100 chart in March and April 1983. The single hit No. 1 in Canada. It was also number one in Australia. This was Culture Club's first major success, after their first two releases at the Virgin Records label, "White Boy" and "I'm Afraid of Me", charted lower in the UK at No. 114 and No. 100 respectively. Producer Steve Levine later said: "We felt very strongly that we had a great track with 'Do You Really Want to Hurt Me' and Virgin agreed." Within a few days of "Do You Really Want to Hurt Me" being released, David Hamilton on BBC Radio 2 played the song as his record of the week. The song rose rapidly in the UK charts after the group's first appearance on Top of the Pops, which resulted in Boy George's androgynous style of dress and sexual ambiguity making newspaper headlines. The group were only asked to appear on Top of the Pops the night before the show, after Shakin' Stevens pulled out. Culture Club: Do You Really Want To Hurt Me - on Top Of The Pops - December 25, 1982 (My "Stereo Studio Sound" Re-Edit) In a retrospective review, Allmusic described "Do You Really Want to Hurt Me" as "a simple masterpiece, resonating with an ache that harked back to the classic torch songs of yesteryear."

John Parr - St. Elmo's Fire (Man in Motion) On Tocata (Spanish Television) December 25, 1985 (My "Stereo Studio Sound: Re-Edit) "St. Elmo's Fire (Man in Motion)" is a song by British singer John Parr from the 1985 film St. Elmo's Fire. It hit No. 1 on the US Billboard Hot 100 chart on September 7, 1985, remaining there for two weeks. It was the main theme for Joel Schumacher's film, and first single from the soundtrack. The song was created and edited within 24 hours. The record peaked at No. 6 in the United Kingdom, Parr's home country, and became a No. 1 hit for him around the world, and provided many awards and a Grammy nomination. The song did not initially feature on Parr's studio albums, only appearing on the London Records re-release of his self-titled debut album in the United Kingdom. Members of the bands Toto, REO Speedwagon and Mr. Mister appear on the recording. David Foster and John Parr were contracted to write a song for the film, but Parr struggled with inspiration for the lyrics. Foster showed Parr a news clip about the Canadian athlete Rick Hansen, who at the time was going around the world in his wheelchair to raise awareness for spinal cord injuries. His journey was called the "Man in Motion Tour". Parr decided to help the campaign by writing words that would fit vaguely with the film, but which directly referenced Hansen's efforts.

Rick Springfield: Don't Talk To Strangers - on Solid Gold Countdown - 1982 (My "Stereo Studio Sound" Re-Edit) "Don't Talk to Strangers" is a song written and performed by Australian musician Rick Springfield. This song was released as a single in 1982, from the album Success Hasn't Spoiled Me Yet. It reached number two on the United States Billboard Hot 100 for four weeks, making it his second biggest hit in the US after the number-one hit, "Jessie's Girl". Springfield was nominated for Grammy Award for Best Male Pop Vocal Performance with the song in 1983. The music was based on an earlier Springfield song titled "Spanish Eyes", and released on the Sound City recordings from 1978. The song lyrics were changed and were written to Springfield's then-girlfriend Barbara Porter (later his wife), whom he was worried was involved with other people while they were apart. Springfield recalled, "Back then, I was scared that she was screwing around because I was doing the same thing."

Sheena Easton: Almost Over You - on The Tonight Show 1984 (My "Stereo Studio Sound" Re-Edit) W/Joan Rivers Intro. "Almost Over You" is a 1983 single by Scottish singer Sheena Easton from her Best Kept Secret LP. It was written by Jennifer Kimball and Cindy Richardson. The single reached number 25 on the Billboard Hot 100, while its Adult Contemporary peak was number 4. In Canada, the song reached number 35 and number one on the Adult Contemporary chart. The lyrics tells of a woman who almost overcame the pain, misery, and shattered dreams her former lover gave to her, which suggests the title.

