Saturday, April 30, 1983

“Beat It” became Michael Jackson’s second #1 from Thriller

Beat It

Michael Jackson

Writer(s): Michael Jackson (see lyrics here)

Released: February 3, 1983

First Charted: February 26, 1983

Peak: 13 US, 12 CB, 11 RR, 11 RB, 14 AR, 3 UK, 13 CN, 2 AU (Click for codes to singles charts.)

Sales (in millions): 5.5 US, 0.5 UK, 7.95 world (includes US + UK)

Airplay/Streaming (in millions): -- radio, 654.04 video, 520.58 streaming


Click on award for more details.

About the Song:

Michael Jackson was already a star before 1982’s Thriller, but the one-two punch of “Billie Jean” and “Beat It” from that album sent him into the superstar stratosphere. Only a one-week run by Dexy’s Midnight Runners’ “Come on Eileen” prevented “Beat It” from bumping “Billie Jean” from the top of the U.S. pop charts. It was the first time since the Beatles knocked themselves from #1 in 1964 that an artist followed one chart-topper so quickly with another. BR

More importantly, the song “rocked more than anything else Jackson had ever done,” RS500 largely because it “mated the top pop hero of revitalized Top 40…with Edward Van Halen, guitar king of heavy metal.” MA He refused pay for his services, unless one counts the two six-packs of beer producer Quincy Jones brought to him in the studio. SF Eddie told Q magazine in 2009 that he thought, “maybe Michael will give me dance lessons someday” SF and informed Musician magazine, “I didn’t care, I did it as a favor.” BR

That favor gave Michael garnered a rarity for a black, R&B/pop artist – airplay on album-rock stations. The song also snagged a Grammy for Best Male Rock Vocal. Jackson said, “I wanted to write the type of rock song that I would go out and buy…but also something totally different from the rock music I was hearing on Top Forty radio.” RS500

Also crucial to promoting “Beat It” to iconic status was its video. With “Billie Jean” the King of Pop broke down the racial barriers of the new video era. With “Beat It” he became the king of the video, giving viewers a mini-movie version of West Side Story with rival gangs facing off in a choreographed rumble. The dancing drew raves from Bob Fosse, Gene Kelly, and Fred Astaire. BR

Resources and Related Links:

  • DMDB encyclopedia entry for Michael Jackson
  • BR Fred Bronson (2003). The Billboard Book of Number One Hits (5th edition). Billboard Books: New York, NY. Page 571.
  • MA Dave Marsh (1989). The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made. New York, NY; New American Library. Page 351.

Other Related DMDB Pages:

Last updated 10/11/2021.

Muddy Waters died: April 30, 1983

Originally posted April 30, 2012.

McKinley Morganfield, better known as Muddy Waters, was born on 4/4/1915 in Rolling Fork, Mississippi. Some sources indicate his birth year as 1913, but the bio on cites 1915. He died on April 30, 1983.

Waters ranks second only to Robert Johnson as the top blues acts of all time. Waters was pivotal in the development of the Chicago blues style. He taught himself to play harmonica in the early 1920s and picked up guitar in the early 1930s.

Among his most significant songs are “I Feel Like Going Home” (1948), “Rollin’ Stone” (1950), “Hoochie Coochie Man” (1954), and “Got My Mojo Working” (1957). All have been inducted into the Grammy Hall of Fame. The latter three and “Mannish Boy” also made the Rock and Roll Hall of Fame’s list of the 500 Songs That Shaped Rock and Roll. “Hoochie Coochie” is also in the National Recording Registry of the Library of Congress and made NPR’s list of the Most Important American Musical Works of the 20th Century. “Mojo” is also among the RIAA’s selections for the RIAA’s 365 songs of the 20th century.

