Weekend Diversion: 1986, Part 16

On July 26, 1986 “Sledgehammer” (video up top) by English rock musician Peter Gabriel became the month’s final one-week Number One on the Billboard “Hot 100”. Released on April 16, 1986 it was the lead single from Gabriel’s fifth studio album, So. I first heard of Gabriel when he was a founding member of Genesis, where he would remain until 1975 when he began his solo career. I think it’s kind of, sort of, ironic that the subject of last week’s “Weekend Diversion” post was a Genesis song.

I was aware of Gabriel’s solo work, and it was impossible to miss “Sledgehammer”—especially its music video (above). That video! It was ground-breaking at the time, and went on to become the all-rime most-played music video on MTV. In fact, the story of the video is so expansive that I can’t do it justice with a brief discussion here, so instead I’d recommend Wikipedia’s section discussion of it in its article about “Sledgehammer” (the entire article is linked above). I was fascinated by the video. It reminded me of a lot of stop-motion animation I’d seen over the years—and yet is was nothing like any of those. As I remember it, it was the video that made me like the song though, as was so often the case, I never bought the song or the album—or any others by Gabriel, for that matter. I liked the video and song, though.

“Sledgehammer” reached Number 3 in Australia, Number One in Canada, 3 in New Zealand (Platinum), 4 in the UK (Gold), and Number One on the USA’s “Billboard Hot 100”, “US Album Rock Tracks”, and on their “US Dance/Disco Club Play” charts, as well as reaching Number One on the Cash Box “Top 100” chart. I didn’t receive a certification in the USA.

The album So reached Number 5 in Australia (3x Platinum), Number One in Canada, New Zealand (5x Platinum), and the UK (3x Platinum), and Number 2 on the USA’s ”Billboard 200”. The album was certified 5x Platinum in the USA.

This series will return in next week, on August 2, and it’s not a last one-week Number One song!. As I said last week, August will be less work for me.

Previously in the “Weekend Diversion – 1986” series:

Weekend Diversion: 1986, Part 1 – January 18, 2026
Weekend Diversion: 1986, Part 2 – February 15, 2026
Weekend Diversion: 1986, Part 3 – March 1, 2026
Weekend Diversion: 1986, Part 4 – March 15, 2026
Weekend Diversion: 1986, Part 5 – March 22, 2026
Weekend Diversion: 1986, Part 6 – March 29, 2026
Weekend Diversion: 1986, Part 7 – April 19, 2026
Weekend Diversion: 1986, Part 8 – May 3, 2026
Weekend Diversion: 1986, Part 9 – May 10, 2026
Weekend Diversion: 1986, Part 10 – May 17, 2026
Weekend Diversion: 1986, Part 11 – June 7, 2026
Weekend Diversion: 1986, Part 12 – June 14, 2026
Weekend Diversion: 1986, Part 13 – July 5, 2026
Weekend Diversion: 1986, Part 14 – July 12, 2026
Weekend Diversion: 1986, Part 15 – July 19, 2026

Weekend Diversion: 1986, Part 15

This week forty years ago, a former guest in these “Weekend Diversion” posts was back for another of 1986’s one-week Number One hits on the Billboard “Hot 100”. On July 19, 1986 “Invisible Touch” (video up top) by English rock band Genesis reached Number One. While this was the first Genesis song in my “Weekend Diversion” posts, lead singer Phil Collins has been included several times.

“Invisible Touch” was released on May 19, 1986, and was the first single from the band’s 1986 studio album of the same name, their thirteenth studio album. By the time this single-album was released, I thought that Phil Collins and Genesis were the same thing, probably because they mainly were. While I was familiar with Genisis before Collins became the lead, his era was when I first paid serious attention, and I even bought a couple of the band’s albums—but I never bought any of Phil Collins’ albums. That probably says something, but at the time it absolutely wasn’t a deliberate choice, except, maybe, that none of Collins’ albums enticed me to part with some of the few dollars I had at the time to buy one of them. That doesn’t mean I didn’t like his music, nor does the fact I bought Genesis albums mean I liked them better. Instead, it was the result of very specific times, and what I could afford at that time, and nothing more. Just so we’re clear.

Having said all that, 40 years ago, I liked this song well enough, and the fact that I didn’t see any real difference between Phil Collins and Genesis by that time didn’t make me like or dislike the song. The music video for the song wasn’t unique, or maybe even all that interesting, but seeing it again after all these years, I was struck by the opening in which Phil plays around with an 8mm film camera. These days, he’d be holding a smartphone, or maybe a vlogging camera, neither of which existed in 1986, and wouldn’t for more than two decades. Trendsetting?

“Invisible Touch” reached Number 3 in Australia, 6 in Canada, 8 in New Zealand (Platinum), 15 in the UK (Platinum), and Number One on the USA’s “Billboard Hot 100”, 3 of their “US Adult Contemporary” chart, and Number One on their “US Mainstream Rock” chart. I didn’t receive a certiciation in the USA.

The album Invisible Touch reached Number 3 in Australia (3x Platinum), Number One in Canada, New Zealand (4x Platinum), and the UK (4x Platinum), and Number 3 on the USA’s ”Billboard 200”. The album was certified 6x Platinum in the USA.

This series will return in next week, on July 26, with the last one-week Number One song from July 1986. And, August? It’ll be less work for me.

Previously in the “Weekend Diversion – 1986” series:

Weekend Diversion: 1986, Part 1 – January 18, 2026
Weekend Diversion: 1986, Part 2 – February 15, 2026
Weekend Diversion: 1986, Part 3 – March 1, 2026
Weekend Diversion: 1986, Part 4 – March 15, 2026
Weekend Diversion: 1986, Part 5 – March 22, 2026
Weekend Diversion: 1986, Part 6 – March 29, 2026
Weekend Diversion: 1986, Part 7 – April 19, 2026
Weekend Diversion: 1986, Part 8 – May 3, 2026
Weekend Diversion: 1986, Part 9 – May 10, 2026
Weekend Diversion: 1986, Part 10 – May 17, 2026
Weekend Diversion: 1986, Part 11 – June 7, 2026
Weekend Diversion: 1986, Part 12 – June 14, 2026
Weekend Diversion: 1986, Part 13 – July 5, 2026
Weekend Diversion: 1986, Part 14 – July 12, 2026

Weekend Diversion: 1986, Part 14­

This week forty years ago saw the second July 1986 one-week Number One on the Billboard “Hot 100”. On July 12, 1986 “Holding Back the Years” (video up top) by English pop and soul band Simply Red reached Number One. Released on November 4, 1985, the song was the third of five singles from the band’s debut studio album, Picture Book, which was released on October 11, 1985. The song was written by Simply Red’s lead singer, Mick Hucknall, and Neil Reid.

I remember that when “Holding Back the Years” came out I thought it was one of the most interesting songs I’d heard in ages. I can’t remember for sure, but I think I may have had the album Picture Book, but since my albums didn’t make it to New Zealand when I moved here 30+ years ago, I can’t remember for sure (as I recall, I had a couple hundred vinyl albums when I left Chicago).

However, if I liked Simply Red, it was nothing compared to Nigel, who really liked them. While I don’t remember what he had before we met, I know that we ended up with five of their CDs (including Picture Book, which we got very inexpensively at discount store The Warehouse, where Nigel and I bought a lot of inexpensive CDs and some DVDs). We also bought the band’s 1998 DVD, Simply Red Live In London. I still have all of those, and Simply Red is still among the most-represented acts in our collection. There were times during which Nigel would play little else (something he did with plenty of other artists, too, like Nina Simone, for example). All of which means that, for me, “Holding Back the Years” was one of many Simply Red songs in the soundtrack of my life with Nigel.