Joe Cocker & Jennifer Warnes - Up Where We Belong on Solid Gold Countdown - 1982 (My "Stereo Studio Sound" Re-Edit) "Up Where We Belong" is a song written by Jack Nitzsche, Buffy Sainte-Marie and Will Jennings that was recorded by Joe Cocker and Jennifer Warnes for the 1982 film An Officer and a Gentleman. Warnes was recommended to sing a song from the film because of her previous soundtrack successes, and she had the idea for the song to be a duet that she would perform with Cocker. Jennings selected various sections of the score by Nitzsche and Sainte-Marie in creating the structure of the song and added lyrics about the struggles of life and love and the obstacles that people attempt to dodge. It was released in July of that year to coincide with the release of the film. The song reached number one on the Billboard Hot 100 in the US and topped the charts in several other countries. It also sold more than one million copies in the US and was recognized by the Recording Industry Association of America as one of the Songs of the Century. Cocker and Warnes were awarded the Grammy for Best Pop Performance by a Duo or Group with Vocals, and Nitzsche, Sainte-Marie, and Jennings won both the Academy Award and Golden Globe Award for Best Original Song. Despite the song's success, some industry observers believed it took Cocker away from his musical roots.

Daryl Hall & John Oates: You Make My Dreams - on Solid Gold Countdown - 1982 (My "Stereo Studio Sound" Re-Edit) "You Make My Dreams" is a song by American duo Daryl Hall & John Oates, taken from their ninth studio album, Voices (1980). The song reached number five on the Billboard Hot 100 chart in 1981. The track received 154,000 digital sales between 2008 and 2009 according to Nielsen SoundScan. The song has sold over one million copies in the UK to date, despite having never charted in the country. John Oates said the song came about "through a happy accident, my guitar player friend of mine and myself were jamming in the dressing room, and I started playing a delta blues and he started playing a Texas swing, and we put them together, and all of a sudden into my head popped "you make my dreams." I just started singing it. I don't know why, but I did. And it sounded really cool and everyone liked it. It was as simple as that." Daryl Hall also commented on the iconic piano riff that opens the song and the distinctive sound that is generated by a Yamaha CP-30 in an interview with the BBC on the 40th anniversary of the song’s release. “It's a very unusual edition of a Yamaha called the Yamaha CP-30. There were very few of them made and it wasn't out for very long. Over the years mine got destroyed [and] I cannot duplicate that sound other than with the actual instrument. So I had to search and search until, quite recently, I found one.

Toto: I'll Be Over You - on Solid Gold - 1987 (My "Stereo Studio Sound" Re-Edit) "I'll Be Over You" is a hit single by the American rock band Toto. Released as the lead single from their 1986 album, Fahrenheit, the song reached number 11 on the Billboard Hot 100 chart in 1986. Lead vocals were sung by guitarist Steve Lukather, who co-wrote the song with hit songwriter Randy Goodrum (one of several collaborations between the two). Guest musician Michael McDonald provided the vocal counterpoint on the recording. "I'll Be Over You" spent two weeks at number one on the Adult Contemporary chart, Toto's second song to top this chart (following 1983's "I Won't Hold You Back"). Lukather explained the song's lyrics: "What the song is basically saying is, the guy has broken up with a girl, and realized that he should never have broken up with this girl, and he's still really deeply in love with her. Sort of like a warning to people, like, you never know how good you got it until you don't have it anymore." A music video (in which guest vocalist McDonald also appears) was shot with the band playing on an apartment rooftop until it rained. The rooftop is on top of the building located at 548 South Spring Street in Los Angeles, California, USA. The video also recreates the image from the front of the album with live actors.