Hoochie Coochie Man

Best of (1954), Down on Stovall’s Plantation (1966), McKinley Morganfield (aka “Muddy Waters”) (1971), The Chess Box (1972), Can’t Get No Grindin’ (1973), and The Complete Plantation Recordings (1993) are all Blues Hall of Fame inductees. In addition, Time magazine named The Anthology 1947-1972 (1947-72) one of the Top 100 Albums of All Time.

His most celebrated album is At Newport, a live album from 1960. It makes the DMDB’s lists of top 1000 albums of all time, Top 10 Blues Albums of All Time, and the top 50 live albums of all time. It also ranks as one of the 100 Greatest American Albums according to Blender magazine and one of the 100 Essential Albums of the Century according to Vibe magazine.


Resources and Related Links:

Friday, April 29, 1983

Men at Work released Cargo


Men at Work

Released: April 29, 1983

Peak: 3 US, 8UK, 3 CN, 12 AU

Sales (in millions): 3.0 US, 0.1 UK, 3.72 world (includes US and UK)

Genre: pop rock/new wave


Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. Dr. Heckyll and Mr. Jive (10/82, 28 US, 12 AR, 31 UK, 26 CN, 6 AU)
  2. Overkill (4/9/83, 3 US, 3 AR, 6 AC, 21 UK, 6 CN, 5 AU)
  3. Settle Down My Boy
  4. Upstairs in My House
  5. No Sign of Yesterday
  6. It’s a Mistake (6/83, 6 US, 27 AR, 10 AC, 33 UK, 26 CN, 34 AU)
  7. High Wire (1983, 23 AR, 89 AU)
  8. Blue for You
  9. I Like To
  10. No Restrictions

Total Running Time: 42:21

The Players:

  • Colin Hay (vocals, guitar)
  • Greg Ham (flute, keyboards, saxophone, vocals)
  • Ron Strykert (guitar, vocals)
  • John Rees (bass, backing vocals)
  • Jerry Speiser (drums, backing vocals)


3.823 out of 5.00 (average of 6 ratings)

Awards: (Click on award to learn more).

About the Album:

The Australian new wave band Men at Work debuted in 1981 with Business As Usual. It took a year for it to catch on in the United States, but when it did it exploded. “Who Can It Be Now?” hit #1 in 1982 and “Down Under” ascended to the throne in early 1983. The two songs fueled Business As Usual to the top of Billboard album chart for 15 weeks.

Meanwhile, Men at Work already had Cargo waiting in the wings. They’d finished the album in mid-’82, but held off releasing it because of the success of Business As Usual. When Cargo dropped in 1983, the former album was still riding high on the charts.

The first single, Dr. Heckyll and Mr. Jive, was released in Australia in October 1982, although it would be nearly a year later before it saw a U.S. release. The song was accompanied by a video which played to Men at Work’s reputation as an act known for entertaining, humorous videos. Greg Ham played a mad scientist who creates a potion that transforms him into a ladies’ man.

In the U.S. the song was preceded by two Men at Work top-10 hits. Overkill was released in April 1983 and showed some more dimension to the band. The song had a more serious tone than the light-hearted pop fare of “Who Can It Be Now?” and “Down Under,” though it dealt with paranoia again, as had “Who Can It Be Now?”

It’s a Mistake also tapped into a more serious vibe with lyrics focused on the mindset of military men and the prospects of nuclear war. The video played up the band’s charisma with a story in which each member move from roles in the working world to unexpected roles in the military, suggesting they’d been drafted. The storyline seemed to be somewhat modeled after Dr. Strangelove, a black comedy film from 1964.

Rolling Stone’s Christopher Connelly wrote that the album “may lack a track with the body-slamming intensity of ‘Who Can It Be Now?’ and ‘Down Under,’ but song for song, it is a stronger overall effort than Business As Usual.” WK All Music Guide’s Stephen Thomas Erlewine said “Overkill” and “It’s a Mistake” had “more depth than anything on the debut” WK but that the rest of the album was “weighed down by filler.” WK John Mendelssohn of Record had little positive to say about the album, other than “Colin Hay may be the most effortlessly soulful pop singer since Sting.” WK

Notes: A 2003 reissue added bonus tracks “Shintaro” and “Till the Money Runs Out,” and live versions of “Upstairs in My House,” “Fallin’ Down,” and “The Longest Night.”