“Holding Back the Years” reached Number 16 in Australia, 6 in Canada, 40 in New Zealand (Platinum), 2 in the UK (Gold), and Number One on the USA’s “Billboard Hot 100”, 4 of their “US Adult Contemporary” chart, and 29 on their “US Hot Black Singles” chart. It also reached Number 4 on the Cash Box “Top 100” chart.

The album Picture Book reached Number 6 in Australia (2x Platinum), 7 in Canada, 9 in New Zealand (Platinum), 2 in the UK (5x Platinum), and Number 16 on the USA’s ”Billboard 200”. The album was certified Platinum in the USA.

This series will return in next week, on July 19, with the next Number One song from July 1986.

Previously in the “Weekend Diversion – 1986” series:

Weekend Diversion: 1986, Part 1 – January 18, 2026
Weekend Diversion: 1986, Part 2 – February 15, 2026
Weekend Diversion: 1986, Part 3 – March 1, 2026
Weekend Diversion: 1986, Part 4 – March 15, 2026
Weekend Diversion: 1986, Part 5 – March 22, 2026
Weekend Diversion: 1986, Part 6 – March 29, 2026
Weekend Diversion: 1986, Part 7 – April 19, 2026
Weekend Diversion: 1986, Part 8 – May 3, 2026
Weekend Diversion: 1986, Part 9 – May 10, 2026
Weekend Diversion: 1986, Part 10 – May 17, 2026
Weekend Diversion: 1986, Part 11 – June 7, 2026
Weekend Diversion: 1986, Part 12 – June 14, 2026
Weekend Diversion: 1986, Part 13 – July 5, 2026

Weekend Diversion: 1986, Part 13

A new month and a new song reached Number One on the Billboard “Hot 100” forty years ago today. Today’s song was the first of four one-week Number One songs in July 1985—a new Number One every week that month. On July 5, 1986 “There'll Be Sad Songs (To Make You Cry)” (video up top) by Trinidadian-British singer and songwriter Billy Ocean (the stage name of Leslie Sebastian Charles) reached Number One. Released on January 22, 1986, the song was the second of four singles from Ocean’s sixth studio album, Love Zone, which was released on May 6, 1986. It was written and produced by Wayne Brathwaite and Barry Eastmond, with Ocean also reciveing a co-writing credit. The song was also reportedly the 600 th song to reach Number One on the Billboard chart.

I liked “There'll Be Sad Songs (To Make You Cry)”, but in researching this post I realised that I had a variety of reactions to his songs. The first of his songs that I was aware of was 1976’s "Love Really Hurts Without You”, a song that I liked because it had a classic-era Motown vibe to it. I don’t recall being aware of another of his songs until 1984’s "Caribbean Queen (No More Love on the Run)", a song I didn’t particularly like, though I also didn’t hate it. The following year, "Suddenly" was a hit, and I liked it. However, in 1986, the first single from Ocean’s album Love Zone was "When the Going Gets Tough, the Tough Get Going", and I absolutely loathed that song, and I still don’t like it, even if my negative reaction has mellowed with time.

The thing is, my dislike of both "Caribbean Queen” and "When the Going Gets Tough” was at the front of my mind when I saw what this week’s Number One was. Even so, that was a memory of disliking two earlier songs, and I was aware that I liked this week’s song. I looked at his singles discography and saw that up to and including this week’s Number One, there were songs that I both liked and didn’t like, and that’s something that has happened often over the years: The fact I dislike one song by an artist doesn’t (usually) prevent me from liking a different song by that artist, or vice versa. I presume that’s true for most people, but this is the first time I ever noticed that pattern in my own pop music journey. Learning or understanding new things is one of my favourite things about these “Weekend Diversion” posts.

“There'll Be Sad Songs (To Make You Cry)” reached Number 10 in Australia, Number One in Canada, 8 in New Zealand, 12 in the UK (Silver), and Number One on the USA’s “Billboard Hot 100”, “US Adult Contemporary”, and “US Hot R&B/Hip-Hop Songs” charts. It also reached Number One on the Cash Box “Top 100” chart and Number 3 on their “US Black Contemporary Singles” chart. No information on certification for the single was included in the Wikipedia article liked above.

The album Love Zone reached Number 8 in Australia, 3 in Canada, 8 in New Zealand, and 2 in the UK (Gold), as well as reaching Number 6 on the USA’s ”Billboard 200” and Number One on their “US Top R&B/Hip-Hop Albums” charts. Love Zone was certified 2x Platinum in the USA.

This series will return in next week, on July 12, with a new Number One song from July 1986. It’s a similar story for each of the following two weeks, but not for August.

Previously in the “Weekend Diversion – 1986” series:

Weekend Diversion: 1986, Part 1 – January 18, 2026
Weekend Diversion: 1986, Part 2 – February 15, 2026
Weekend Diversion: 1986, Part 3 – March 1, 2026
Weekend Diversion: 1986, Part 4 – March 15, 2026
Weekend Diversion: 1986, Part 5 – March 22, 2026
Weekend Diversion: 1986, Part 6 – March 29, 2026
Weekend Diversion: 1986, Part 7 – April 19, 2026
Weekend Diversion: 1986, Part 8 – May 3, 2026
Weekend Diversion: 1986, Part 9 – May 10, 2026
Weekend Diversion: 1986, Part 10 – May 17, 2026
Weekend Diversion: 1986, Part 11 – June 7, 2026
Weekend Diversion: 1986, Part 12 – June 14, 2026

Weekend Diversion: 1986, Part 12

A new song reached Number One on the Billboard “Hot 100” forty years ago today, and it was there for a total of three weeks. On June 14, 1986 “On My Own” (video up top) a duet by American singers Patti LaBelle and Michael McDonald reached Number One. The song was the lead single from LaBelle’s eighth studio album, Winner in You, which was released on April 28, 1986. It was written and produced by Burt Bacharach and his then-wife Carole Bayer Sager. It was originally recorded by Dionne Warwick for her 1985 album, Friends.

In the mid-1980s, there were a bunch of slower songs that were hits, but often not with me, and this song was one of them. However, I didn’t actively dislike the song, either—it was a sort of somewhat negative neutrality. In those days, the song’s pace was far too slow for me, and that was the main thing. However, a bigger issue for me was that I was never a fan of Michael McDonald and I didn’t like his sound. While I liked LaBelle’s sound, I never bought any of her records, so I guess it was a kind of a passive appreciation of her work. Actually, that’s something that’s always been true for me back as far as I can remember. So, consistency, I guess.

“On My Own” reached Number 12 in Australia, 2 in Canada, 4 in New Zealand, 2 in the UK (Silver), and Number One on the USA’s “Billboard Hot 100”, “US Dance Singles Sales”, and “US Hot R&B/Hip-Hop Songs{ charts. It was also Number One on the Cash Box “Top 100” and “US Black Contemporary Singles” charts. The song was certified Gold in the USA.

The album Winner in You reached Number 72 in Australia, 10 in New Zealand, and 30 in the UK, as well as reaching Number One on the USA’s ”Billboard 200” and “US Top R&B/Hip-Hop Albums” charts. It also reached Number 2 on the Cash Box “Top 100 Albums” chart, and was certified Platinum in the USA. The album didn’t chart in Canada, but it did achieve Platinum status.

This series will return in three weeks, on July 5, with the next new Number One from 1986. That song will begin a run of four one-week hits in a row.