John Cougar Mellencamp: I Need A Lover - on American Bandstand January 05,1980 (My "Stereo Studio Sound" Re-Edit) w/Dick Clark Interview. "I Need a Lover" is the debut single by John Mellencamp, first released in 1978 under the stage name "Johnny Cougar". A music video for the song directed by David McMahon was released the same year, also being Mellencamp's first music video. The song was covered by Pat Benatar a year later and also had a hit with it. The song appeared on his 1978 album A Biography, which was not released in the United States. After becoming a top 10 hit in Australia, the song was later included on his 1979 follow-up album John Cougar to introduce it to U.S. audiences, and was released there as a single, becoming his first U.S. top 40 hit when it reached No. 28 on the Billboard Hot 100 in December 1979. AllMusic reviewer Stephen Thomas Erlewine described "I Need a Lover" as Mellencamp's "first good song". Cash Box said that "Cougar's gutsy, forthright vocals and lyrics are nicely backed by passionate guitar and a footstomping, hell-raising beat." Record World said that "Cougar's midwestern roots grow into urban urgency on this explosive rocker." On his inspiration for writing "I Need a Lover", Mellencamp said: "The song's about a friend of mine who goes to Concordia College. When that song was written, he was pretty sad. He was . . . livin’ in his bedroom. I told him, ‘You got to get the hell out of the house!’ He’d say, ‘Man, if I only had a girl, she’d make me forget my problems.’ I just said, ‘Well . . . ’" Mellencamp has also stated that "I Need a Lover" was inspired by the Rolling Stones' 1972 song "Happy".

Blondie: Heart Of Glass - on American Bandstand - May 12, 1979 (My "Stereo Studio Sound" Re-Edit) w/Dick Clark Interview. "Heart of Glass" is a song by the American new wave band Blondie, written by singer Debbie Harry and guitarist Chris Stein. It was featured on the band's third studio album, Parallel Lines (1978), and was released as the album's third single in January 1979 and reached number one on the charts in several countries, including the United States and the United Kingdom. In December 2004, Rolling Stone ranked the song number 255 on its list of the 500 greatest songs of all time.[3] It was ranked at number 259 when the list was updated in April 2010 and at number 138 in their 2021 update. Slant Magazine placed it at number 42 on their list of the greatest dance songs of all time and Pitchfork named it the 18th best song of the 1970s. Billboard magazine ranked "Heart of Glass" number 47 in their list of 500 best pop songs of all time in 2023. "Heart of Glass" ranked at number 66 in the UK's official list of biggest selling singles of all-time, with sales of 1.32 million copies. It was inducted into the Grammy Hall of Fame as a recording of "qualitative or historical significance" in 2015. Harry herself stated that "Heart of Glass" was, along with "Rapture," the song she was proudest of having written. Harry and Stein sold their future royalties to the song, and the rest of Blondie's catalog, to Hipgnosis Songs Fund, in 2020.

America: You Can Do Magic - on American Bandstand - December 11, 1982 (My "Stereo Studio Sound" Re-Edit) w/Dick Clark Interview. "You Can Do Magic" is a song by singer-songwriter Russ Ballard that was recorded as a 1982 single by folk rock duo America from their album View from the Ground. The song was one of two Ballard compositions on View from the Ground, the other being "Jody". Ballard wrote both songs specifically for America at the behest of Rupert Perry, A&R vice president for Capitol Records. Ballard also produced the tracks marking a return to record production after a four-year hiatus; although Ballard had earlier hits as a songwriter, "You Can Do Magic" was his first major hit credit as a producer. "You Can Do Magic" proved a solid comeback vehicle for America whose last Top 40 hit—"Today's the Day"—had occurred in 1976; the second of two subsequent appearances on the Hot 100 was in 1979. "You Can Do Magic" returned America to the Top 40 in August 1982 with the track reaching No. 8 that October, and holding that position for five weeks. The popularity of "You Can Do Magic" was paralleled by the success of the parent View From the Ground album which rose to No. 41 on Billboard's listing of the top 200 albums, the first time an album by America as a duo (rather than the original trio) had appeared in that chart's upper half.