Resources and Related Links:

First posted 9/20/2020; last updated 8/2/2021.

Wednesday, April 13, 1983

Violent Femmes’ debut released

Violent Femmes

Violent Femmes

Released: April 13, 1983

Peak: 171 US, -- UK, -- CN, 31 AU

Sales (in millions): 1.0 US, -- UK, 1.0 world (includes US and UK)

Genre: new wave/alternative rock


Song Title [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. Blister in the Sun [2:24]
  2. Kiss Off [2:56]
  3. Please Do Not Go [4:15]
  4. Add It Up [4:43]
  5. Confessions [5:32]
  6. Prove My Love [2:38]
  7. Promise [2:49]
  8. To the Kill [4:00]
  9. Gone Daddy Gone [3:06]
  10. Good Feeling [3:52]

All songs written by Gordon Gano.

Total Running Time: 36:15

The Players:

  • Gordon Gano (vocals, guitar)
  • Brian Ritchie (guitar, xylophone, backing vocals)
  • Victor DeLorenzo (drums, backing vocals)


4.388 out of 5.00 (average of 12 ratings)

Awards: (Click on award to learn more).

About the Album:

“One of the most distinctive records of the early alternative movement and an enduring cult classic, Violent Femmes weds the geeky, child-man persona of Jonathan Richman and the tense, jittery, hyperactive feel of new wave in an unlikely context: raw, amateurish acoustic folk-rock. The music also owes something to the Modern Lovers’ minimalism, but powered by Brian Ritchie’s busy acoustic bass riffing and the urgency and wild abandon of punk rock, the Femmes forged a sound all their own.” AMG

“Still, the main reason Violent Femmes became the preferred soundtrack for the lives of many an angst-ridden teenager is lead singer and songwriter Gordon Gano. Naive and childish one minute, bitterly frustrated and rebellious the next, Gano's vocals perfectly captured the contradictions of adolescence and the difficulties of making the transition to adulthood.” AMG

“Clever lyrical flourishes didn’t hurt either; while Blister in the Sun has deservedly become a standard, Kiss Off’s chant-along ‘count-up’ section, Add It Up’s escalating ‘Why can't I get just one...’ couplets, and Gimme the Car’s profanity-obscuring guitar bends ensured that Gano's intensely vulnerable confessions of despair and maladjustment came off as catchy and humorous as well.” AMG

“Even if the songwriting slips a bit on occasion, Gano's personality keeps the music engaging and compelling without overindulging in his seemingly willful naiveté. For the remainder of their career, the group would only approach this level in isolated moments.” AMG

Notes: The CD release added the songs “Ugly” and “Gimme the Car.” In 2002, a deluxe edition was released that contained a whopping 26 bonus tracks, among them demos and live material of songs both from the album and not.

Resources and Related Links:

First posted 3/24/2008; last updated 9/5/2021.

Monday, April 11, 1983

David Bowie Let’s Dance album released

Let’s Dance

David Bowie

Released: April 11, 1983

Peak: 4 US, 13 UK, 1 CN, 11 AU

Sales (in millions): 1.0 US, 0.3 UK, 11.0 world (includes US and UK)