Previously in the “Weekend Diversion – 1986” series:

Weekend Diversion: 1986, Part 1 – January 18, 2026
Weekend Diversion: 1986, Part 2 – February 15, 2026
Weekend Diversion: 1986, Part 3 – March 1, 2026
Weekend Diversion: 1986, Part 4 – March 15, 2026
Weekend Diversion: 1986, Part 5 – March 22, 2026
Weekend Diversion: 1986, Part 6 – March 29, 2026
Weekend Diversion: 1986, Part 7 – April 19, 2026
Weekend Diversion: 1986, Part 8 – May 3, 2026
Weekend Diversion: 1986, Part 9 – May 10, 2026
Weekend Diversion: 1986, Part 10 – May 17, 2026
Weekend Diversion: 1986, Part 11 – June 7, 2026

Weekend Diversion: 1986, Part 11

A new month and a new song reached Number One on the Billboard “Hot 100”: On June 7, 1986 “Live to Tell” (video up top) by American singer Madonna went to Number One. The song was the first single from her third studio album, True Blue, which was released on June 30, 1986. The song was a re-working of what had been an instrumental to make something suitable for the film At Close Range, which starred her then-husband Sean Penn.

I liked Madonna in this era of her career, and I liked this particular song well-enough, even though it was a bit slower than I typically liked at the time, but I didn’t necessarily like it as much as some of her other songs in that era. However, I was never a super-fan: I never saw her in concert, and I never bought one of her albums, as far as I can remember, though I think I bought a single or two. However, when I arrived in New Zealand in 1995, I found that Nigel had her 1990 compilation album, The Immaculate Collection, which isn’t really relevant to this blog post except that this week’s song is on it. Of course.

As the years when on, I continued to like some of Madonna’s songs, and others not as much. Once again, something that’s not unusual for me. However, forty years ago it was stereotypical for young gay men to be presumed to be big fans of Madonna, and, like most stereotypes, it was exaggerated. Nevertheless, I was 27 when this song and its album were released, and that made me a bit too old to be included in the stereotype, but also, as it turned out, a bit too old to understand why the stereotype existed. Maybe it was my first “kids these days” moment?

“Live to Tell” reached Number 7 in Australia, Number One and Canada, Number 6 in New Zealand, 2 in the UK (Silver), and Number One on the USA’s “Billboard Hot 100” and on their “Adult Contemporary” charts. It was also Number One on the Cash Box “Top 100”. The song wasn’t certified in the USA.

The album True Blue reached Number One in Australia (4x Platinum), Canada (Diamond), New Zealand (5x Platinum), and the UK (7x Platinum), as well as reaching Number One on the USA’s ”Billboard 200” chart and on the Cash Box “Top 100 Albums” chart. It was certified 7x Platinum in the USA.

Since I mentioned it, the 1990 album The Immaculate Collection reached Number One in Australia (14x Platinum) and Canada (7x Platinum), 3 in New Zealand (7x Platinum), Number One in the UK (13x Platinum), and also reached Number 2 on the USA’s ”Billboard 200” chart. It was certified 11x Platinum in the USA.

This series will return in next week, on June 14, with the next new Number One from 1986. Unlike this week, that one wasn’t a one-week hit.

Previously in the “Weekend Diversion – 1986” series:

Weekend Diversion: 1986, Part 1 – January 18, 2026
Weekend Diversion: 1986, Part 2 – February 15, 2026
Weekend Diversion: 1986, Part 3 – March 1, 2026
Weekend Diversion: 1986, Part 4 – March 15, 2026
Weekend Diversion: 1986, Part 5 – March 22, 2026
Weekend Diversion: 1986, Part 6 – March 29, 2026
Weekend Diversion: 1986, Part 7 – April 19, 2026
Weekend Diversion: 1986, Part 8 – May 3, 2026
Weekend Diversion: 1986, Part 9 – May 10, 2026
Weekend Diversion: 1986, Part 10 – May 17, 2026

Weekend Diversion: 1986, Part 10

On May 17, 1986, a new song began a three week run at Number One on the Billboard “Hot 100”: “Greatest Love of All” (video up top) by American singer Whitney Houston went to Number One this week forty years ago. The song, originally titled “The Greatest Love of All”, was first released as a single in 1977 by George Benson, and I think I may have heard his version somewhere around that time. However, I certainly know I heard Houston’s version—it was almost impossible to miss it at the time.

Houston’s version by released March 18, 1986, and was the seventh and last single from her eponymous debut album, Whitney Houston, which was released in February 1986. As was more common than not for me in 1986, I didn’t buy the single or the album.

Something else that’s not unusual for me is that I wasn’t particularly fond of this song—Houston’s performance was great (I’d already liked some of her earlier songs from that debut album), but I thought the song lyrics were too self-centred—even self-obsessed. Even all that time ago, I wasn’t a fan of the “you must love yourself” ethos—I didn’t even really understand what, precisely, gurus meant by that. So, I certainly didn’t consider love of self to be "the greatest love of all". But, hey, it was the 1980s, wasn’t it? Anyway, my dislike was the song, not the performance. That’s happened from time to time, but it is kinda rare for me.

Probably like a lot of people (maybe most people?), I thought Houston’s life was tragic, with so many “if only…” thoughts about her life. And yet, things were what they were, and she did produce some awesome music over the course of her career.

“Greatest Love of All” reached Number One in Australia, Number One and Canada (Platinum), Number 12 in New Zealand (Gold), 8 in the UK (Gold), and Number One on the USA’s “Billboard Hot 100” and on their “Adult Contemporary” charts. The song was certified 2x Platinum in the USA.

The album Whitney Houston reached Number One in Australia (5x Platinum) and Canada (Diamond), 3 in New Zealand (2x Platinum), 2 on the UK’s Albums and also Dance Albums charts (4x Platinum), and it was Number One on the USA’s ”Billboard 200” chart and their “Top R&B/Hip-Hop Albums” chart. It was certified 14x Platinum in the USA.

This series will return in three weeks, on June 7, with the next new Number One from 1986. It’s not a one-week hit.

Previously in the “Weekend Diversion – 1986” series:

Weekend Diversion: 1986, Part 1 – January 18, 2026
Weekend Diversion: 1986, Part 2 – February 15, 2026
Weekend Diversion: 1986, Part 3 – March 1, 2026
Weekend Diversion: 1986, Part 4 – March 15, 2026
Weekend Diversion: 1986, Part 5 – March 22, 2026
Weekend Diversion: 1986, Part 6 – March 29, 2026
Weekend Diversion: 1986, Part 7 – April 19, 2026
Weekend Diversion: 1986, Part 8 – May 3, 2026
Weekend Diversion: 1986, Part 9 – May 10, 2026

Weekend Diversion: 1986, Part 9

Forty years ago this week, on May 10, 1986, “West End Girls” (video up top) by English synth-pop duo Pet Shop Boys went to Number One. The song was originally released in April 1984, but it was re-recorded for their 1986 debut studio album, Please, which was released in March 1986. It was the first single from the album.

I was taken with the song from the beginning, and I thought the video was interesting because it was so different from other videos of the era. I htink, but I’m mot certain, that I may have bought the albumn Please, but I’m not certain about that, because if I did it was 40 years ago, and I left it behind 30 years ago, and I simply don’t remember. This is a recurring theme.

I didn’t know until I started researching this post that the lyrics were partly inspired by T. S. Eliot's 1922 poem The Waste Land (which I referred to in a blog post earlier today). I also read at the Wikipedia link about the song (above) the answer to a question I’d long wondered about, but never remembered to investigate: Who was the female back-up singer in the song? Her name is Helena Springs, and she worked extensively with Bob Dylan. Mystery (for me…) solved.