"Heaven Is a Place on Earth" is a single by American singer Belinda Carlisle from her second studio album, Heaven on Earth (1987). Written by Rick Nowels and Ellen Shipley, the song was released as the lead single from the Heaven on Earth album on September 14, 1987, and it reached number one on the US Billboard Hot 100 on December 5, 1987, becoming Carlisle's only US chart-topper to date. A month later it peaked at number one in the United Kingdom, where it held the top spot of the UK Singles Chart for two weeks. In Australia it peaked at number 2. It is considered to be Carlisle's signature song. The song was nominated for the Grammy Award for Best Female Pop Vocal Performance in 1988, but lost out to Whitney Houston's "I Wanna Dance with Somebody (Who Loves Me)". In 2017, ShortList's Dave Fawbert listed the song as containing "one of the greatest key changes in music history". Carlisle's backup vocalists on the song include songwriters Nowels and Shipley as well as Michelle Phillips of The Mamas & the Papas, Chynna Phillips of Wilson Phillips, and songwriter Diane Warren. It also features Thomas Dolby on synthesizers. The promotional music video for the song was directed by actress Diane Keaton and includes an appearance by Carlisle's husband Morgan Mason.[9] It features children wearing black masks and capes, and holding illuminated plastic globes. Carlisle appears wearing a strapless dress and later changes to a black off-the-shoulder blouse. The video was partially filmed at Six Flags Magic Mountain theme park in Valencia, California (now Santa Clarita, California), on the now-defunct Spin Out.

Belinda Carlisle: I Get Weak Top 40 Breaker Clip - Top Of The Pops - March 3, 1988 (My "Stereo Studio Sound" Re-Edit) "I Get Weak" is a song by American singer Belinda Carlisle from her second studio album, Heaven on Earth (1987). Written by Diane Warren and produced by Rick Nowels, the song was released as the second single from Heaven on Earth in January 1988. "I Get Weak" reached number two on the US Billboard Hot 100, number four on Canada's RPM 100 Singles chart, and number 10 on the UK Singles Chart. After completing the song, songwriter Diane Warren "initially: had Stevie Nicks in mind – a suggestion she made to producer Rick Nowels, who felt it would be a better fit for Carlisle. The accompanying music video for the song features a combination of color and black-and-white shots in the same frames. It was directed by actress Diane Keaton (who also directed her previous "Heaven Is a Place on Earth" video), and featured model and actor Tony Ward, who later appeared in Madonna's video for "Justify My Love".

Whitney Houston: You Give Good Love - on Merv Griffin (1985) (My "Stereo Studio Sound" Re-Edit) "You Give Good Love" is the debut solo single by American singer Whitney Houston for her 1985 eponymous debut studio album. It was written by La Forrest 'La La' Cope and produced by Kashif. When La La sent Kashif a copy of the song, originally offered to Roberta Flack, she thought it would be a better fit for Houston and told Arista Records he would be interested in recording with her.The song was released on February 22, 1985 as the album's lead single. The release of "You Give Good Love" was designed to give Houston a noticeable position and standing within the black music market first, which topped the US Billboard Hot Black Singles chart. However, it also made an unexpected crossover pop hit, peaking at number three on the Billboard Hot 100 chart, her first of what would be many Top 10 hits. It was later certified platinum by the Recording Industry Association of America (RIAA). The single was released officially in some countries such as Australia, Canada, Japan, New Zealand and United Kingdom, but failed to make the top 40 in the countries except Canada, where it reached the top ten. The song won Favorite Soul/R&B Single at the 13th American Music Awards, and was nominated for Best R&B Song and Best Female R&B Vocal Performance at the 28th Grammy Awards in 1986. "You Give Good Love" brought Houston a bit of notoriety when it turned up among several songs cited by advice columnist Ann Landers as having suggestive titles. Landers, in her column for a reader who worried about the bad influence of song lyrics on children, wrote that "Some of the lyrics are sexually provocative. The titles tell the story," and called the song "pretty trashy stuff", citing the song's title as an instance along with "Hot Love" by Cheap Trick, "Let's Go to Bed" by The Cure, "Ready, Willing and Able" by Lita Ford, "You Shook Me All Night Long" and "Love at First Feel" by AC/DC, "Tease Me" by Junie Morrison, and "Fire Down Below" by Bob Seger.Houston, in an interview with the Chicago Tribune, gave some answers to Landers's comments, saying "She chose a few songs out of the Top 40 that she thought had suggestive titles as far as she was concerned, and it was one of them. I don't think that the title is suggestive at all. It didn't say anything but 'you give good love,' and it didn't say anything in the song that was sexual or outrageous. I think that Miss Landers just looked at the title and didn't view the song itself."Houston, who described herself as a religious person, said that she hasn't given much thought to the controversy over questionable lyrics: "The songs that I sing don't fall into that category, so I don't think about it at all. But I believe that music does influence people. It's a universal thing. Everybody listens to music and knows about it. I think that the lyrics can have a lot to do with influencing whoever you're singing to. I think that as far as children are concerned, parents should have control over what they listen to. If they don't want them to listen to records that are very sexual or explicit or outrageous, they should have control over that situation. As for adults, they're going to buy whatever kind of music they want to hear, so if they buy music with explicit lyrics, they must like it."

