Released at the height of Reagan-era patriotism, “Born In The U.S.A.” by Bruce Springsteen became one of the most misunderstood songs in American pop history. Often mistaken for a fist-pumping anthem of national pride due to its thunderous chorus and stadium-sized production, the song is actually a fierce critique of how America treats its working-class veterans.

Originally released as the title track to Springsteen’s 1984 album, “Born In The U.S.A.” was issued as a 12″ single in 1985, backed with “Shut Out the Light.” The single version boasted an extended intro and booming mix that pushed Max Weinberg’s snare hits front and center, paired with Roy Bittan’s iconic synth riff that practically defined ‘80s heartland rock.

Produced by Chuck Plotkin, Jon Landau, and Springsteen himself, this version of the song was a club-ready update to the album cut—without losing an ounce of its gritty, anthemic fire. It’s Springsteen at his most anthemic, yet still bleeding through with disillusionment, despair, and blue-collar rage.

While “Born In The U.S.A.” is one of Springsteen’s signature tracks, its chart performance is often overshadowed by the massive success of other singles from the same album. “Born In The U.S.A.” reached number 9 on the Billboard Hot 100 chart in January 1985. It was the third of seven top 10 singles from the album “Born In The U.S.A.”, which also tied Michael Jackson’s record for the most top 10 singles from one album.

Despite—or perhaps because of—its lyrical complexity and booming sound, “Born In The U.S.A.” was quickly adopted as a campaign theme by politicians (notably Ronald Reagan, mistakenly), sports teams, and patriotic rallies. But listen closely, and the pain of forgotten veterans and working-class struggle comes roaring through. It’s a song with dual identities: triumphant and tragic.

This 12″ remix captures that paradox perfectly—its towering production commands attention, but under the layers of synth and reverb, Springsteen’s voice still carries the weight of a soldier’s haunted memories.

SIDE A:

Born In The U.S.A. (The Freedom Mix) 7:20

SIDE B:

Born In The U.S.A. (Radio) 6:11

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In the summer of 1988, Robert Palmer stormed back onto the charts with “Simply Irresistible,” a bold, brash, and unapologetically confident anthem that became one of the defining hits of his career. Taken from his platinum-selling ninth studio album, Heavy Nova, the track showcased Palmer’s sleek fusion of hard rock swagger and dancefloor sheen — a formula he’d perfected since his Riptide days and the smash success of “Addicted to Love.”

Produced by Palmer himself, “Simply Irresistible” features an explosive horn section, stomping drums, and his signature vocal coolness, delivered with razor-sharp precision. The song’s infectious chorus, underscored by a wall of sound production, became an instant earworm that dominated radio and MTV alike.

The 12″ mix expands on the already high-octane energy of the single, giving DJs and fans a longer dose of that irresistible groove. Clocking in at just over six minutes, this extended version retains all the bombast of the original while giving the arrangement more breathing room — emphasizing the pulsing basslines, pounding percussion, and layers of synth and guitar that made the track a dance-rock juggernaut.

Visually, “Simply Irresistible” was immortalized by a striking music video directed by British fashion photographer Terence Donovan, featuring a cadre of identically styled women in black dresses and red lipstick, moving in mechanical precision. It was a continuation of the stylized aesthetic from “Addicted to Love” and helped cement Palmer’s image as the epitome of 80s cool.

Commercially, the single was a major success:

#2 on the US Billboard Hot 100

#1 on the Billboard Mainstream Rock chart

Top 20 in Canada, Australia, and several European countries

Though some critics at the time were divided, accusing Palmer of recycling the formula that brought him success in 1986, fans embraced it wholeheartedly, and decades later, it’s still celebrated as a quintessential late-80s power pop anthem.

If Addicted to Love made Robert Palmer a superstar, “Simply Irresistible” proved it was no fluke — he truly had an irresistible formula.

SIDE A:

Simply Irresistible (Extended Version) 6:33

SIDE B:

Simply Irresistible (Instrumental) 4:46

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In late 1984, Duran Duran unleashed “The Wild Boys,” a pounding, futuristic anthem that marked a darker turn for the band and became one of their most iconic singles of the era. The track was conceived as part of a proposed film project based on the William S. Burroughs novel The Wild Boys: A Book of the Dead, with the idea pushed by director Russell Mulcahy (who had helmed many of the band’s most lavish videos). While the film never came to fruition, the song and its accompanying video pushed boundaries—and budgets—at the time.