“West End Girls” (1986 version) reached Number 5 in Australia, Number One in Canada (Gold), Number One in New Zealand (Platinum), Number One in the UK (Platinum), and Number One on the USA’s “Billboard Hot 100” and on their “Dance Club Songs” chart. It also hit Number One on the Cash Box “Top 100” chart. The song wasn’t certified in the USA.

The album Please reached Number 10 in Australia, Number 3 in Canada (Platinum), Number 2 in New Zealand (Platinum), Number 3 in the UK (Platinum), and Number 7 on the USA’s “Billboard 200” (Platinum).

This series will return next week, on May 17, with the next new Number One from 1986. It’s not a one-week hit.

Previously in the “Weekend Diversion – 1986” series:

Weekend Diversion: 1986, Part 1 – January 18, 2026
Weekend Diversion: 1986, Part 2 – February 15, 2026
Weekend Diversion: 1986, Part 3 – March 1, 2026
Weekend Diversion: 1986, Part 4 – March 15, 2026
Weekend Diversion: 1986, Part 5 – March 22, 2026
Weekend Diversion: 1986, Part 6 – March 29, 2026
Weekend Diversion: 1986, Part 7 – April 19, 2026
Weekend Diversion: 1986, Part 8 – May 3, 2026

Weekend Diversion: 1986, Part 8

Back again with another Number One from 1986: Forty years ago this week, on May 3, 1986, “Addicted to Love” (video up top) by English singer and songwriter Robert Palmer went to Number One. The song, released in January 1986, was the third single from Palmer’s eighth studio album, Riptide.

I was familiar with Palmer before this song came out because of the song “Some Like it Hot” [WATCH/LISTEN], which was the debut (and probably the best known single) by the project Palmer was part of for a time, The Power Station. I’ve since acquired the song on compilation CDs, but I’m sure I once either had the 12-inch single or their debut album, The Power Station. I can’t be sure, since I have neither now, but I know I had something.

At any rate, I liked “Addicted To Love” well enough, but, um, that video? I didn’t get it. It was visually interesting and different, but the whole “models looking like bored mannequins faking playing instruments” was a bit creepy, and even in 1986 it felt kind of exploitive. It’s possible, though, that my less than positive reaction to this video is because he had the same basic thing going for three more songs, including the fifth single from Riptide, Palmer’s cover of "I Didn't Mean to Turn You On". On the other hand, having grown tired of the schtick, I was glad to see the turnabout treatment in the video for Shania Twain’s 1999 single, “Man! I Feel Like A Woman!” [WATCH/LISTEN].

“Addicted To Love” reached Number 17 in Australia, 2 in Canada, 13 in New Zealand, 5 in the UK (Gold), and Number One on the USA’s “Billboard Hot 100” and on their “Top Rock Tracks” chart. It also hit Number One on the Cash Box “Top 100” chart. The song was certified Gold in the USA.

The album Riptide reached Number 11 in Canada (3x Platinum), Number 7 in New Zealand, Number 4 in the UK (Gold), and Number 3 on the USA’s “Billboard 200” (2x Platinum.

This series will return next week, on May 10, with the next new Number One from 1986. It's another one-week Number One hit, and it’s a song I still like as much as I did in 1986.

Previously in the “Weekend Diversion – 1986” series:

Weekend Diversion: 1986, Part 1 – January 18, 2026
Weekend Diversion: 1986, Part 2 – February 15, 2026
Weekend Diversion: 1986, Part 3 – March 1, 2026
Weekend Diversion: 1986, Part 4 – March 15, 2026
Weekend Diversion: 1986, Part 5 – March 22, 2026
Weekend Diversion: 1986, Part 6 – March 29, 2026
Weekend Diversion: 1986, Part 7 – April 19, 2026

Weekend Diversion: 1986, Part 7

Time again for another Number One from 1986: Forty years ago this week, on April 19, 1986, “Kiss” (video up top) by American musician (etc…) Prince, became the new Number One. The song, released on February 5, 1985, was the Prince’s eighth studio album, Parade. That album was the third and final album credited to the band Prince created,The Revolution.

I’ve said before that I liked some of Prince’s songs, and not others, something that’s not even remotely unique for me, of course. I liked the very start of this particular song—but not a lot after that point. Sure I liked the structure and the rhythm, but I’m often not keen on men singing falsetto through most of a song, and, for me, this was one of those times I didn’t like it. It happens.

As it happens, I liked the 1988 version by The Art of Noise featuring Tom Jones [WATCH/LISTEN on YouTube]. However, I think the Art of Noise version sounds much more 80s than the original Prince version did, but maybe that’s just me.

“Kiss” reached Number 2 in Australia, 4 in Canada, 2 in New Zealand (2x Platinum), 6 in the UK (Platinum), and Number One on the USA’s “Billboard Hot 100”, and was their US Hot R&B/Hip-Hop Songs, and remixes hit Number One on two Billboard dance charts. It also hit Number One on the Cash Box “Top 100” chart. The song was certified Gold in the USA. Also, since I mentioned it above, the Art of Noise cover hit Number 6 in Australia, Number One in New Zealand, Number 5 in the UK, and 31 on the USA’s “Billboard Hot 100”

The album Parade reached Number 11 in Canada, Number 7 in New Zealand, Number 4 in the UK (Platinum), and Number 3 on the USA’s “Billboard 200”, as well as Number 2 on their “US Top R&B/Hip-Hop Albums” chart. The album was certified Platinum in the USA.

This series will return in two weeks, on May 3, with the next new Number One from 1986.

Previously in the “Weekend Diversion – 1986” series:

Weekend Diversion: 1986, Part 1 – January 18, 2026
Weekend Diversion: 1986, Part 2 – February 15, 2026
Weekend Diversion: 1986, Part 3 – March 1, 2026
Weekend Diversion: 1986, Part 4 – March 15, 2026
Weekend Diversion: 1986, Part 5 – March 22, 2026
Weekend Diversion: 1986, Part 6 – March 29, 2026

Weekend Diversion: 1986, Part 6

 Forty years ago this week, on March 29, 1986, the new Number One song was “Rock Me Amadeus” (video up top) by Austrian musician Falco, the stage name of Johann "Hans" Hölzel. The song was the first single from Falso’s third studio album, “Falco 3”. “Rock Me Amadeus” was Falco’s only Number One hit in the USA.

I have all sorts of trivia about this song, starting with the fact that it was the first—and so far only—German-language song to reach Number One on the Billboard “Hot 100”. The previous highest-charted German-language song hit Number Two in 1983: “99 Luftballons” by the West German band Nena. It was also the only of his songs to be Number One in both the UK and the USA, which I guess is something.

I have my own personal trivia about the song, which I loved because I loved Falco’s work. I first heard of him when I saw his 1982 debut album, Einzelhaft, in a Chicago record shop that had a lot of the New Wave, dance, and “alternative” music I loved. I bought the album and listened to it often. I was drawn to it because I’d studied German (poorly…) in high school, and was instantly fascinated by the album. The second single was “Der Kommissar”, which I liked. I have to add that I was irritated when British rock band After the Fire released an English-language cover of the song, and, predictably, their version did better on the US pop charts. Ganz natürlich.