Whitney Houston: Saving All My Love for You (Live on The Wogan Show in The U.K. 1985) (My "Stereo Studio Sound" Re-Edit) "Saving All My Love for You" is a song written by Michael Masser and Gerry Goffin, originally recorded by Marilyn McCoo and Billy Davis Jr. for their album Marilyn & Billy (1978). American singer Whitney Houston recorded it for her self-titled debut studio album (1985). It was released on August 13, 1985, by Arista Records, as the second single from the album in the United States, and third worldwide. The following article talks about this version. Houston's version of "Saving All My Love for You" garnered positive critical response, with reviewers praising its melodious production and her vocal performance, and picked it as one of the album's highlights. The song became a global success and represented a commercial breakthrough for Houston, topping the charts in four countries and reaching the top 10 in various other regions. It became her first song to top the US Billboard Hot 100, staying there for one week, and is certified Platinum by the RIAA for sales of over 1 million copies. At the 28th Annual Grammy Awards, it won for Best Female Pop Vocal Performance. The song caused controversy due to its theme of having an affair with a married man. Houston's mother, Cissy Houston, did not at all like the scenario described in the lyrics, claiming that the song's message would reflect badly on her daughter. However, Whitney herself confessed, “I was going through a terrible love affair. He was married, and that will never work out for anybody. Never, no way.”

The Go Go's: We Got The Beat - on American Bandstand – January 23, 1982 (My "Stereo Studio Sound" Re-Edit) "We Got the Beat" is a song by the American rock band the Go-Go's, written by the group's lead guitarist and keyboardist Charlotte Caffey. The band first recorded the song in 1980 for a single on UK-based Stiff Records, and later rerecorded it for their debut album Beauty and the Beat on I.R.S. Records. The initial single release brought the Go-Go's underground credibility during their first UK tour and in the band's hometown of Los Angeles. The first version reached No. 35 on the U.S. Hot Dance Club Play chart due to its popularity in clubs as an import, and the second version was a top 10 hit in both the United States and Canada. It is considered a new wave classic hit, as well as being the Go-Go's' signature song. The song was named one of "The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll". "We Got the Beat" evolved in part out of the Go-Go's covering the Smokey Robinson song that served as the group's namesake: The Miracles' "Going to a Go Go" (1965). Taking inspiration from that, and from the opening theme of The Twilight Zone, lead guitarist Charlotte Caffey wrote "We Got the Beat" and offered it to the band with hesitation, afraid that it would not be punk enough for the other members' tastes. When the rest of the Go-Go's heard the song, they loved it – and its incorporation into their set marked a stylistic change for the group as they moved away from punk rock and toward a more pop sensibility that would align the Go-Go's in with the music that was being termed "new wave". Go-Go's manager Ginger Canzoneri secured a deal with British indie label Stiff Records to release the original version of "We Got the Beat" as a single, in support of the band's 1980 UK tour with Madness and the Specials. In the 2020 documentary The Go-Go's, Canzoneri recalled that Stiff Records had also wanted to secure publishing rights for "We Got the Beat" and its B-side, "How Much More" (both produced by Paul L. Wexler), but she declined, thinking it was important for the band to hold the publishing rights to their own songs. After the tumultuous UK tour, the Go-Go's returned home to Los Angeles and packed clubs when they performed, due to the single's popularity – leading them to finally sign a deal with newly established I.R.S. Records. The band headed to New York City to record their debut album at Pennylane Studio, where producer Richard Gottehrer advised the group to slow their songs down. "We Got the Beat" remained an exception to this advice, though the band lengthened it slightly by adding a few bars to the song's instrumental intro. "We Got the Beat" led off the second side of the Go-Go's debut album, Beauty and the Beat, released in July 1981. It served as the album's second single in January 1982, now with another album track, "Can't Stop the World", on its B-side. Clocking in at 2+1⁄2 minutes, the second studio version of the song is recognizable by its drumming intro. The song's lyrics mention various early 1960s dances such as the Pony, the Watusi, and Go-Go dancing. The song's music video, filmed at a live performance at Palos Verdes High School in Los Angeles on December 4, 1981, received heavy airplay on MTV at the time. The Go-Go's performed the song, along with "Vacation" and "Our Lips Are Sealed", during the 2021 Rock and Roll Hall of Fame Induction Ceremony.

