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In The Number Ones, I’m reviewing every distinct #1 distinct in the history of the Billboard Hot 100, starting with the chart’s beginning, in 1958, and alive my way up into the present.

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Van Halen – “Jump”

HIT #1: February 25, 1984

STAYED AT #1: 5 weeks

Historically, adamantine bedrock has had a boxy time on the Billboard Hot 100. That was accurate in the ’60s and ’70s, aback abundant metal was aloof advancing into actuality and aback its heroes about never got anywhere abreast #1. Alike Led Zeppelin, the better and best bandage that the brand had to offer, alone fabricated the top 10 once. (1969’s “Whole Lotta Love” ailing at #4. It’s a 10.) It was accurate in the ’90s, aback grunge had a huge cultural appulse but about biconcave the Hot 100. (Nirvana, for instance, ailing at #6 with 1991’s “Smells Like A Teen Spirit,” their alone top-10 hit and addition 10.) It’s abiding as hell accurate now.

Traditionally, adamantine bedrock bands advertise albums and concert tickets and T-shirts, but they alarm abroad pop-radio programmers assertive that they’ll about-face off audiences and advertisers the aboriginal time a adulterated guitar riff bliss in. There’s one big barring to that history: The backward ’80s, aback a accomplished beachcomber of poodle-haired LA glam metal bands rode a arrant MTV-backed beachcomber — and a acknowledgment adjoin the British synthpoppers of the aboriginal ’80s — and briefly bedeviled the pop charts. Plenty of the arch lights of the Sunset Strip arena fabricated hits, and a few of them will arise in this column. In 1984, the apple got a examination of what was coming.

Before 1984 (and 1984), Van Halen were already one of the better bands in the world. Their 1978 self-titled admission had awash 10 actor copies, and it remained appropriate alert for every shop-class hesher in America for years. The band’s abutting four albums were all bartering destroyers; alike 1981’s Fair Warning, advised the bomb of the band’s aboriginal years, still went bifold platinum. Van Halen toured stadiums and provided a arrangement for hundreds of bands who approved to adept the aforementioned aggregate of abandoned theatricality and finger-tapping abstruse pyro.

But Van Halen had never been a attendance on the pop charts. They got rock-radio play, of course, and they were abandoned abundant to awning old hits whenever possible. (Their highest-charting distinct afore 1984, a 1982 awning of Roy Orbison’s 1964 chart-topper “Oh, Appealing Woman” had ailing at #12.) It angry out that Van Halen alone absolutely bare to do one affair to cantankerous over on the pop charts. They bare to ascertain the synth. With “Jump,” that’s what they did.

Eddie Van Halen had capital to comedy keyboards for years. He’d been both a classically accomplished pianist and a bagman afore acrimonious up the guitar in his boyish years, and he’d apparent area accepted music was moving. Aback Eddie played the guitar abandoned in Michael Jackson’s “Beat It,” one of the better hits of 1983, he got a immediate attending at how the aggregate of bedrock riffage and high-’80s studio-craft could accident through aggregate about it. But Van Halen accompanist David Lee Roth and approved ambassador Ted Templeman weren’t into the abstraction of those keyboards, and they kept cutting bottomward Eddie’s ideas. Eddie wrote the “Jump” keyboard riff as aboriginal as 1981, but he had to body his own flat afore he could argue Roth to address some lyrics and sing over it.

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In 1984, Eddie Van Halen and David Lee Roth had been bandmates for added than a decade. Eddie Van Halen and his brother Alex, both built-in in the Netherlands, had confused to Pasadena, California as kids. They started arena music calm in the ’60s; originally, Eddie was the bagman and Alex the guitarist. They’d formed a bandage alleged Genesis in 1972, recruiting David Lee Roth as their accompanist because they didn’t appetite to accumulate advantageous him to hire a complete system. Upon acquirements that there was addition bandage alleged Genesis — one that will eventually arise in this cavalcade — they afflicted their name, aboriginal to Mammoth and afresh to Van Halen.

For years, Van Halen congenital up a huge acceptability as a bistro bandage in Southern California — aboriginal in Pasadena and then, eventually, on the Sunset Strip. They’d canyon out flyers at aerial schools, a action that formed beautifully alike admitting it’d apparently get them arrested today. Afterwards seeing one of Van Halen’s club shows, Gene Simmons from Kiss produced a audience for them. (Kiss’ highest-charting single, 1976’s “Beth,” ailing at #7. It’s a 4.) Warner Bros. assuredly active Van Halen in 1978, and the bandage became huge about immediatley.

Musically, those aboriginal Van Halen annal aren’t the heaviest things in the world. They aren’t that abroad from what studio-rock bands of the era like Journey and Foreigner were doing. But you could never abash Van Halen with any of those bands; Van Halen had way too abundant personality. Eddie Van Halen’s acute acrobatic shredding was a accomplished new thing, an attention-grabbing affectation that went out of the branch of raw ability and became its own affectionate of peacocking display. And while David Lee Roth was never a acceptable accompanist in any accepted way, he became one of the best abundant frontmen in bedrock history through arduous cool swagger. Roth was basically a Tex Avery animation wolf in animal form, and he yelped and panted and catcalled area added banal singers would’ve been agreeable to aloof sing.

Eddie Van Halen and David Lee Roth couldn’t angle anniversary other, of course. They had altered account of what Van Halen should be doing. Eddie capital to do serious, aggressive musicianly things. Roth capital to accomplish things as bright and abandoned as possible. The Van Halen songs that accept age-old the best are the ones area Roth went into abounding amusement overload: “Hey hey hey! One break! Cooooomin’ up!” But Eddie had abundant bartering instincts to accept how a Van Halen song with a big keyboard riff ability work, and Roth had to be talked into it.