So, because of my history, both attempting to learn the language of many of my ancestors, and my earlier discovery of Falco, I loved “Rock Me Amadeus” (and the follow-up single, “Vienna Calling”. I think I bought the album Falco 3, but I'm not sure because if I did, neither it nor Einzelhaft came to New Zealand with me. I know—because I still have it—that I bought a 12-inch version version of "Vienna Calling", which included the American Edit of “Rock Me Amadeus”.

I also liked the video (which, as I’ve made clear by now, isn’t always the case, even when I like the song). I particularly liked the surreality of the visuals, especially the folks in biker gear accompanying Falco dressed as Mozart, and mouthing, “Amadeus, Amadeus!, Amadeus, Amadeus!”

All of which means that this week’s song was unusual among the songs in these series of posts: I liked the song, the artist, and the video. That was rare even then,

“Rock Me Amadeus” reached Number 15 in Australia (Gold), 2 in Canada (Platinum), Number One in New Zealand (Gold), Number One in the UK (Gold), and Number One on the USA’s “Billboard Hot 100”, and was also Number One on the Cash Box “Top 100” chart. The song was certified Platinum in the USA.

The album Falco 3 reached Number 9 in Canada (Platinum), Number 2 in New Zealand, Number 32 in the UK, and Number 3 on the USA’s “Billboard 200” (Gold). The album didn’t chart in Australia.

This series will return in three weeks, on April 19, with the next new Number One from 1986.

Previously in the “Weekend Diversion – 1986” series:

Weekend Diversion: 1986, Part 1 – January 18, 2026
Weekend Diversion: 1986, Part 2 – February 15, 2026
Weekend Diversion: 1986, Part 3 – March 1, 2026
Weekend Diversion: 1986, Part 4 – March 15, 2026
Weekend Diversion: 1986, Part 5 – March 22, 2026

Weekend Diversion: 1986, Part 5

Another week, and it’s another one-week Number One. Wait, another one-week Number One, the week after a different one-week hit? What is this, 1985? Just kidding—I’m actually glad the pace of the 1986 hits has been slower.

Be that as it may, on March 22, 1986 the new Number One song was “These Dreams” (video up top) by the American rock band Heart. The song was the third single from the group’s eighth studio album, “Heart”. “These Dreams” was also the band’s first Number One hit.

There’s an unusual bit of trivia about this song: This week’s song was wittern by Bernie Taupin and Martin Page, who also wrote the song in Part 23 of the 1985 series, “We Built This City” by Starship. They’re certainly very different songs.

Heart is group I really liked, and I liked this particular song, though it wasn't my favourite Heart song. I first became aware of the group because of a lot of TV commercials promoting their debut album, Dreamboat Annie. However, my connection with the band really started when their "Dog & Butterfly" tour (promoting the album of the same name) appeared at my university. There’s a little story about that.

My university’s arena, used mostly for basketball (go the Dawgs!—actually, I went to one game there), had a lot of concerts, too. However, in 1977, many weren’t exactly huge stars, but then they suddenly started programming bigger acts. In my first year at university, they hosted Bob Dylan and Bruce Springsteen, neither of whom I was interested in (though, decades later, I wished I’d seen Springsteen…). The first group I saw was Bad Company, who were promoting their new album, Desolation Angels (which I bought, but no longer have). I went because they were the first group that I was kinda, sorta, familiar with. But when Heart was there, I was really excited to see them. They performed songs from their first four albums.

Back to 1986, I have to admit that the video for “These Dreams” didn’t grab me (apparently a common thing for me in 1986… or, always?). I mean, it was okay, I guess, but it wasn’t one I was excited to see replayed. I was similarly indifferent to this song, and to me it was a pleasant background song with lead vocals by a singer I enjoyed. But—and even I’m surprised I thought this way—where were the rocking vocals I’d come to know Ann Wilson for doing? However, I think that in those days I probably would’ve listened to her sing the phone book (not a literal fact). Let’s just say my tastes are, and always have been, varied, shall we? Yes, let’s. The larger point here is that I really liked heart, and I thought this song was okay. That’s very often good enough for me, and while I remember very little of it (it was a long time agao…), I know I enjoyed it.

“These Dreams” reached Number 27 in Australia, 6 in Canada, 62 in the UK, and Number One on the USA’s “Billboard Hot 100” and “Adult Contemporary” charts, and it reached Number 2 on their “Mainstream Rock” chart. It was also Number One on the Cash Box “Top 100” chart. The song apparently didn’t chart in New Zealand, but it was nevertheless certified Gold, and the linked Wikipedia article doesn’t provide any sales certification information for any other country. No idea what that means.

The album Heart reached Number 37 in Australia, Number 3 in Canada (6x Platinum), Number 19 in the UK (Gold), and Number 1 on the USA’s “Billboard 200” (5x Platinum). The album was certified Platinum in the USA. The album didn’t chart in New Zealand.

This series will return next week, on March 29, with the next new Number One from 1986, and it's NOT another one-week hit! But it IS one I liked a lot.

Previously in the “Weekend Diversion – 1986” series:

Weekend Diversion: 1986, Part 1 – January 18, 2026
Weekend Diversion: 1986, Part 2 – February 15, 2026
Weekend Diversion: 1986, Part 3 – March 1, 2026
Weekend Diversion: 1986, Part 4 – March 15, 2026

Weekend Diversion: 1986, Part 4

Mid-March and this is the first one-week Number One song of 1986. There were more.

On March 15, 1986 the new Number One song was “Sara” (video up top) by the American rock band Starship hit Number One for one week. The song was the second single from Starship, after 1985’s "We Built This City", which I talked about in my ”Weekend Diversion: 1985, Part 23” post. The song was also the second and final Number One single from their debut album, “Knee Deep in the Hoopla” (“ We Built This City” was the first single). There would be one more for the band, though.

So: While—obviously—many people loved Starship, others, um, did not. I was mostly on the fence about the group, but, to be completely honest, I actually stopped paying attention when Grace Slick left the group. Be that as it may, I thought this song was pleasant enough, though it didn’t exactly grab me, either—but, then, many (most?) pop songs don’t “grab” me, so that’s not unusual. I guess you could say of my “relationship” with Starship, “It’s complicated.”

The video for the song also didn’t grab me—and that, too, isn’t unusual, of course. I’ve always considered music videos to be their own art form, and when they’re good, they’re pretty awesome. Most music videos are not pretty awesome (obviously?), but the ones that are get repeat views from me. This video, however, was not one of those. Oh, well.

“Sara” reached Number 10 in Australia, Number One in Canada, 16 in New Zealand, 66 in the UK, and Number One on the USA’s “Billboard Hot 100”, as well as on their “Adult Contemporary” chart, and it reached 12 on their “Mainstream Rock” chart. The linked Wikipedia article doesn’t provide any sales certification information.

The album Knee Deep in the Hoopla reached Number 34 in Australia, Number 16 in Canada (Platinum), Number 43 in New Zealand, and Number 7 on the USA’s “Billboard 200”. The album was certified Platinum in the USA. (There’s no chart information for the UK, which usually means it didn’t reach the bottom rung).

This series will return next week, on March 22, with the next new Number One from 1986, and it's another one-week hit.

Previously in the “Weekend Diversion – 1986” series:

Weekend Diversion: 1986, Part 1 – January 18, 2026
Weekend Diversion: 1986, Part 2 – February 15, 2026
Weekend Diversion: 1986, Part 3 – March 1, 2026

Weekend Diversion: 1986, Part 3

It’s been a slow and relaxed start to this year’s series, hasn’t it? Here we are in March and this is only the third Number One of the year. Last year seemed so frantic by comparison, what with ALL those one-week hits. At any rate, there was a new Number One song this week in 1986, and it’s one I thought—well, let’s leave that for a moment, shall we? On March 1, 1986, “Kyrie” (video up top) by American pop rock band Mr. Mister hit Number One for two weeks. The song was the second and last Number One from Mr. Mister, after 2025’s "Broken Wings", which I talked about in my ”Weekend Diversion: 1985, Part 25” post. “Kyrie” was also the second single from their second studio album, “Welcome to the Real World” (“Broken Wings was the first single).