Produced by the legendary Nile Rodgers, “Wild Boys” was the only studio track on the band’s live album Arena and perfectly fused the band’s pop sensibility with Rodgers’ cutting-edge production and dancefloor sensibilities. The result was a sonic assault of heavy synths, aggressive guitar stabs, tribal drums, and Simon Le Bon’s defiant vocal delivery.

The Extended Mix takes the drama up several notches, building the tension with a long, cinematic intro that recalls the dystopian atmosphere of the video. The breakdowns and effects-laden passages give the song more room to breathe and further highlight Rodgers’ intricate production.

Chart-wise, “Wild Boys” was a smash. It reached #2 in both the US and UK, blocked from the top in the US by Hall & Oates’ “Out of Touch.” It also gave Duran Duran their first #1 in Germany and South Africa, proving the band’s international staying power as they transitioned from New Romantic heartthrobs into global pop powerhouses.

Fun fact: Simon Le Bon nearly drowned during the filming of the video, which featured the band tied to a windmill and submerged in a water tank. It’s a miracle the band made it out intact—both literally and figuratively.

“Wild Boys” remains a touchstone of mid-80s maximalism: all attitude, danger, and style. It’s the sound of a band pushing their limits—and taking us along for the ride.

SIDE A:

The Wild Boys (Wilder Than Wild Boys) (Extended Mix) 8:00

SIDE B:

The Wild Boys (45) 4:18

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Today marks the 40th anniversary of the recording of Band-Aid’s iconic charity single, “Do They Know It’s Christmas?”.

Written in 1984 by Bob Geldof and Midge Ure, the song was created to raise funds for the 1983–1985 Ethiopian famine relief efforts. Recorded in just one day at Sarm West Studios in Notting Hill, London, on November 25, 1984, the session brought together a supergroup of prominent British and Irish musicians assembled by Geldof and Ure.

Released in the UK on December 7, 1984, “Do They Know It’s Christmas?” made an immediate impact, debuting at number one on the UK singles chart and holding the top spot for five weeks. It became the fastest-selling single in UK history at the time, moving one million copies in its first week. By the end of 1984, it had sold over three million copies in the UK and topped the charts in 13 other countries. In the United States, despite limited radio play, the song sold approximately 2.5 million copies by 1985. Globally, it reached 11.7 million in sales by 1989, and its UK sales alone stood at 3.8 million by 2017.

The single raised £8 million within its first year, far surpassing Geldof’s initial expectations. Due to its success, “Do They Know It’s Christmas?”was reissued on November 29, 1985, featuring an updated B-side titled *”One Year On (Feed the World).” This version included a spoken message from Geldof and Midge Ure and highlighted the tangible impact of the funds raised, listing the resources and aid provided. Notably, this updated version was only ever released on vinyl.

“Do They Know It’s Christmas?” remains a testament to the power of music to inspire change and unite people for a common cause.

SIDE A:

Do They Know It’s Christmas? (12″ Mix) 6:17

SIDE B:

One Year On (Feed The World)+ 4:34

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“Are You Ready for Freddy” is a single by the Fat Boys, released in 1988 to coincide with the release of “A Nightmare on Elm Street 4: The Dream Master.” This unique collaboration merges hip-hop with horror, as the song features Robert Englund himself, in character as Freddy Krueger, delivering his iconic lines. The track features the Fat Boys’ trademark humor and beatboxing style, making it both catchy and eerie.

In the song, Freddy raps alongside the Fat Boys, warning listeners to be “Ready for Freddy” as he claims his next victims. It’s a playful take on the horror genre, mixing Freddy’s menacing persona with the Fat Boys’ fun and energetic delivery.

In the video, Prince Markie Dee’s “Uncle Frederick” has died, and his lawyer (Bert Remsen) meets the group outside the Nightmare on Elm Street house. The lawyer informs Markie that he must spend the night inside Uncle Frederick’s home to earn his inheritance, so the group enters. Not long after, Freddy Krueger appears and begins to chase the band throughout the house, slashing with his claw while stopping to rap.

This track remains a memorable example of how hip-hop crossed over with other genres and pop culture phenomena in the 80s, creating unexpected and memorable pairings.

The song was also included in the Fat Boy’s LP “Coming Back Hard Again”.