Genre: classic rock


Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. Modern Love [4:48] (5/7/83, 14 US, 15 CB, 12 RR, 6 AR, 2 CO, 2 UK, 6 AU)
  2. China Girl (Bowie/Pop) [5:33] (5/28/83, 10 US, 9 CB, 10 RR, 3 AR, 2 CO, 2 UK, 15 AU)
  3. Let’s Dance [7:37] (3/26/83, 1 US, 1 CB, 2 RR, 8 AR, 1 CO, 14 RB, 1 UK, 1 CN, 2 AU, sales: 1 million)
  4. Without You [3:09] (3/10/84, 73 US, 30 CO)
  5. Ricochet [5:13]
  6. Criminal World (Browne/Godwin/Lyons) [4:24] (8/20/83, 31 AR, 30 CO)
  7. Cat People (Putting Out Fire) (Bowie/Moroder) [5:09] (3/11/82, 67 US, 61 CB, 9 AR, 6 CO, 26 UK, 15 AU)
  8. Shake It [3:50]

Songs written by David Bowie unless indicated otherwise.

Total Running Time: 36:46

The Players:

  • David Bowie (vocals, producing, etc.)
  • Nile Rodgers (guitar, producer, engineer, etc.)
  • Stevie Ray Vaughan (guitar)
  • Carmine Rojas (bass)
  • Bernard Edwards (bass on “Without You”)
  • Omar Hakim, Tony Thompson (drums)
  • Sammy Figueroa (percussion)
  • Robert Sabino (keyboards, piano)
  • Stan Harrison (tenor saxophone, flute)
  • Robert Aaron (tenor saxophone)
  • Steve Elson (baritone saxophone, flute)
  • Mac Gollehon (trumpet)
  • Frank Simms, George Simms, David Spinner (backing vocals)


3.648 out of 5.00 (average of 25 ratings)

Awards: (Click on award to learn more).

About the Album:

After releasing Scary Monsters in 1980, David Bowie cancelled a tour to promote the album after the murder of John Lennon. He retreated to Switzerland and became a recluse, but continued working. In 1981, he collaborated with Giorgio Moroder to write the title song for the movie Cat People. At the same session, he recorded “Under Pressure” with Queen.

In 1982, he recorded a soundtrack EP for Baal, a BBC adaptation of Bertrolt Brecht’s play. He also filmed appearances for The Hunger and Merry Christmas, Mr. Lawrence. He departed from RCA Records and signed with EMI Records and tapped bassist Nile Rodgers, best known from the band Chic, to co-produce his next record and create “a stylish, synthesized post-disco dance music that was equally informed by classic soul and the emerging new romantic subgenre of new wave, which was ironically heavily inspired by Bowie himself.” AMG

The sessions featured new personnel. Bowie hadn’t altered his lineup that completely since Space Oddity in 1969. The new players included guitarist Stevie Ray Vaughan before he became famous and other Chic members Bernard Edwards and Tony Thompson. For the first time, Bowie focused exclusively on vocals and didn’t perform any instruments. As he said, “I don’t play a damned thing. This was a singer’s album.” WK

The resulting Let’s Dance album was the best-seller of Bowie’s career. However, it also signalled a period of low creativity on his part as he felt he was pandering to acquire a mainstream audience through the rest of the 1980s. He derogatorily referred to the era as his “Phil Collins years.” WK The music from Let’s Dance has been characterized as “post-disco, dance-rock, new wave, and dance-pop.” WK

Let's Dance comes tearing out of the date, propulsed by the skittering Modern Love.” AMG It “is an uptempo pop song that features a call-and-response structure inspired by Little Richard.” WK All Music Guide’s Dave Thompson said it “epitomizes all that was good about Bowie’s 1983 reinvention as a willing superstar.” WK

Next up was “the seductively menacing China Girl,” AMG which Bowie originally wrote and recorded with Iggy Pop on his album The Idiot in 1977. BBC Online reviewer David Quantick said “nobody but [Nile] Rodgers could have taken a song…with its paranoid references to ‘visions of swastikas,’ and turned it into a sweet, romantic hit single.” WK

Biographer Nicholas Pegg called the title cut one of the “all-time great pop songs.” WK It was the lead single from the album and hit #1 in the U.S. and UK. A video for the song was shot by David Mallet, who also directed “Ashes to Ashes” for Bowie in 1980.