As with most Number Ones, this song was definitely on the radio a lot at the time, but that didn’t help for me: I absolutely loathed this song. I liked the sound well enough, and yet… Okay, here’s the thing: As the son and grandson of Lutheran preachers, I was well aware of what “kyrie” means in Christian use: Kýrie, eléison; Christé, eléison; Kýrie, eléison. which roughly translates as "Lord, have mercy; Christ, have mercy; Lord, have mercy." In Lutheran liturgy, the Kyrie was a particular part of Sunday services. At the time this song was popular, I still considered myself a Lutheran, though I’d probably already left the church mentally, BUT I was definitely already a committed secularist, and, at the very best, very most charitable, I felt this song was inappropriately proselytising, and I didn’t like that—at all. For historic context, this was the same era in which self-proclaimed “christians” were by far the most strident (and wealthiest) opponents the LGBT+ communities faced (not unlike these days…).

I was surprised when I researched this post and learned in the Wikipedia article linked above that “According to [co-composer and lead vocalist Richard] Page's statements, he was initially skeptical about singing the Christian text Lang had written because he didn't want to make a ‘religious statement’”. So, even he realised it was religious. What I also learned, though, is something I was oblivious to:

There is a myth that singer Richard Page wrote "Kyrie" while lying in a hospital bed after being assaulted. It was John Lang who had been assaulted three years before the composition; Lang has stated that the incident has nothing to do with the song.

Well, okay then. I guess. Personally, I don’t think that any of that cleared up the religiosity (or lack of) in the song, and that was always the sticking point I just couldn’t get past, even though I liked the sound of the song well enough. Once again, this is an example of something that wasn’t the first or last time such a thing would happen.

“Kyrie” reached Number 11 in Australia, Number One in Canada, 30 in New Zealand, 11 in the UK, and Number One on the USA’s “Billboard Hot 100”, as well as their “Mainstream Rock” chart. The song was also Number One on the Cashbox “Top 100 Singles” chart. The linked Wikipedia article doesn’t provide any certification information. Also, I see that it charted worst in Australia and New Zealand, arguably the least religious countries I write about—though I stress that may or may not be relevant.

The Welcome to the Real World album reached Number 17 in Australia, Number 2 in Canada (3x Platinum), Number 21 in New Zealand, Number 6 in the UK (Gold), and Number 1 on the USA’s “Billboard 200” chart. The album was certified Platinum in the USA.

This series will return in two weeks, on March 15, with the next new Number One from 1986, and it's also the first one-week hit of the year.

Previously in the “Weekend Diversion – 1986” series:

Weekend Diversion: 1986, Part 1 – January 18, 2026
Weekend Diversion: 1986, Part 2 – February 15, 2026

About that ‘hidden’ video

 The video above is Stephen Colbert’s interview with one of the Democratic candidates for the US senate seat in Texas, James Talarico. Colbert said that CBS wouldn’t permit the interview to be broadcast because the regime’s FCC said it would enforce the “equal time” rules on talk shows, which had always been exempt. Essentially the rule means that if a candidate is interviewed, all other candidates for that office must be, too. The FCC commissioner was quite open about the fact that this is about politics, though he framed it as about shows being “political”. His ire was apparently raised when ABC’s “The View” had Talarico on without any of his Democratic opponents. It's important to note that another Democrat runing for the Seante in Texas, Jasmine Crockett, has been on Colbert's show several times.

The first important point is that talk shows have always been exempt from the rule, and suddenly changing the rules is—odd. The second thing is that CBS itself disputes how this all came about. They deny it was the FCC “ordering” anything, but instead, about its “guidance”.

The interview was uploaded to the show’s YouTube Channel, which Colbert suggested was because he wasn’t allowed to broadcast it. CBS later claimed it was to avoid the “equal time” rule (the FCC has absolutely NO jurisdiction over streaming services, including YouTube). It’s worth noting that the YouTube video up top has had around three times the average viewership for the broadcast show, and the millions of views on other social media are on top of that.

So, what really happened? We weren’t there, we don’t know. Here’s what Colbert said to his audience before the interview:



The next day, CBS issued a very different story about what happened, apparently trying to blame Colbert, and issuing a startement without even showing it to him in advance. He responded on air:



I tend to believe Colbert over CBS, mainly because he’s earned the right to be trusted, and the spokespersons for the oligarch owners of CBS have not. Maybe that will change? Well, anything is possible, I suppose.

Let’s suppose that the FCC didn’t strongarm CBS (even admitting the current regime is absolutely capable of having done exactly that). But, IF they didn’t, why would CBS kill the broadcast of the interview? To suck up to the Republicans’ God-King. CBS is now owned and controlled by a far-right billionaire family that unreservedly backs the regime (danger enough), however, what could be behind it is that those oligarchs are currently trying to buy Warner-Discovery which would give them CNN, too (another huge danger; Netflix’s bid excludes CNN). If their offer is accepted, the regime will need to approve it, and that obviously gives the oligarchs a strong incentive to censor Colbert.

That raises a new question: Why would the regime want Talarico silenced? Because they consider him a huge threat to Republicans holding the Senate seat in Texas, and if Democrats win that seat, that may well win control of the US Senate. The incumbent Republican is unpopular, and his chief opponent is a crackpot extremist (IMO). Either Republican could be in danger of losing to a Democrat, and Republicans would fear Talarico the most because they’d consider the other main candidate, Jasmine Crockett, easier to defeat (because they automatically dismiss all they Black people, Black women in particular). Having said that, Talarico does indeed speak to a certain type of Texas voter, those that are more ostensibly more conservative than most Democrats, but they're not part of the red hat cult. Those folks are also some flavour of Christian, and Talarico speaks to them better than even the Republican candidates (not hard to do for genuine Christians…).

As the saying goes, I don’t have a dog in that fight, however, I do have a “position”: I will happily back whichever Democrat wins the primary. There are things I like about both candidates, but I know very little about Texas voters and wouldn’t presume to say which one is more “electable”. Anyone can have an opinion on the race, of course, and I do, and beyond firmly believing that either Democrat is far better than any Republican. But I think that the Democratic voters in Texas have to make their own choice. I know that I wouldn’t want anyone from out of state telling me how to vote.

I’m just glad that Democrats have such strong candidates. I hope that’s replicated across the country, because it’ll take a massive “Blue Wave” to save the USA.

Weekend Diversion: 1986, Part 1

A new year, and a new series of Weekend Diversion posts! This week is the first post in this year’s “Weekend Diversion: 1986”, though this was technically the second Number One song of 1986 because the last Number One song of 1985, Lionel Richie’s “Say You, Say Me” (the subject of last year’s Part 26) was also Number One for the first two weeks of 1986 (four weeks altogether).

On January 18, 1986, the first new Number One song of the year was “That's What Friends Are For” (video up top) by "Dionne and Friends”, which was led by Dionne Warwick, alongside Elton John, Gladys Knight, and Stevie Wonder. It was a charity single to raise funds for the American Foundation for AIDS Research, and raised more than US$3 million for the organisation. The song was included on Warwick’s 1985 album, Friends

Like most Number One songs, this was one I heard on the radio quite a lot at the time. I thought it was pleasant enough as a song, and I could tell it was written by Burt Bacharach and Carole Bayer Sager, two of the most talented and prolific songwriters, especially in the 1970s and 1980s. They were also married at the time this song was a hit.

