The Best UK Singles 1984

1984 was home, chronologically, to Orwell’s famous dystopian novel. Fortunately, there was no Big Brother and there was no double-speak. There was some great music. Here’s a run through of the best uk singles 1984.

I’m going to use the top sellers in the UK singles chart as my reference, along with the eight* singles that I bought. Yes, I now had a paper round so I was flush with the cash to build my collection.

Vinyl was still king, and the 7-inch single ruled the roost. I have mentioned before that these little pieces of plastic were our connection to the artists who recorded them. More than that they were collectible pieces of art – for what was etched into the vinyl and the cool cover artwork.

Of course, it was still the case that by far the biggest sources of sounds was the radio. It was also the start of my recording albums from friends and family. Of course, the music industry slogan had it that “home taping is killing music.”

Home taping wasn’t killing music as far as we were concerned. It was the only way that many of us could access a larger slice of the full range of commercially available music. There was only one killing associated with home taping. The one that the record companies weren’t making.

1984 was much like 1983 and 1982 in that the music scene back then was high in quality. There was very little filler. Punk, new wave, synth-pop, rock, show tunes, and even the tail-end of disco all jockeyed for position on the charts.

Bands and solo artists were experimenting, blending genres, and breaking all kinds of musical boundaries. Pick any of the 52 weekly charts for the year and you will be blown away by the sheer range of styles of music, not to mention the depth of quality.

In tech news, vinyl was on the cusp of being challenged by other formats like cassettes and the soon-to-arrive CDs. You can rest assured that in 1984, flipping an A-side to a B-side was still a cherished ritual for many music lovers. It created a tactile experience that other formats just couldn’t replicate.

Was it the needle drop for the first time on an iconic track? Or was it the discovery of a hidden gem on the B-side. The humble 7-inch single had a special charm. They offered a unique way to experience music, one that blended sound with touch and sight. Each one was a musical snapshot. They encapsulated the energy, the experimentation, and the variety of 1984’s music scene.

*Yes, it was only 8, but that’s at least double the number I managed to obtain in any of the first four years of the eighties.

Top 5 Best-Selling Singles of 1984

Now, let’s not get sniffy about the use of chart data to guide the narrative. We must remember that with so many great tracks, there’s a great probability that I’d miss some out. Heck, you know I will anyway.

Chart data is a great guide to exactly what people were really getting into back in 1984. If you like, the official data showcases the crème de la crème of the year’s hits. Here’s a look at the top 5 singles that dominated the charts.

Do They Know It’s Christmas? by Band Aid

Top of the top sellers in 1984 was, unsurprisingly, Do They Know It’s Christmas? by Band Aid. The track was conceived by Bob Geldof and Midge Ure. They had both seen Michael Buerk’s harrowing BBC news report on the ongoing famine in Ethiopia.

It was recorded in a day, on 25 November 1984. Geldof and Ure had wanted Trevor Horne to produce the track, but other commitments meant that he was unable. He allowed them free use of his Sarn West Studios in London.

Accordingly, the great and the good of British and Irish talent converged on the studio. What they recorded was a piece of classic eighties pop culture. It’s a song that is etched on the public consciousness – like a sliver of Shakespeare or a dash of Dickens, everybody knows it or part of it.

It was in the shops by 7 December and went straight into the chart at number one. It remained at number one for 5 weeks, so well into January 1985. It sold approaching two and a half million copies.

I Just Called To Say I Love You by Stevie Wonder

This was a towering hit. It spent 6 weeks at number 1 in the UK singles chart, selling over 1.8 million copies.

Superficially it was a sentimental favourite that grabbed listeners’ hearts. It stood out for its simplicity and emotional resonance. It was included on the soundtrack for the Gene Wilder and Kelly LeBrock film, The Woman In Red and won the Academy Award for Best Original Song.

Relax & Two Tribes by Frankie Goes To Hollywood

There can be no doubt that the third best-selling single of 1984 was a phenomenon. Would it have been quite the phenomenon without Aunty Mike Read’s input? It is a great track, but it must have received added lustre due to its ban for its racy lyrics.

The controversy only fuelled its popularity, making it a staple at clubs and parties all over the UK. It became a dance anthem and spent five weeks at number one.

The Scouse scamps that were FGTH obviously knew what they were about because they also had the fourth top-selling single of 1984 with Two Tribes. This was a massive success, eclipsing Relax. It entered the UK Singles Chart at number 1 and stayed there for nine consecutive weeks.

With its driving bass and charged lyrics, Two Tribes reflects Cold War tensions. It has themes of conflict and nuclear war. The track’s music video was provocative, featuring lookalikes of Ronald Reagan and Konstantin Chernenko fighting in a wrestling match. Its innovative production and powerful message solidified the song as an iconic piece of 1980s pop culture.

FGTH’s third single The Power of Love saw them complete the hattrick of their first three singles all reaching number one. In turn, it was the sixteenth top-selling UK single of 1984.

George Michael’s Careless Whisper

This was the fifth best-selling single in the UK in 1984. It was at once George Michael’s solo debut and a track from Wham!’s second album Make It Big. It’s the only original track from the album that is credited to both Michael and Andrew Ridgeway.