“China Girl” and “Modern Love” were released as follow-up singles, hitting the top 10 and top 20 in the U.S. respectively. Both reached #2 in the UK. They were hits “for good reason — they're catchy, accessible pop songs that have just enough of an alien edge to make them distinctive.” AMG

“However, that careful balance is quickly thrown off by a succession of pleasant but unremarkable plastic soul workouts.” AMG The re-recorded version of Cat People which Bowie originally recorded in 1981 and a cover of Metro’s 1977 song Criminal World “are relatively strong songs, but the remainder of the album indicates that Bowie was entering a songwriting slump.” AMG The latter was originally banned by the BBC for bisexual overtones. Biographer Chris O’Leary said it was Bowie’s way to “sneak a transgressive song onto a platinum record.” WK

The BBC’s David Quantick said Let’s Dance was “often a mundane album, as songs like Ricochet and Shake It mark time.” WK The former “is the only track on the album that is reminiscent of the experimental nature of Bowie’s late-70s recordings.” WK Writer Nicholas Pegg called “Shake It” “a likable enough piece of fluff.” WK

All Music Guide’s Stephen Thomas Erlewine said of the album: “The three hits were enough to make the album a massive hit, and their power hasn’t diminished over the years, even if the rest of the record sounds like an artifact.” AMG Time’s Jay Cocks called it “unabashedly commercial” WK and Rolling Stone’s Ken Tucker said the album had a “surface beauty.” WK Commonweal said it was “some of the most exciting R&B-based dance music in years.” WK Rolling Stone’s Jeremy Allen said the album was “the conclusion of arguably the greatest 14-year run in rock history.” WK

Notes: ”Under Pressure,” Bowie’s 1981 duet with Queen, was added to the Virgin Records CD reissue.

Resources and Related Links:

Other Related DMDB Pages:

First posted 2/20/2008; last updated 8/3/2021.

R.E.M. released its debut album, Murmur



Released: April 11, 1983

Peak: 36 US, 100 UK

Sales (in millions): 0.5 US, -- UK, 2.0 world (includes US and UK)

Genre: college rock


Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. Radio Free Europe [4:06] (7/8/81, 78 US, 25 AR, 1 CO)
  2. Pilgrimage [4:30] (21 CO)
  3. Laughing [3:57]
  4. Talk about the Passion [3:23] (11/83, 36 CO)
  5. Moral Kiosk [3:31]
  6. Perfect Circle [3:29] (11/86, B-side of “Superman”)
  7. Catapult [3:55] (10/16/84: B-side of “Don’t Go Back to Rockville,” 10 CO)
  8. Sitting Still [3:17]
  9. 9-9 [3:03]
  10. Shaking Through [4:30]
  11. We Walk [3:02]
  12. West of the Fields (Berry, Buck, Mills, Stipe, and Neil Bogan) [3:17]

Songs written by Bill Berry, Peter Buck, Mike Mills, and Michael Stipe unless noted otherwise.

Total Running Time: 44:11

The Players:

  • Bill Berry (drums, percussion)
  • Peter Buck (guitar.)
  • Mike Mills (bass, piano, keyboards)
  • Michael Stipe (vocals)


4.360 out of 5.00 (average of 29 ratings)

Awards: (Click on award to learn more).

About the Album:

“Singer Michael Stipe has often said that the title was chosen because it’s one of the easiest words to pronounce in the English language.” JD Ironically, it is also an apt description of his singing style; AZ he “unspooled his lyrics as if they constituted some new secret language.” RS500 However, at the same time “his smooth pop vocal mannerisms sweeten the enigmatic poetry.” AZ “The lyrics and the melodies seem buried, almost subliminal, and even the hookiest songs…resist clarity.” RS500 “His voice works more as a fourth instrument, complementing the band musically.” PK “Stipe knew that words chosen merely for the way they sound and phrases that suggest something without actually saying anything can be much more powerful than lyrics that try to tell a story, because the listener is free to fill in the blanks with his or her imagination.” JD

