The Top 100 Hits Of 1983

1. Every Breath You Take - The Police
2. Flashdance...What A Feeling - Irene Cara
3. Billie Jean - Michael Jackson
4. All Night Long(All Night) - Lionel Richie
5. Total Eclipse Of The Heart - Bonnie Tyler
6. Down Under - Men At Work
7. Maneater - Daryl Hall & John Oates
8. Beat It - Michael Jackson
9. Islands In The Stream - Kenny Rogers & Dolly Parton
10, Sweet Dreams(Are Made Of This) - Eurythmics
11. Let's Dance - David Bowie
12. Maniac - Michael Sembello
13. Mickey - Toni Basil
14. Baby, Come To Me - Patti Austin With James Ingram
15. Electric Avenue - Eddy Grant
16. Gloria - Laura Branigan
17. Shame On The Moon - Bob Seger
18. The Girl Is Mine - Michael Jackson & Paul McCartney
19. Making Love Out Of Nothing At All - Air Supply
20. Come On Eileen - Dexy's Midnight Runners
21. Do You Really Want To Hurt Me - Culture Club
22. Tell Her About It - Billy Joel
23. Uptown Girl - Billy Joel
24. Africa - Toto
25. Dirty Laundry - Don Henley
26. Sexual Healing - Marvin Gaye
27. Time(Clock Of The Heart) - Culture Club
28. Hungry Like The Wolf - Duran Duran
29. Jeopardy - Greg Kihn Band
30. She Works Hard For The Money - Donna Summer
31. The Safety Dance - Men Without Hats
32. Overkill - Men At Work
33. Mr. Roboto - Styx
34. Never Gonna Let You Go - Sergio Mendes
35. Stray Cat Strut - Stray Cats
36. She Blinded Me With Science - Thomas Dolby
37. True - Spandau Ballet
38. King Of Pain - The Police
39. You And I - Eddie Rabbitt With Crystal Gayle
40. You Are - Lionel Richie
41. Steppin' Out - Joe Jackson
42. Puttin' On The Ritz - Taco
43. One Thing Leads To Another - The Fixx
44. Cum On Feel The Noize - Quiet Riot
45. We've Got Tonight - Kenny Rogers & Sheena Easton
46. Is There Something I Should Know - Duran Duran
47. Back On The Chain Gang - Pretenders
48. Der Kommissar - After The Fire
49. Stand Back - Stevie Nicks
50. Separate Ways(Worlds Apart) - Journey
51. Wanna Be Startin' Somethin' - Michael Jackson
52. Little Red Corvette - Prince
53. One On One - Daryl Hall & John Oates
54. Rock The Casbah - The Clash
55. Don't Let It End - Styx
56. My Love - Lionel Richie
57. (She's) Sexy + 17 - Stray Cats
58. Too Shy - Kajagoogoo
59. It's A Mistake - Men At Work
60. Rock This Town - Stray Cats
61. You Can't Hurry Love - Phil Collins
62. Come Dancing - The Kinks
63. Solitare - Laura Branigan
64. Telefone(Long DIstance Love Affair) - Sheena Easton
65. (Keep Feeling) Fascination - Human League
66. Delirious - Prince
67. Affair Of The Heart - Rick Springfield
68. Our House - Madness
69. Family Man - Daryl Hall & John Oates
70. Human Nature - Michael Jackson
71. The Other Guy - Little River Band
72. Heartbreaker - Dionne Warwick
73. Suddenly Last Summer - The Motels
74. Twilight Zone - Golden Earring
75. Goody Two Shoes - Adam Ant
76. I'll Tumble 4 Ya - Culture Club
77. All Right - Christopher Cross
78. Heart And Soul - Huey Lewis & The News
79. Always Something There To Remind Me - Naked Eyes
80. Heart To Heart - Kenny Loggins
81. Crumblin' Down - John Cougar Mellencamp
82. It's Raining Again - Supertramp
83. Don't Cry - Asia
84. Allentown - Billy Joel
85. I Won't Hold You Back - Toto
86. Tonight, I Celebrate My Love - Roberta Flack & Peabo Bryson
87. Faithfully - Journey
88. Promises, Promises - Naked Eyes
89. I Know There's Something Going On - Frida
90. Far From Over - Frank Stallone
91. Pass The Dutchie - Musical Youth
92. She's A Beauty - The Tubes
93. I'm Still Standing - Elton John
94. Shadows Of The Night - Pat Benatar
95. Hot Girls In Love - Loverboy
96. China Girl - David Bowie
97. Burning Down The House - Talking Heads
98. Straight From The Heart - Bryan Adams
99. Your Love Is Driving Me Crazy - Sammy Hagar
100. Lawyers In Love - Jackson Browne

