July 1982 featured 47 debuting singles over five weekly Hot 100 charts. The first four weeks featured either 8 or 9 debuting singles each while the fifth week saw a dozen singles make their first appearance on the Hot 100, including Dolly Parton's own remake of "I Will Always Love You", a Number One Country Song from 1974, for the soundtrack of her 1982 film, The Best Little Whorehouse In Texas. The song once again topped the Country chart in 1982 but failed to make Top 50 in a fourteen week Hot 100 run. (The image of Parton below is the only one MRS. HERC approved for publication.)
HERC will be including "I Will Always Love You" and more than half of the other singles that debuted in July 1982 - all marked by asterisk on the chart below - on his Most Favorite Songs Of 1982 list which will be published shortly after he runs down and reviews the Hot 100 Debuts from December 1982 on April 1st, 2015. The chart below lists the complete five weeks worth of singles from July 1982 and their scores in the far right hand column:
Hot 100 debut
|
debut pos
| title | artist | ||
| 7/3/1982 | 55 | * | Love Will Turn You Around | Kenny Rogers | 185 |
| 7/3/1982 | 66 | * | Think I’m In Love | Eddie Money | 176 |
| 7/3/1982 | 67 | * | Vacation | Go-Go’s | 193 |
| 7/3/1982 | 77 | * | Hot In The City | Billy Idol | 163 |
| 7/3/1982 | 83 | And I Am Telling You I’m Not Going | Jennifer Holliday | 164 | |
| 7/3/1982 | 85 | * | Eye In The Sky | Alan Parsons Project | 206 |
| 7/3/1982 | 86 | Too Good To Turn Back Now | Rick Bowles | 50 | |
| 7/3/1982 | 87 | * | Words | Missing Persons | 121 |
| 7/3/1982 | 90 | * | Enough Is Enough | April Wine | 105 |
| 151 | |||||
| 7/10/1982 | 55 | * | Take It Away | Paul McCartney | 192 |
| 7/10/1982 | 81 | * | Someday, Someway | Marshall Crenshaw | 134 |
| 7/10/1982 | 82 | * | Blue Eyes | Elton John | 184 |
| 7/10/1982 | 83 | * | Who Can It Be Now? | Men At Work | 211 |
| 7/10/1982 | 84 | * | Gloria | Laura Branigan | 214 |
| 7/10/1982 | 86 | * | I Ran (So Far Away) | A Flock Of Seagulls | 191 |
| 7/10/1982 | 90 | * | Mega Force | 707 | 81 |
| 7/10/1982 | 99 | Outlaw | War | 15 | |
| 153 | |||||
| 7/17/1982 | 75 | * | Valley Girl | Frank Zappa | 142 |
| 7/17/1982 | 78 | Love Or Let Me Be Lonely | Paul Davis | 126 | |
| 7/17/1982 | 81 | Let Me Go | Ray Parker Jr. | 129 | |
| 7/17/1982 | 86 | Every Love Song | Greg Kihn Band | 39 | |
| 7/17/1982 | 88 | Foolin’ Yourself | Aldo Nova | 75 | |
| 7/17/1982 | 89 | Why | Carly Simon | 57 | |
| 7/17/1982 | 90 | * | Planet Rock | Afrika Bambaataa & The Soul Sonic Force | 109 |
| 7/17/1982 | 92 | * | Should I Stay Or Should I Go | The Clash | 116 |
| 7/17/1982 | 94 | Into My Love | Greg Guidry | 19 | |
| 90 | |||||
| 7/24/1982 | 69 | * | Jack & Diane | John Cougar | 212 |
| 7/24/1982 | 75 | * | Let Me Tickle Your Fancy | Jermaine Jackson | 172 |
| 7/24/1982 | 81 | I’m The One | Roberta Flack | 121 | |
| 7/24/1982 | 84 | * | Only Time Will Tell | Asia | 174 |
| 7/24/1982 | 85 | She Got The Goldmine (I Got The Shaft) | Jerry Reed | 93 | |
| 7/24/1982 | 87 | Hot Fun In The Summertime | Dayton | 89 | |
| 7/24/1982 | 89 | * | What’s Forever For | Michael Murphey | 173 |
| 7/24/1982 | 90 | Now Or Never | Axe | 77 | |
| 139 | |||||
| 7/31/1982 | 69 | * | Do You Wanna Touch Me (Oh Yeah) | Joan Jett & The Blackhearts | 168 |
| 7/31/1982 | 73 | * | Somebody’s Baby | Jackson Browne | 196 |
| 7/31/1982 | 74 | * | You Can Do Magic | America | 195 |
| 7/31/1982 | 81 | Oh Julie | Barry Manilow | 130 | |
| 7/31/1982 | 82 | * | Sara | Bill Champlin | 83 |
| 7/31/1982 | 83 | * | Calling All Girls | Queen | 85 |
| 7/31/1982 | 84 | Never Been In Love | Randy Meisner | 150 | |
| 7/31/1982 | 85 | Themes From E.T. | Walter Murphy | 111 | |
| 7/31/1982 | 87 | * | I Will Always Love You | Dolly Parton | 102 |
| 7/31/1982 | 88 | Seasons Of The Heart | John Denver | 48 | |
| 7/31/1982 | 89 | Luanne | Foreigner | 56 | |
| 7/31/1982 | 90 | Younger Days | Joe Fagin | 44 | |
| 114 |
(What scores you ask? See previous posts.) July's best week was the second week with a score of 153 across eight singles. Amazingly, that same week also had the month's lowest scoring single, War's "Outlaw".
HERC's favorite single among the bunch is the one by A Flock Of Seagulls which often gets a bad rap because of the $10 and a roll of Reynolds Aluminum wrap for a budget video or the singer's hairstyle. (This guy feels the song is crap regardless.) For HERC, the song is all about the under-rated guitar stylings of Paul Reynolds, proving once and for all that there was a place in the synth-heavy New Wave for guitars. His cool, laid-back swagger might have given the impression that he wasn't really into it or giving it all he got but his performance on the solo "I Ran (So Far Away)" puts him up there with acknowledged Hall Of Fame greats such as Alex Lifeson (Rush), Andy Summers (The Police) and David Gilmour (Pink Floyd). Reynolds only recorded three albums with the band before leaving, later explaining he felt he was too young for the rock n roll lifestyle.
Unable to find a 45 or 12" of the song, HERC splurged and bought the whole dang album which was on sale at music store in Bryan, Texas. If he still had his receipt from that day, we would be able to see that HERC bought another record that day for exactly the same $4.99 price he paid for the A Flock Of Seagulls self-titled album. (HERC's favorite latter-day remix of "I Ran" can be heard here. Listen for his favorite part of the remix at 2:08.)
"Don't You Want Me" was the Number One song in the country at the time (Summer 1982) and had been HERC's favorite song until "I Ran (So Far Away)" had supplanted it. That night, after his grandparents had gone to bed, HERC crept out to their ginormous console stereo in the living room and slid open the top, to reveal the record player. He listened to the album once through, then repeated "I Ran" because it was wonderfully different from the radio single he was used to, with a spacey intro highlighted by Reynolds and his guitar. The Human League single got several plays that night as well and it was a revelation, a mostly instrumental reconstruction of the song featuring all kinds of analogue synths and effects. The console's boomy bass heavy sound, despite twisting the bass knob all the way to the left, did not prepare HERC for how wonderful both records sounded on his home stereo when he returned at the end of the Summer.
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