Tunes Du Jour Presents 1983

The year 1983 was a vibrant musical landscape, a moment when pop culture was exploding with creativity and technological advancement. It was a year when Michael Jackson’s “Billie Jean” dominated the airwaves, its infectious rhythm and groundbreaking music video revolutionizing how we experienced music. The single was more than just a song; it was a cultural phenomenon that captured the zeitgeist of an era when music was becoming increasingly visual and dynamic.

This was also the year when Prince’s “1999” prophetically danced with apocalyptic themes, and The Police’s “Every Breath You Take” became an anthem of complex emotional surveillance. The diversity of musical styles was remarkable, with artists like Dexys Midnight Runners bringing an unconventional folk-pop energy with “Come on Eileen,” while New Order’s “Blue Monday” pushed the boundaries of electronic music, creating a sound that would influence dance music for decades to come. David Bowie’s “Let’s Dance” marked a vibrant shift in his musical journey, infusing his signature artistic sensibility with an irresistible pop-funk groove.

The single was king in 1983, with an unprecedented number of memorable tracks that seemed to burst from radios and dance floors everywhere. Eurythmics’ “Sweet Dreams (Are Made Of This)” introduced Annie Lennox’s haunting vocals to the world, while Marvin Gaye’s “Sexual Healing” offered a smooth, sensual counterpoint to the era’s more uptempo sounds. Lionel Richie’s “All Night Long” exemplified the period’s sunny, celebratory pop, and Culture Club’s “Do You Really Want to Hurt Me” challenged musical and social conventions with its charismatic lead singer, Boy George.

The year wasn’t just about pop, however. Rock and new wave were thriving, with bands like The Smiths (“This Charming Man”), The Clash (“Rock the Casbah”), and Duran Duran (“Hungry Like The Wolf”) pushing musical boundaries. Hip-hop and early rap were also emerging, with tracks like Melle Mel’s “White Lines” and Herbie Hancock’s groundbreaking “Rockit” signaling a musical revolution that would transform popular culture in the coming decades.

What made 1983 truly special was how it represented a moment of musical transition—a year when synthesizers and drum machines were becoming more prevalent, when music videos were transforming how artists communicated, and when genres were blending in unprecedented ways. From the new romantic sounds of Heaven 17’s “Temptation” to the quirky charm of Men Without Hats’ “The Safety Dance,” the music of 1983 was a testament to creativity, innovation, and the pure joy of sound. It was a year that didn’t just produce hit songs, but created a sonic landscape that would influence musicians for generations to come.

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Produced by Mike Chapman

You may not know the name Mike Chapman. Then again, maybe you do. Chances are I don’t know you, so I have no idea what familiarity you may have with the name Mike Chapman. Even if I do know you, I don’t know everything that you know. I mean, I don’t know how much familiarity you have on certain subjects. Of course, you know things I don’t. Where am I going with this? I forgot. I’ll start over.

Mike Chapman. Even if you don’t recognize the name, chances are you recognize his hit songs. He produced Blondie’s Parallel Lines album. He produced Get the Knack. He produced lots more, some of his earlier efforts with his former business partner Nicky Chinn. The Chapman-Chinn team is also credited with writing many hit songs, as is Chapman without Chinn. Have you ever heard Toni Basil’s “Mickey?” Of course you have. It was written by Chapman and Chinn. Do you know Tina Turner’s “Better Be Good to Me?” That was written by Chapman and Chinn with Holly Knight.

Today’s playlist consists of nineteen songs on which Mike Chapman has a production credit, with Sweet’s “Ballroom Blitz” as a bonus track. Chapman didn’t produce that, though he and Chinn wrote it, as they did Sweet’s hit “Little Willy.” I love both of those records! Chapman and Chinn also wrote but didn’t produce the Huey Lewis and the News hit “Heart and Soul.” It’s no “Ballroom Blitz.” If you want to listen to it, you’re on your own.

Today may be Mike Chapman’s birthday. Then again, maybe it isn’t. It depends on what website you look to to get your information. Either way, the man is responsible for so many great hits, and that’s reason enough to post a playlist of some of his finest work (plus Rod Stewart’s “Love Touch,” which Rod agrees isn’t his finest, but whatevs). Included are the original versions (produced by Chapman) of the previously-mentioned hits for Toni Basil and Tina Turner.

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Giorgio By Moroder

“What the hell is this, Giorgio?”

That is what Donna Summer asked Giorgio Moroder, the producer who brought her to international fame with the track “Love to Love You Baby,” upon hearing a song Moroder intended for her 1977 album I Remember Yesterday. The album’s concept was to combine modern sounds with sounds reminiscent of past musical eras. The title track opens the album with a 1920s feel, which is followed by a fifties throwback and a sixties throwback. The song that perplexed Donna was intended to signify the future.

The synthesizer-based futuristic track was the b-side of the album’s first single, a ballad entitled “Can’t We Just Sit Down (And Talk It Over).” Releasing a ballad as the first single for the Disco Queen’s new album was a strange move. The song failed to make the pop charts, though it did the top twenty of the r&b chart, Summer’s first single to do so since “Love to Love You Baby.”

In some foreign markets, the synth track was the single’s A-side. It made noise, ultimately topping the charts in the U.K., the Netherlands, France, Australia, Italy, Belgium, and Austria. It reached #3 in Germany, where David Bowie was recording with produce Brian Eno. Bowie remembered Eno running into the studio with a copy of the song. Eno played it for Bowie, who recalled him saying “’This is it, look no further. This single is going to change the sound of club music for the next fifteen years.’ Which was more or less right.”

In the U.S. this B-side became the A-side, and reached #6 on the pop chart. Rolling Stone magazine included the track, entitled “I Feel Love,” on its list of the 500 Greatest Songs of All-Time.

Today, Giorgio Moroder, who has four Grammy Awards and three Academy Awards to his credit, turns 75 years old. He has a new album, Déjà Vu, featuring guest vocalists such as Britney Spears (on a cover of Suzanne Vega’s “Tom’s Diner”), Kylie Minogue, Sia, Kelis, and Charli XCX, due to be released this June. Here are twenty career highlights.


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