Hit #105 Since 1964 - Night Fever - Bee Gees

"Night Fever" is a song written and performed by the Bee Gees. It first appeared on the soundtrack to Saturday Night Fever. Producer Robert Stigwood wanted to call the film Saturday Night, but singer Robin Gibb expressed hesitation at the title. Stigwood liked the title Night Fever but was wary of marketing a movie with that name.

The B-side was a live version of "Down the Road" in 1977, previously released on Here at Last... Bee Gees... Live.

Inspiration and writing

When Bee Gees manager Robert Stigwood was producing a movie about a New York disco scene, the working title for the film at that time was Saturday Night as Stigwood asked the group to write a song using that name as a title, but the Bee Gees thought it was a dumb title, but they had already written a song called "Night Fever". The group convinced Stigwood to use that and change the film to Saturday Night Fever.

The string intro of "Night Fever" was inspired by "Theme from A Summer Place" by Percy Faith, according to keyboardist Blue Weaver when he was performing it one morning at the sessions and Barry Gibb walked in and heard the new idea for this song. As Weaver explains the history behind this song:

...'Night Fever' started off because Barry walked in one morning when I was trying to work out something. I always wanted to do a disco version of Theme from A Summer Place by The Percy Faith Orchestra or something - it was a big hit in the Sixties. I was playing that, and Barry said, 'What was that?' and I said, 'Theme from A Summer Place', and Barry said, 'No, it wasn't'. It was new. Barry heard the idea - I was playing it on a string synthesizer and sang the riff over it.

— Blue Weaver

Barry Gibb, Robin Gibb and Maurice Gibb completed the lyrics for "Night Fever" sitting on a staircase (reminiscent of their first international hit "New York Mining Disaster 1941" which was written also in a staircase back in 1967).

Recording

The Bee Gees began recording this song by April 1977 in France and finishing it in September the same year. A demo of "Night Fever" with some instrumental and vocals heard on it exists and was now available to download on Rhino Records' website.

...For 'Night Fever' the group had the hook-line and rhythm - they usually pat their legs to set up a song's rhythm when they first sing it - and parts of the verses. They had the emotion, same as on the record. We put down drums and acoustic guitar first, so the feel was locked in. The piano part was put on before the bass, then the heavy guitar parts. We had the sound, but we needed something there to shake it so we used the thunder sound.

— Albhy Galuten

Legacy

It replaced Andy Gibb's "Love Is Thicker Than Water" at number one and was in turn replaced by Yvonne Elliman's "If I Can't Have You" - all of which were written and produced by the Gibb brothers. It would be the third of six consecutive US #1s for the band, tying The Beatles for the record for most consecutive #1 singles. Billboard ranked it as the No. 2 song for 1978, behind Andy Gibb's "Shadow Dancing."

"Night Fever" topped the UK Singles Chart for two weeks, their third UK number one, and in the US it remained the number one Billboard Hot 100 single for over two months in 1978. In addition to Saturday Night Fever, the song has also appeared in the movie and on the soundtrack for Mystery Men. The song is listed at number 38 on Billboard's All Time Top 100. It's also featured in other films including Luna, Mr. Saturday Night, I.D., Whatever Happened to Harold Smith?, and Avenue Montaigne.

Music video

A music video was made for the song in 1978, but not shown to the public until 2004. It features the brothers singing the song in a darkened studio, layered over background video filmed while driving along "Motel Row" on Collins Avenue, a three-mile motel strip in what is now Sunny Isles Beach, Florida. Most of these motels are now closed or demolished, including several whose names are reminiscent of Las Vegas resorts (Castaways, Desert Inn, Sahara, Golden Nugget).