The Go Go's: Our Lips Are Sealed - on American Bandstand - January 23, 1982 (My "Stereo Studio Sound" Re-Edit) with Dick Clark interview. "Our Lips Are Sealed" is a song co-written by Jane Wiedlin, guitarist of the Go-Go's, and Terry Hall, singer of the Specials and Fun Boy Three.It was first recorded by the Go-Go's as the opening track on their album Beauty and the Beat (1981) and was their debut American single in June 1981. The single eventually reached the top 5 in Australia and Canada, and the top 20 in the United States. Originally written and performed with three verses, the song appears in an abbreviated version on Beauty and the Beat. Most of the song's vocals are performed by lead singer Belinda Carlisle, with co-writer Wiedlin singing the bridge.In 1983, Hall's band Fun Boy Three released their version of "Our Lips Are Sealed". Issued as a single, the track became a top-ten hit in the United Kingdom, besting the recording by the Go-Go's which only made it to No. 47 in the UK.Record World described the song as being as "innocent and infectious as pop music can be", with a "steady, pulsating dance beat" and "candy-coated keyboard riffs". In 2000, Rolling Stone & MTV put the Go-Go's' original version of "Our Lips Are Sealed" at No. 57 on a list of 100 Greatest Pop Songs. In 2021, their version was also listed at No. 477 on Rolling Stone's 500 Greatest Songs of All Time. The Go-Go's performed the song, along with "Vacation" and "We Got the Beat", during the 2021 Rock and Roll Hall of Fame Induction Ceremony. The official music video for the song features sequences of the band members in carefree tableaux (riding around LA in a 1960 Buick convertible, stopping at a lingerie shop, and splashing around in a fountain) interspersed with footage of the band playing at a club. Jane Wiedlin says the band was initially unenthusiastic when Miles Copeland, president of their label, I.R.S. Records, told them they would be doing the video. "We were totally bratty", she recalls. The video was financed with unused funds from the Police's video budget. The group wanted an older-style convertible, and found a red 1960 Buick LeSabre at Rent-a-Wreck.[citation needed] After riding around Beverly Hills, at some point, they stop at the famous Trashy Lingerie store located at La Cienega Blvd. The girls go into the shop, but Jane Wiedlin remains in the car to sing the bridge of the song (although Carlisle can be seen in the driver's seat trying to hide). The day of shooting was very hot so it was the band's idea to end the video by jumping into the fountain on the corner of Wilshire and Santa Monica. Wiedlin later said "I thought, at any minute the cops are gonna come. This is gonna be so cool." Wiedlin looks back on the video experience fondly. "I have horrible '80s poodle hair in it", she recalled in a 2011 history of MTV. "But there's a simplicity and innocence to the video that appeals to me." The music video received heavy airplay on the then fledgling MTV. The original version peaked at number 20 on the Billboard Hot 100 chart, and 15 on the Billboard Top Rock Tracks chart. On the dance chart, the song peaked at number 10. A song of unusual longevity as a hit, it remained on the Billboard charts until March 1982, long after its peak, ultimately charting for 30 weeks.