SIDE A:

Are You Ready For Freddy (12″ Version) 7:00

SIDE B:

Are You Ready For Freddy (7″ Version) 3:34

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“A Nightmare on My Street” is the third single from DJ Jazzy Jeff & The Fresh Prince’s second studio album, He’s the DJ, I’m the Rapper. The song became a crossover hit in the US, reaching #15 on the Hot 100. The song was released as a single in early 1988. The single was released on vinyl and audio cassette tape. The song humorously describes an encounter with the horror film villain Freddy Krueger and was considered for inclusion in the movie A Nightmare on Elm Street 4: The Dream Master, but the producers of the film decided against its inclusion.

New Line Cinema, copyright holders of the A Nightmare on Elm Street film franchise, sued DJ Jazzy Jeff & The Fresh Prince’s record label for copyright infringement, forcing the label to destroy a music video produced for the song (though a copy of the video did survive and is available online. Both sides eventually settled out of court, but as a result, vinyl pressings of the album He’s the DJ, I’m the Rapper contain a disclaimer sticker that says, “[This song] is not part of the soundtrack…and is not authorized, licensed, or affiliated with the Nightmare on Elm Street films.” The song samples Charles Bernstein’s musical motif from A Nightmare on Elm Street.

The original track as included on the original LP and cassette pressings of the album He’s the DJ, I’m the Rapper ran 6:09. However, the entire album could not fit onto compact discs of the time, so for the CD release, many tracks were shortened; the single version “A Nightmare on My Street” was used in place of the original. This version is not simply an edit of the original album cut, as it included different lyrics in certain sections. The version included on DJ Jazzy Jeff & the Fresh Prince’s Greatest Hits album is not the original single version. Although it is labeled “Single Edit” and runs the same length, it is simply an edited version of the original recording and does not include the different lyrics recorded for the single.

SIDE A:

A Nightmare On My Street (Extended Mix) 6:13

A Nightmare On My Street (Single Edit) 4:53

SIDE B:

A Nightmare On My Street (Instrumental) 6:13

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“Theme from S-Express” is a defining track in the acid house genre, showcasing the innovative sampling techniques of the late 1980s. Released by S’Express, the song features a catchy blend of samples, particularly drawing from Rose Royce’s “Is It Love You’re After” and TZ’s “I Got the Hots for You.” The use of the hi-hat from an aerosol spray adds a unique touch.

The title references the 42nd Street Shuttle in New York City, linking the song to urban culture. While it achieved significant success in the UK, hitting number one for two weeks, its performance in the US was more modest, peaking at number 91 on the Billboard Hot 100 but reaching the top of the Hot Dance Club Play chart. The track also made an international impact, ranking well in Australia and West Germany. Its influence remains evident in the dance music scene today.

In the U.S.A. versions, an unnamed vocalist provided replacements for some of the vocal samples (“Uno, dos, uno dos tres quatro!”, “No, that’s good!”, and scream for daddy near the end that turned into “scream for mommy”.)

PLATFORM 1:

Theme From S-Express (12″ U.S.A. Mix)* 5:57

PLATFORM 2:

Theme From S-Express (7″ U.S.A. Mix) 3:56

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“Casanova” is a 1987 single by American R&B group LeVert, written and produced by Reggie Calloway. It reached number five on the Billboard Hot 100 and number nine on the UK Singles Chart, marking LeVert’s only Top Ten hit. The song was the first new jack swing track to top the Billboard Hot Black Singles chart, holding the number one spot for two weeks. It became popular with New Orleans brass bands, especially after being adopted by the Rebirth Brass Band. “Casanova” also appeared in the films “The Pick-Up Artist” and “Fatal Beauty”, both released in 1987.

The song’s lyrics deal with a man confessing that he’s been a bit of a “Casanova” in the past but now wants to change his ways for the right woman.

“Casanova” helped establish LeVert as a key player in the R&B scene of the late 1980s. The group, led by brothers Gerald and Sean Levert, was known for its smooth vocals and energetic performances. Gerald Levert later had a successful solo career before his untimely death in 2006.

This song is often remembered for its infectious hook and danceable beat, contributing to its longevity in the world of classic R&B.

SIDE A:

Casanova (Extended Mix Version) 8:00

SIDE B:

Casanova (Dance Mix) 5:00

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