Its iconic saxophone riff and themes of guilt and infidelity made it a massive hit. It topped the charts in the US and the UK, not to mention 10 or more additional countries. Careless Whisper showcased Michael’s vocal prowess and signposted that he would one day be a solo artist.

Its smooth, soulful melody and introspective lyrics have made it a timeless classic, often associated with the 1980s pop music era. Its enduring popularity is a testament to Michael’s talent as a songwriter and performer. Ridgeway must be afforded his share of the glory too.

As far as the rest of 1984 is concerned, George Michael was very much a part of Wham! and very much a part of the list of the forty top-selling singles in the UK. The pair had Last Christmas/Everything She Wants, Freedom and Wake Me Up Before You Go Go at numbers 6, 10 and 11 respectively.

Famously, Last Christmas was prevented from reaching number 1 by Do They Know It’s Christmas?, a track on which George was a performer.

Which Singles Did I Buy In 1984?

As I mentioned, in 1984, I bought 8 singles with my paper round earnings. Some were among the 40 biggest-selling singles that year. So, they may not have topped the UK singles chart. But, they left a huge mark on me. These tracks captured the essence of the era and showed off just how diverse the music scene was at the time.

In no particular order, we start with The Eurythmics’ Sexcrime (nineteen eighty-four). Intended to feature in the film 1984, it was pulled from its theatrical release. It appears on The Eurythmics’ fourth album 1984 (For The Love Of Big Brother). This was also the film’s soundtrack album. Sexcrime (nineteen eighty-four) is the backing track to the film’s theatrical trailer.

I bought the 7-inch single on 24 November 1984* when it was at number 7 in the UK singles chart. It reached its peak position of number 4 two weeks later. Sexcrime (nineteen eighty-four) is a synth-pop track. The track creates a tense, urgent atmosphere with driving electronic beats and layered synths.

The song features Annie Lennox’s powerful and emotive vocals. Inspired by the themes of Orwell’s dystopian novel, the lyrics reflect themes of surveillance and control. Dave Stewart delivers the mantra ‘nineteen eighty-four’ through a vocoder.

The track captures the essence of the novel’s oppressive environment. At the same time, it maintains The Eurythmics’ signature style. The duo always had a great pop sensibility. Here they blend that with darker, experimental sounds. Stewart’s polished, dynamic production highlights this.

*I also attended Gay Meadow to watch Shrewsbury Town versus Sheffield United. The game was a belter, ending 3-3.

Nightshift by The Commodores

This was the Commodores’ first offering post Lionel Richie. A tribute to Marvin Gaye and Jackie Wilson, it was written by lead singer Walter Orange together with Dennis Lambert and Franne Golde. Lambert also co-wrote 1975’s hit for Tavares, It Only Takes A Minute, and 1985’s We Built This City by Starship. Golde is perhaps most famous for her work with the Pussycat Dolls. In particular, the 2005 track Stickwitu.

It reached number 3 in the UK singles chart and on the Billboard Hot 100. The group looked set to continue the chart success of the seventies. However, without Richie, it seemed the Commodores did not quite have that star quality. Consequently, the group did not reach such heady heights again.

One Night In Bangkok by Murray Head

One Night In Bangkok was a track taken from the concept album and later hit musical Chess. It was written by Benny Andersson and Björn Ulvaeus with Tim Rice. The track describes the cultural highlights of Bangkok in the context of a chess tournament being played in the city.

The protagonist, Frederick Trumper (Head), would rather be playing chess than experiencing what this vibrant south-east Asian capital has to offer. The lyrics are delivered in style that is a mix of spoken word and singing.

I bought this on 28 December 1984. I guess my purchase gives an insight into the eclectic nature of my musical tastes. It’s also an illustration that there are only two types of music – that which you like and that which you don’t like.

One Night In Bangkok was a modest hit in the UK, reaching number 12 on the singles chart in December 1984. It performed better internationally, climbing to number 3 on the Billboard Hot 100 and securing the top spot in several other countries.

Sad Songs (Say So Much) by Elton John

Mum had read the packaging, and she knew that if we collected enough empty Hula Hoop packets, we’d have enough for a free single each. What more incentive did a fourteen-year-old need to eat crisps?

Anyway, I’m not sure that the list of options for our free 7-inch was terribly inspiring, so you could argue that Sad Songs (Say So Much) was a compromise of sorts. Elton John is one of those artists whose personal wealth I have not contributed to, yet I can sing along with the best of them when one of his songs comes on.

This one reached number 7 in the summer of 1984, not long after his beloved Watford had lost the cup final to Everton. Obviously, it wasn’t written with that event in mind, but it is a comforting anthem for anyone who’s ever turned to music to heal a heartbreak.

Like A Virgin by Madonna

Here we saw the intersection of the Venn diagram circles that are ‘my 1984 singles’ and the ‘UK’s top-selling singles of 1984’. As soon as we saw Madonna perform this song in her pink wig on Top of The Pops, we were all sold on the charms of Ms Ciccone. I say all, I mean most 14-year-old British boys.