Personnel

Barry Gibb — lead, harmony and backing vocals, rhythm guitar

• Robin Gibb — harmony and backing vocals
• Maurice Gibb — bass, harmony and backing vocals
• Alan Kendall — electric guitar
• Blue Weaver — keyboards
• Dennis Bryon — drums
• Joe Lala — percussion

Charts and certifications

Weekly charts

Chart (1978)	Peak position
Australia (Kent Music Report)	7
Austria (Ö3 Austria Top 40)	4
Belgium (Ultratop 50 Flanders)	3
Brazil	1
Canadian RPM Adult Contemporary	1
Canadian RPM Top 30 Playlist	13
Canadian RPM Top Singles	1
China	3
Finland (Suomen virallinen lista)	6
France (SNEP)	20
Germany (Official German Charts)	2
Irish Singles Chart	1
Italy (FIMI)	5
Japan (Oricon)	3
Mexico (Mexican Airplay)	2
Netherlands (Dutch Top 40)	3
Netherlands (Single Top 100)	3
New Zealand (Recorded Music NZ)	2
Norway (VG-lista)	2
South African Chart	2
Spain (PROMUSICAE)	1
Sweden (Sverigetopplistan)	5
Switzerland (Schweizer Hitparade)	3
UK (Official Charts Company)	1
U.S. Billboard Hot 100	1
US Billboard Hot Dance Club Play	3
US Billboard Hot R&B Singles	8
US Cash Box	1

All-time charts

Chart	Position
US Billboard Hot 100	38

Year-end charts

Chart (1978)	Position
US Cash Box	98
US Billboard Hot 100	2

Artist #105 Of The Rock Era - U2

Through a combination of zealous righteousness and post-punk experimentalism, U2 became one of the most popular rock & roll bands in the world -- equally known for their sweeping sound as for their grandiose statements about politics and religion. The Edge provided the group with a signature sound by creating sweeping sonic landscapes with his heavily processed, echoed guitars. Though the Edge's style wasn't conventional, the rhythm section of Larry Mullen, Jr. and Adam Clayton played the songs as driving hard rock, giving the band a forceful, powerful edge that was designed for arenas. And their lead singer, Bono, was a frontman with a knack of grand gestures that played better in stadiums than small clubs. It's no accident that footage of Bono parading with a white flag with "Sunday Bloody Sunday" blaring in the background became the defining moment of U2's early career -- there rarely was a band that believed so deeply in rock's potential for revolution as U2, and there rarely was a band whose members didn't care if they appeared foolish in the process. 

During the course of the early '80s, the group quickly built up a dedicated following through constant touring and a string of acclaimed records. By 1987, U2's following had grown large enough to propel them to the level of international superstardom with the release of The Joshua Tree. Unlike many of their contemporaries, they were able to sustain such popularity in the '90s by reinventing themselves as a postmodern, self-consciously ironic, dance-inflected pop/rock act, owing equally to the experimentalism of late-'70s Bowie and '90s electronic dance and techno. By performing such a successful reinvention, the band confirmed its status as one of the most popular bands in rock history, in addition to earning additional critical respect. 

With its textured guitars, the band's sound was undeniably indebted to post-punk, so it's slightly ironic that U2 formed in 1976, before punk had even reached their hometown of Dublin, Ireland. Larry Mullen Jr. (born October 31, 1961; drums), posted a notice on a high-school bulletin board asking for fellow musicians to form a band. Bono (born Paul Hewson, May 10, 1960; vocals), the Edge (born David Evans, August 8, 1961; guitar, keyboards, vocals), Adam Clayton (born March 13, 1960; bass), and Dick Evans responded to the ad, and the teenagers banded together as a Beatles and Stones cover band called the Feedback. They then changed their name to the Hype in 1977. Shortly afterward, Dick Evans left the band to form the Virgin Prunes, and the group changed names once again, this time adopting the moniker of U2. 

U2's first big break arrived in 1978, during the members' final year of high school, when they won a talent contest sponsored by Guinness. By the end of the year, the Stranglers' manager, Paul McGuinness, had seen U2 play and offered to manage them. Even with a powerful manager in their corner, the band had trouble making much headway, and failed an audition with CBS Records at the end of the year. In the fall of 1979, U2 released their debut EP, U2 Three. The EP was available only in Ireland, where it topped the national charts. Shortly afterward, they began to play in England, but they failed to gain much attention away from home. 

U2 scored one more chart-topping single, "Another Day," in early 1980 before Island Records offered the group a contract. Later that year, the band's full-length debut, Boy, was released. Produced by Steve Lillywhite, the album's sweeping, atmospheric but edgy sound was unlike most recordings by U2's post-punk contemporaries, and the band earned further attention for its public embrace of Christianity; only Clayton was not a practicing Christian. Through constant touring, including opening gigs for Talking Heads, U2 were able to take Boy into the American Top 70 in early 1981. October, also produced by Lillywhite, followed in the fall, and it became their British breakthrough, reaching number 11 on the charts. By early 1983, Boy's "I Will Follow" and October's "Gloria" had become staples on MTV, which, along with their touring, gave U2 a formidable cult following in the U.S. 