“Like all great bands, R.E.M.’s individual parts…are as interesting as the collective sound.” AZ Peter Buck’s guitar playing draws “heavily on the trademark Rickenbackers of the early Byrds, with the occasional burst of Velvets-style feedback and garage-rock fuzz thrown in for emphasis.” JD Mike Mills provides “melodic counterpoints with his ultra-musical bass parts, and [drummer Bill] Berry shows considerable imagination in varying his propulsive backbeats with deft and colorful use of elaborate patterns on the tom-toms. Both also add beautiful harmony vocals.” JD

Murmur “marked the point at which the punk legacy made peace with rock history, and a new U.S. folk music was born.” BL After the rise of punk rock in the ‘70s, the early ‘80s gave birth to “a strong network of small, independent labels and a string of clubs, fanzines and college radio stations to support them. R.E.M. tapped into this scene, took full advantage of it, and arguably became its biggest cheerleader” JD “playing simple, stripped down songs merging Byrds-like jangly guitars with Velvet Underground-ish drony melodicism.” PK

“Though critics swamped R.E.M.’s 1983 full-length debut with country-rock comparisons to the Byrds, Murmur sounds like no one else.” AZ While “firmly in the tradition of American folk-rock, post-punk, and garage rock, Murmur sounds as if it appeared out of nowhere, without any ties to the past, present, or future.” AMG

As Buck, “a rock scholar who had worked in a record store,” RS500 said, “We wanted to have this kind of timeless record.” RS500 Indeed, “the songs on Murmur sound as if they’ve existed forever, yet they subvert folk and pop conventions by taking unpredictable twists and turns into melodic, evocative territory, whether it’s the measured riffs of Pilgrimage, the melancholic Talk About the Passion, or the winding guitars and pianos of Perfect Circle.” AMG We also get ““the amusing perplexity of 9-9 and Moral Kiosk; the soothing wisdom of Stipe’s voice in Shaking Through.” SL “Nearly every song is an unforgettable gem.” PK

“The band made its recorded debut in the summer of 1981 with a song that paid homage to the spirit of the young, independent broadcasters…The tiny Hib-Tone label only pressed 1,000 copies of Radio Free Europe, but the single topped the Village Voice’s year-end critics' poll, and the attention helped the band land its deal with I.R.S.” JD From there, they record the E.P. Chronic Town in 1982. However, by the time of their debut album, R.E.M. left “behind the garagey jangle pop of their first recordings,” AMG “de-emphasizing the backbeat and accentuating the ambience of the ringing guitar.” AMG

“The production, by then-college radio stalwarts Don Dixon and Mitch Easter, is shimmering but never slick, making this rise above the early DIY indie rock dustheap without falling prey to the new wave excesses of the early ‘80s scene.” PK “Throughout the sessions, there was pressure from I.R.S. to produce a hit, but…the band say they tuned the company out and proceeded to craft the sort of finely textured cult album they adored” – Big Star’s Third/Sister Lover, Velvet Underground’s eponymous third album, Neil Young’s Tonight’s the Night, and Wire’s Pink Flag. JD The “result should have been a complete mess” PK but became “one of the most remarkable, near-perfect debut albums of the rock era” PK and “a founding document of alternative rock, released just as Gen X was starting to go to college.” RS500 “Truly a must-own album.” PK

Notes: -- The 1992 IRS Vintage Years edition added R.E.M.’s cover of the Velvet Underground’s “There She Goes Again” as well as live versions of “9-9,” “Gardening at Night,” and “Catapult.” The 2008 Deluxe Edition added a second disc of a live performance from Larry’s Hideaway in Toronto on July 9, 1983.

Resources and Related Links:

Other Related DMDB Pages:

First posted 3/23/2008; last updated 12/3/2021.