I thought I bought the single of the song, but if I did I no longer have it, though I certainly got it on a compilation album at some point. In 1986, I was working for modest wages, and spent my free doing LGBT+ activism, so I never had big piles of cash. Yet I knew men who had AIDS, so I may have bought the single as a small way of contributing.

However, AmfAR, which the American Foundation for AIDS Research became known as, was often seen as a way for celebrities and other rich people to “do something” without doing very much. It also felt to many folks like it was trying to “straightwash” the issue, especially at a time when people living with AIDS needed support that was hard to get or pay for.

As was so often the case with me in those days, I had a different perspective. First, I felt that raising money for AIDS research was valuable in itself, especially because the US Government of that time couldn’t possibly have cared less about AIDS or the people living with it. If a bunch of celebrities helped make it easier for “Middle America” to not hate gay people in general, or people living with AIDS in particlar, quite as much as they had before, that in itself was a moral good. Eventually, the tide did turn, as it usually does, and things became somewhat easier, especially once Reagan was out of the White House. Maybe this song helped at least a little bit? In my opinion, the attention the celebrities brought—especially Elton John’s massive fundraising—helped society to become more human and humane.

Still, I did like the song well enough, and that’s really the point of all pop music.

“That's What Friends Are For” reached Number One in Australia, Number One in Canada (Platinum), 3 in New Zealand (Gold), 16 in the UK (Silver), and Number One on the USA’s Billboard “Hot 100” as well as their “Adult Contemporary”, and “Hot R&B/Hip-Hop Songs” charts. The song was also Gold in the USA.

The album Friends reached 29 in Australia, 16 in Canada (Gold), and 12 on the USA’s Billboard “Top Pop Albums” chart, as well as 9 on their “Top Black Albums” chart. It was also 14 on the Cashbox “US Top 100 Albums” and Number 4 on their “US Top 75 Black Contemporary Albums” charts. It was certified Gold in the USA. The album didn’t chart in New Zealand or the UK.

This series will return February 15 with another new Number One from 1986.

Year-end pop music mashups 2025

Another year ends, and the pop music mashups are out, including these two, the last of the ones I used to regularly watch. This year marks the end of the conversion to a new reality.

I don’t even know most of the artists or the songs in both mashups (Adamusic’s “What 2025 Sounds Like”, the first one I saw, is up top, and DJ Earworm’s “United State of Pop 2025 (Talk to Me)”, released the next day, is below). Sure, I recognise some of the artists, and I probably heard a snippet ot two somewhere, but not the entirety of any of them. I no longer listen to contemporary pop radio, there are no longer and pop music video channels that focus on current pop music, and I rarely listen to Spotify—and when I do stream, it’s not to listen to any pop charts.

In other words, for the first time in my life, I have virtually no exposure to new pop music, and so, I have no idea what’s currently a hit and what isn’t. I’m not exactly happy about that reality, but it IS my reality. Earlier this year, I tried streaming the NZ Top 40 Spotify Playlist, but I just didn’t care enough about it to continue doing it.

I have no idea where this heading: Maybe I’ll find a way to keep hearing new pop music, or maybe that’s it, and I’ll forever be looked into “oldies” music. Honetly, though, I’m not sure I care, especially if these two mashups are reflective of the pop music of 2025.

Weekend Diversion: 1985, Part 26

Well, well, well: Here we are with the final Number One hit on the USA’s Billboard “Hot 100” for 1985—and the first of 1986, but more about that later. While this is this series' final post about a specific 1985 song, next week will conclude the series with a wrap-up post.

40 years ago this week, on December 21, 1985, the new Number One hit on the Billboard “Hot 100” was "Say You, Say Me" (video up top), by American singer and songwriter Lionel Richie , who wrote and performed the song. It was featured in the 1985 movie White Nights. Yes, it was yet another song from a movie, and yes, it’s the second song from that movie that reached Number One (the first was "Separate Lives", which I talked about in Part 24 of this series back on November 30).

The song wasn’t included on the movie soundtrack album because Ritchie’s record label, Motown, wanted to save the song for his next album. Instead, the song was the lead single from the Ritchie’s third solo studio album Dancing on the Ceiling. However, the ties with the film weren’t totally severed: It won “Best Original Song” at the 58th Academy Awards ("Separate Lives" was also nominated).

The music video for “Say You, Say Me”, like that for "Separate Lives", used scenes from the movie, however, it wasn’t made as if it was part of the film’s story. I think that choice made Ritchie’s video the better of the two, though I didn’t really like either one. I’m picky, I know, and I also know that videos of songs used in movies also promoted the movie they were from. However, as I’ve said a few times, music videos were a unique art form, and I preferred ones that were more original. Yeah, well, Arthur’s Law and all that.

Actually, the same Law applies to the song itself. I never bought the song or album, nor any others, by Lionel Ritchie, however, years later Nigel bought digital versions of some of Ritchie’s music, and I still have those, of course. Which isn’t to suggest that I didn’t like the song—I was just more or less indifferent to it, though I liked it better than some of his other hits. There’s nothing even remotely unusual about that for me, of course..

"Say You, Say Me"reached Number 3 in Australia, Number One in Canada (Platinum), Number 8 in New Zealand, Number 8 in the UK (Silver), as well as Number One on the USA’s Billboard “Hot 100”, on their “Adult Contemporary” Chart and on their “Hot R&B/Hip-Hop Songs” Chart. The song was also Number One on the Cash Box “Top 100 Singles” Chart. The song was certified Gold in the USA.

The Dancing on the Ceiling album reached Number 2 in Australia, Number 3 in Canada (3x Platinum), Number 3 in New Zealand (Platinum), Number 2 in the UK (2x Platinum), and Number 1 on the USA’s “Billboard 200” chart, and also Number 3 on their “Top R&B/Hip-Hop Albums” Chart. The album was certified 4x Platinum in the USA.

The final post in this series will be next week, December 28, a kind of liner notes for this year’s series.

The first post in next year's series, talking about the Number One Songs of 1986, will be on January 18, 2026. “Say you, say me” was Number One for the first two weeks of 1986, too, partly because of a combined year-end issue of Billboard.

Until next week, keep your feet on the ground, and keep reaching for the stars. Or, something like that.

Previously in the “Weekend Diversion – 1985” series:

Weekend Diversion: 1985, Part 1 – February 2, 2025
Weekend Diversion: 1985, Part 2 – February 16, 2025
Weekend Diversion: 1985, Part 3 – March 12, 2025
Weekend Diversion: 1985, Part 4 – March 30, 2025
Weekend Diversion: 1985, Part 5 – April 13, 2025
Weekend Diversion: 1985, Part 6 – May 11, 2025
Weekend Diversion: 1985, Part 7 – May 18, 2025
Weekend Diversion: 1985, Part 8 – June 1, 2025
Weekend Diversion: 1985, Part 9 – June 8, 2025
Weekend Diversion: 1985, Part 10 – June 22, 2025
Weekend Diversion: 1985, Part 11 – July 6, 2025
Weekend Diversion: 1985, Part 12 – July 13, 2025
Weekend Diversion: 1985, Part 13 – July 27, 2025
Weekend Diversion: 1985, Part 14 – August 3, 2025
Weekend Diversion: 1985, Part 15 – August 24, 2025
Weekend Diversion: 1985, Part 16 – September 7, 2025
Weekend Diversion: 1985, Part 17 – September 21, 2025
Weekend Diversion: 1985, Part 18 – October 12, 2025
Weekend Diversion: 1985, Part 19 – October 19, 2025
Weekend Diversion: 1985, Part 20 – October 26, 2025
Weekend Diversion: 1985, Part 21 – November 2, 2025
Weekend Diversion: 1985, Part 22 – November 9, 2025
Weekend Diversion: 1985, Part 23 – November 16, 2025
Weekend Diversion: 1985, Part 24 – November 30, 2025
Weekend Diversion: 1985, Part 25 – December 7, 2025

Weekend Diversion: 1985, Part 25

This week's song is the penultimate in this year’s series, though there will be a wrap-up post after the the last song post. This week in 1985, December 7, 1985, the new Number One hit on the USA’s Billboard “Hot 100” was "Broken Wings" (video up top), by American pop rock band Mr. Mister Released in June 1985, the song was the lead single from the band’s 1985 Album Welcome to the Real World. The song was the band’s first Number One.