Released in the spring of 1983, the Lillywhite-produced War became U2's breakthrough release, entering the U.K. charts at number one and elevating them into arenas in the United States, where the album peaked at number 12. War had a stronger political message than its predecessors, as evidenced by the international hits "Sunday Bloody Sunday" and "New Year's Day." During the supporting tour, the band filmed its concert at Colorado's Red Rocks Amphitheater, releasing the show as an EP and video titled Under a Blood Red Sky. The EP entered in the U.K. charts at number two, becoming the most successful live recording in British history. U2 had become one of the most popular bands in the world, and their righteous political stance soon became replicated by many other bands, providing the impetus for the Band Aid and Live Aid projects in 1984 and 1985, respectively. 

For the follow-up to War, U2 entered the studios with co-producers Brian Eno and Daniel Lanois, who helped give the resulting album an experimental, atmospheric tone. Released in the fall of 1984, The Unforgettable Fire replicated the chart status of War, entering the U.K. charts at number one and reaching number 12 in the U.S. The album also generated the group's first Top 40 hit in America with "(Pride) In the Name of Love," a tribute to Martin Luther King Jr. U2supported the album with a successful international tour, highlighted by a show-stealing performance at Live Aid. Following the tour, the band released the live EP Wide Awake in America in 1985. 

While U2 had become one of the most successful rock bands of the '80s, they didn't truly become superstars until the spring 1987 release of The Joshua Tree. Greeted with enthusiastic reviews, many of which proclaimed the album a masterpiece, The Joshua Tree became U2's first American number one hit and their third straight album to enter the U.K. charts at number one; in England, it set a record by going platinum within 28 hours. Generating the U.S. number one hits "With or Without You" and "I Still Haven't Found What I'm Looking For," The Joshua Tree and the group's supporting tour became the biggest success story of 1987, earning U2 the cover of respected publications like Time magazine. U2 decided to film a documentary about their American tour, recording new material along the way. The project became Rattle & Hum, a film that was supported by a double-album soundtrack that was divided between live tracks and new material. While the album Rattle & Hum was a hit, the record and film received the weakest reviews of U2's career, with many critics taking issue with the group's fascination with American roots music like blues, soul, country, and folk. Following the release of Rattle & Hum, the band took an extended hiatus. 

U2 reconvened in Berlin in 1990 to record a new album with Eno and Lanois. While the sessions for the album were difficult, the resulting record, Achtung Baby, represented a successful reinvention of the band's trademark sound. Where they had been inspired by post-punk in the early career and American music during their mid-career, U2 delved into electronic and dance music with Achtung Baby. Inspired equally by late-'70s Bowie and the Madchester scene in the U.K., Achtung Baby was sonically more eclectic and adventurous than U2's earlier work, and it didn't alienate their core audience. The album debuted at number one throughout the world and spawned Top Ten hits with "Mysterious Ways" and "One." 

Early in 1992, the group launched an elaborate tour to support Achtung Baby. Dubbed Zoo TV, the tour was an innovative blend of multimedia electronics, featuring a stage filled with televisions, suspended cars, and cellular phones. Bono devised an alter ego called the Fly, which was a knowing send-up of rock stardom. Even under the ironic guise of the Fly and Zoo TV, it was evident that U2 were looser and more fun than ever before, even though they had not abandoned their trademark righteous political anger. Following the completion of the American Zoo TV tour in late 1992 and preceding the launch of the tour's European leg, U2entered the studio to complete an EP of new material that soon became the full-length Zooropa. Released in the summer of 1993 to coincide with the tour of the same name, Zooropa demonstrated a heavier techno and dance influence than Achtung Baby and received strong reviews. Nevertheless, the album stalled at sales of two million and failed to generate a big hit single. During the subsequent Zooropa tour, the Fly metamorphosed into the demonic MacPhisto, which dominated the remainder of the tour. Upon the completion of the Zooropa tour in late 1993, the band took another extended break. 