It was not Madonna’s first UK single. That honour went to Holiday which performed perfectly respectfully, reaching number 6 in the UK singles chart in the early part of the year. I must have been asleep for that time, because it totally passed me by. Two other singles, Lucky Star and Borderline were released, reaching number 14 and number 56, but they too passed me by.

I bought it on 28 December 1984. With my support, Like A Virgin reached number 3 in the UK singles chart and sold enough copies to rank as the eighteenth top-selling UK single of 1984. Its catchy beat and bold lyrics made Like a Virgin a must-dance-to song. It’s about feeling brand new and excited – like the first time you experience something special.

Like a Virgin kick-started Madonna’s career. Soon she was one of the most famous pop stars in the world. Even today, new listeners enjoy it because it makes them want to get up and dance!

Run Runaway by Slade

Slade had great success with My Oh My late in 1983. This, their follow up brought a little bit more glam rock to the mix with its high-energy track and catchy sing-along chorus. It reached number 7 in the UK singles chart and was the band’s last number 10 single.

Skin Deep by The Stranglers

This was one of the cooler singles that I bought. On Friday 19 October 1984, we had a sponsored walk to raise money for some project or other at school. As I was tramping around the highways and byways of mid-Shropshire, Mum was in town buying this on my behalf.

The Stranglers were always viewed a little suspiciously by more hardcore punk bands. Accusations were thrown. My god, they used keyboards! Shock! Horror! They seemed more rock than punk.

The Stranglers were a bit older than other punk bands. This also made them stand out. And shish, they came from Guildford! Despite these mixed opinions, they became popular and had many fans. Their music was exciting and energetic, which enabled them to build up a cult following.

Skin Deep explores themes of superficiality, authenticity and the deeper layers of human nature with its darker, melodic sound. It blends new wave with post-punk elements. Its catchy melody with a prominent synth line, gives it a polished and somewhat atmospheric sound.

Bass and drums provide a steady, driving rhythm, while the guitar adds texture with its subtle riffs. Lead singer Hugh Cornwell’s delivery is smooth and engaging. Overall, Skin Deep shows The Stranglers’ ability to combine thoughtful lyrics with an accessible and memorable musical arrangement.

U2 – Pride (In The Name Of Love)

A day later, I was in town, guiltily buying U2’s Pride (In The Name Of Love). Paying tribute to Martin Luther King Jr., it became a powerful anthem for social justice. Many would argue that it also marked the starting point of Bono being an annoying tit. But not me.

Pride was U2’s biggest-selling UK single to date. It had reached number 3 in the UK singles chart soon after its release and was sliding down the chart by 20 October 1984. I was moved by its driving tempo as much as anything. Obviously, its message is powerful and introduces this spotty teenager to a wider conscience  

Pride marks the end of U2’s more rock-orientated output. In terms of performance, it’s a straightforward rock song, fitting in with tracks such as Sunday Bloody Sunday and New Year’s Day. They were taken from U2’s third album, 1983’s War.

It is at odds with the other tracks on its parent album, The Unforgettable Fire. In turn this album has a much more atmospheric and experimental sound to War and its predecessors Boy (1980) and October (1981).

The Legacy and Influence of 1984’s UK Singles Charts

These 7-inch singles from 1984 haven’t disappeared; they’re in the loft. They’re still in the record boxes that I bought to house them all those years ago. What was etched on them has left a lasting impact on music and culture. They continue to inspire new generations, showing how important that year was for the music scene.

The artists behind these singles have seen their careers grow in interesting ways. For many, these tracks were either a starting point or a confirmation of their iconic status. For example, following the success of Like A Virgin, Madonna became a global superstar. Although Pride (In The Name Of Love) did not introduce U2 to the world, it alerted people to them who had previously not known them. Within twelve months they were a global phenomenon.

The influence of these singles is clear not just in how often they are still played and collected. Do They Know It’s Christmas? is a well-known charity single. It holds a place in peoples’ hearts because it was a collective response to a dreadful situation. As a Christmas song, it receives airplay every year.

Like A Virgin has been covered, sampled, and referenced by modern artists. Teenage Fanclub’s version of it appears on their second studio album, 1991’s The King. From the sublime to the ridiculous. Jim Broadbent, Richard Roxburgh and Anthony Weigh covered the song in the 2001 film Moulin Rouge.

All these records hold a nostalgic value that goes beyond the music. They remind us of a time when listening to music was a hands-on, immersive experience. Going into town, sifting* through the record racks, selecting and holding a single, looking at its cover art, taking it home, and playing it on a turntable still has a special charm that digital formats can’t match.

The lasting popularity of these 1984 singles highlights the power of great music. All of them captured the spirit, emotion, and creativity of their time, and they continue to speak to listeners across different generations. Whether through direct experience or nostalgic reflection, the legacy of these singles remains alive and strong.

*Perhaps not sifting exactly. The ones I bought were usually chart singles, so they would be easy to find. I would occasionally sift through the bargain bucket.