This is another song from that era that seemed to be everywhere at the time. I never bought the song or album, nor any other by Mr. Mister, however, I do have the song one at least one comilation CD bought some years later. I didn’t mind the song, and the sound was nice, but I did think that the lyrics were kind of banal. Even so, I didn’t hold that against it, mainly because that’s true for a lot of hit songs. Maybe the lyrics of this song weren’t banal enough?

I didn’t pay all that much attention to the music video for the song, thoug I didn’t mind it. either—I mean, I didn’t love it, but that’s not that unusual, actually. Still, when researching this post I read at the link that “lead vocalist/bassist Richard Page driving through the desert in a classic Ford Thunderbird” was “the first allusion to birds”. Okay, then. That was far too subtle for me to notice, though I seldom paid that much attention to any video, so there’s that.

"Broken Wings"reached Number 4 in Australia, Number One in Canada (Gold), Number 29 in New Zealand, Number 4 in the UK (Gold), as well as Number One on the USA’s Billboard “Hot 100”, Number 3 on their “Adult Contemporary” Chart and Number 4 on their “Mainstream Rock” Chart. The song was also Number One on the Cash Box “Top 100 Singles” Chart.

The Welcome to the Real World album reached Number 17 in Australia, Number 2 in Canada (3x Platinum), Number 21 in New Zealand, Number 6 in the UK (Gold), and Number 1 on the USA’s “Billboard 200” chart. The album was certified Platinum in the USA.

This series will return in two weeks (December 21) with the last Number One in this series. The final post in this series will be after that post.

Previously in the “Weekend Diversion – 1985” series:

Weekend Diversion: 1985, Part 1 – February 2, 2025
Weekend Diversion: 1985, Part 2 – February 16, 2025
Weekend Diversion: 1985, Part 3 – March 12, 2025
Weekend Diversion: 1985, Part 4 – March 30, 2025
Weekend Diversion: 1985, Part 5 – April 13, 2025
Weekend Diversion: 1985, Part 6 – May 11, 2025
Weekend Diversion: 1985, Part 7 – May 18, 2025
Weekend Diversion: 1985, Part 8 – June 1, 2025
Weekend Diversion: 1985, Part 9 – June 8, 2025
Weekend Diversion: 1985, Part 10 – June 22, 2025
Weekend Diversion: 1985, Part 11 – July 6, 2025
Weekend Diversion: 1985, Part 12 – July 13, 2025
Weekend Diversion: 1985, Part 13 – July 27, 2025
Weekend Diversion: 1985, Part 14 – August 3, 2025
Weekend Diversion: 1985, Part 15 – August 24, 2025
Weekend Diversion: 1985, Part 16 – September 7, 2025
Weekend Diversion: 1985, Part 17 – September 21, 2025
Weekend Diversion: 1985, Part 18 – October 12, 2025
Weekend Diversion: 1985, Part 19 – October 19, 2025
Weekend Diversion: 1985, Part 20 – October 26, 2025
Weekend Diversion: 1985, Part 21 – November 2, 2025
Weekend Diversion: 1985, Part 22 – November 9, 2025
Weekend Diversion: 1985, Part 23 – November 16, 2025
Weekend Diversion: 1985, Part 24 – November 30, 2025

Weekend Diversion: 1985, Part 24

This week's song is another one-week Number One hit on the USA’s Billboard “Hot 100”, the last one-week Number One of 1985. On November 30, 1985, "Separate Lives" (video up top), performed by British singer Phil Collins and American singer Marilyn Martin reached Number One. The song, written by American singer-songwriter Stephen Bishop, was featured on the soundtrack for the 1985 movie White Nights. Yes, yet another song from a movie soundtrack.

I don’t think I ever saw the film, though maybe I saw it on cable some time after it was released? If so, I don't remember it. Still, I’ve always thought that songs used for movie soundtracks should be able to stand on their own as pop songs, and I think this song does that. Being able to appreciate it as a pop song is one thing (and a rather low bar, to be honest…), but that doesn’t mean I liked this song, because I didn’t much like it. It was okay, I supose, but was too slow and ponderous for my taste, though the vocals were solid. I think that if the tempo had even been slightly, faster I’d have liked it better. On the other hand, there’s never been a year in which I liked every Number One, so, yeah.

The music video for the song was blended with scenes from the movie, but that didn’t click with me, mainly because, as I said, I don’t think I saw the movie. Still, it was well done for what it was.

“Separate Lives” reached Number 14 in Australia, Number One in Canada, Number 29 in New Zealand, Number 4 in the UK (Silver), as well as Number One on the USA’s Billboard “Hot 100” and their “Adult Contemporary” Charts.

The White Nights soundtrack album reached Number 17 in Australia, Number 14 in Canada, and Number 17 on the USA’s “Billboard 200” chart. The album didn’t chart in New Zealand or the UK, and its sales apparently didn’t receive any certifications.

This series will return in one week (December 7) with the next Number One in this series.

Previously in the “Weekend Diversion – 1985” series:

Weekend Diversion: 1985, Part 1 – February 2, 2025
Weekend Diversion: 1985, Part 2 – February 16, 2025
Weekend Diversion: 1985, Part 3 – March 12, 2025
Weekend Diversion: 1985, Part 4 – March 30, 2025
Weekend Diversion: 1985, Part 5 – April 13, 2025
Weekend Diversion: 1985, Part 6 – May 11, 2025
Weekend Diversion: 1985, Part 7 – May 18, 2025
Weekend Diversion: 1985, Part 8 – June 1, 2025
Weekend Diversion: 1985, Part 9 – June 8, 2025
Weekend Diversion: 1985, Part 10 – June 22, 2025
Weekend Diversion: 1985, Part 11 – July 6, 2025
Weekend Diversion: 1985, Part 12 – July 13, 2025
Weekend Diversion: 1985, Part 13 – July 27, 2025
Weekend Diversion: 1985, Part 14 – August 3, 2025
Weekend Diversion: 1985, Part 15 – August 24, 2025
Weekend Diversion: 1985, Part 16 – September 7, 2025
Weekend Diversion: 1985, Part 17 – September 21, 2025
Weekend Diversion: 1985, Part 18 – October 12, 2025
Weekend Diversion: 1985, Part 19 – October 19, 2025
Weekend Diversion: 1985, Part 20 – October 26, 2025
Weekend Diversion: 1985, Part 21 – November 2, 2025
Weekend Diversion: 1985, Part 22 – November 9, 2025
Weekend Diversion: 1985, Part 23 – November 16, 2025