During 1995, U2 re-emerged with "Hold Me, Thrill Me, Kiss Me, Kill Me," a glam rock theme to Batman Forever that was produced by Nellee Hooper (Björk, Soul II Soul). Later that year, they recorded the collaborative album Original Soundtracks, Vol. 1 with Brian Eno, releasing the record under the name the Passengers late in 1995. It was greeted with a muted reception, both critically and commercially. Many hardcore U2 fans (including drummer Larry Mullen Jr.) were unhappy with the Passengers project, and U2 promised their next album, to be released in the fall of 1996, would be a rock & roll record. 

The album took longer to complete than usual, ultimately being pushed back to the spring of 1997. During its delay, a few tracks, including the forthcoming first single "Discotheque," were leaked, and it became clear that the new album was going to be heavily influenced by techno, dance, and electronic music. When it was finally released, Pop did indeed bear a heavier dance influence, but it was greeted with strong initial sales and a few positive reviews. Demand for the album lessened in the following months, however, and Popultimately became the band's least popular album in over a decade. In late 1998, the group returned with Best of 1980-1990, the first in a series of hits collections issued in conjunction with a reported 50 million dollar agreement with Polygram. Included in the comprehensive track list was a remixed version of "Sweetest Thing," originally released as B-side in 1987, which charted well in multiple countries. 

Three years after the mediocre response to Pop, U2 teamed up with Eno and Lanois once again to release All That You Can't Leave Behind in fall 2000. The album was heralded as a return to form, melding the band's classic sound with contemporary trends. It topped charts around the world, reached number three in America, earned Grammy Awards for the singles "Beautiful Day" and "Walk On," and became the band's biggest-selling record in years. (The Elevation tour that followed also brought U2 a hefty paycheck.) Steve Lillywhite, producer of the early-'80s landmarks Boy, October, and War, returned to the helm for U2's next record, How to Dismantle an Atomic Bomb. Released in November 2004, it hit the top of the Billboard charts and quickly gained platinum status. The album also garnered eight Grammy Awards, including Album of the Year, Rock Album of the Year, and Song of the Year (for "Sometimes You Can't Make It on Your Own," which Bonohad written for his father). U2 were inducted into the Rock & Roll Hall of Fame in early 2005 and launched an international tour soon after, selling out arena venues in the U.S. and outdoor stadium shows abroad. The Vertigo Tour became the highest-grossing tour of 2005; by the time the entire tour concluded in late 2006, its gross of $389 million had made it the second most successful tour ever. 

U2 returned to the drawing board in 2006 by partnering with veteran rock producer Rick Rubin. Two songs from those sessions appeared on the compilation U218 Singles, but the remaining material was ultimately scrapped. The band then turned to longtime friends Brian Eno, Daniel Lanois, and Steve Lillywhite, all of whom helped shape the sound of U2's 12th studio effort. Entitled No Line on the Horizon, the album was originally slated to appear in October 2008, although the release date was ultimately pushed back to March 2009. No Line on the Horizon was met with enthusiastic reviews but failed to yield a big radio single; even so, the band embarked on another lucrative tour that summer. A second leg, originally planned for 2010, was postponed when Bono suffered a slipped disc and underwent emergency back surgery. Touring resumed the following year, and the so-called 360 Tour was ultimately named the highest-grossing concert tour in history. Meanwhile, Bono and the Edge also worked on music for the Broadway musical Spider-Man: Turn Off the Dark, which opened in June 2011. 

Not long after completing the 360 Tour, U2 turned their attention to recording their 13th album, a process that turned out to be rather complicated. Initially, the group worked with such dance-oriented producers as will.i.am and David Guetta, but as the sessions progressed, the concept of the record changed, as did the producers, with the band trying out Ryan Tedder and Flood before eventually settling in for the long haul with Danger Mouse. The first fruits of these sessions appeared in late 2013, when "Ordinary Love" was released as part of the soundtrack to the film Mandela: Long Walk to Freedom; the song was nominated for an Oscar and won a Golden Globe. The next song up was "Invisible," which appeared to be the opening salvo for a new album as it soundtracked a commercial for Super Bowl XLVIII and the group played it on the inaugural February 17 2014 episode of The Tonight Show Starring Jimmy Fallon. Commercial response to the single was lukewarm and the band retreated into the studio for several more months, unexpectedly emerging with a completed album called Songs of Innocence on September 9, 2014. Available in its first month-and-a-half as a free download, Songs of Innocence saw a physical release in October. Upon that release, it debuted at nine on the Billboard 200, selling 25,000 copies; in comparison, No Line on the Horizon sold 484,000 copies in its first week of release.