Eddie assuredly recorded “Jump” as a audience at his own flat with synth-suspicious ambassador Ted Templeman, and Templeman assertive Roth to accord the song a shot. Roth loves to acquaint the adventure of autograph the “Jump” lyrics while benumbed about in the aback of a 1951 Mercury while roadie Larry Hostler drove. Roth would bang the instrumentals, accepting Hostler’s opinions on the songs while they were in progress, and that would appearance the songs.

Roth additionally brand to say that the “Jump” lyrics were aggressive by a account address of a baleful man continuing on the roof of Arco Tower in Los Angeles, chief whether or not to leap. Roth’s abstraction was that there would consistently be addition in the army beneath babble for the guy to jump. That adventure is way darker than the song itself, which is absolutely aloof Roth aggravating to get some babe to get over her inhibitions and arise home with him: “You say you don’t know/ You won’t apperceive until you begin.” If Larry Hostler is the guy who assertive Roth to about-face “Jump” into a pickup-line song, afresh I achievement Van Halen paid Hostler well.

Roth has additionally said that “Jump” was aggressive by demography kickboxing classes from the aggressive arts adept Benny “The Jet” Urquidez. Roth, you may accept noticed, brand to talk. I don’t accept the Uriquidez adventure for a second, but it’s still my admired adventure about the conception of “Jump” — mostly because it gives me a adventitious to cavalcade the Jackie Chan/Uriquidez action from 1984’s Wheels On Meals, one of the best one-on-one action scenes in the history of conjugal arts cinema. This motherfucker assault out candles with bang speed.

Roth may not accept capital to almanac “Jump,” but he still gets into it, putting a big and awkward assertion point at the end of every phrase: “I get up! And annihilation gets meeee down!” Roth pouts and preens and struts to perfection. Because of that big, asinine keyboard riff, he never has to backpack the melody — which is good, aback he absolutely can’t. That keyboard absolutely is the array of big, goofy, irrepressible cheese that marks so abundant of the best ’80s pop. I accept why Roth didn’t anticipate a song like this fabricated faculty for Van Halen, but I’m animated he fabricated it anyway. Abreast the end of the song, aback Eddie Van Halen is trading off guitar and keyboard solos, “Jump” attains a array of antic majesty, but it never stops alive as a pop song.

As with so abounding of the hits from this era, the “Jump” video is all angry up with the song, to the point area it’s adamantine to anticipate of the song afterwards the video. But while so abounding of the era’s hits accept story-driven high-concept videos — or surreal cocaine-freakout fever-dream videos — the “Jump” blow is actually aloof Van Halen arena in a aphotic room. It never gets boring, which says a lot about how fun and ambrosial this bandage could be. David Lee Roth looks about impossibly good, and he knows it. Everyone in the bandage seems to accept fun actuality about anniversary other. They all assume to afford aplomb from their pores. They’re a able assemblage — or, at least, that’s what they arise to be.

After a year, that adaptation of Van Halen would be done. “Jump” was the aboriginal distinct from the band’s anthology 1984, which went on to advertise 10 actor copies. Their abutting three singles weren’t top-10 hits, but they all became rock-radio staples. (“I’ll Wait” and “Panama” both ailing at #13. “Hot For Teacher,” somewhat incredibly, alone fabricated it up to #56.) But David Lee Roth and Eddie Van Halen were so ailing of anniversary added that Roth assuredly larboard the bandage in 1985, activity abandoned appropriate away.

Roth’s better hit distinct was additionally his first: His 1985 awning of the Beach Boys’ 1965 song “California Girls,” which ailing at #3. (Roth’s adaptation of “California Girls” is a 4. The Beach Boys’ aboriginal “California Girls,” by coincidence, additionally ailing at #3. That one is a 6.) Afterwards that, Roth alone fabricated the top 10 already more. (1988’s “Just Like Paradise” ailing at #6. It’s a 5.)

Van Halen, meanwhile, recruited the abandoned artisan and above Montrose accompanist Sammy Hagar as their new frontman. (As a abandoned artist, Hagar’s highest-charting distinct was 1983’s “Your Love Is Driving Me Crazy,” which ailing at #13.) Aloof like abandoned David Lee Roth, the Sammy Hagar adaptation of Van Halen got to #3 with their aboriginal single, 1986’s “Why Can’t This Be Love.” (It’s a 6.) And aloof like abandoned Roth, the Hagar adaptation of Van Halen alone fabricated one added top-10 hit. (1988’s “When It’s Love” ailing at #5. It’s a 5.)

Van Halen went on to a appealing acknowledged run afterwards Roth, but it wasn’t the same. In 1996, Hagar larboard the band, and Van Halen fabricated a disastrously shitty anthology with the above Extreme accompanist Gary Cherone. (Extreme will eventually arise in this column.) Aback then, Van Halen accept reunited with both Hagar and Roth, and they’ve fabricated one final album, 2012’s better-than-anyone-expected A Altered Affectionate Of Truth, with Roth — admitting afterwards bassist Michael Anthony. (Instead, they brought in Eddie Van Halen’s boyish son Wolfgang.) These days, it looks like Van Halen are burst up again.

So Van Halen won’t appearance up in this cavalcade again, but their artful birth abiding will.

GRADE: 8/10

BONUS BEATS: Here’s the bland new beachcomber “Jump” awning that Aztec Camera arise in 1984:

BONUS BONUS BEATS: Here’s the contemplative indie-pop “Jump” awning that Mary Lou Lord arise in 1997:

BONUS BONUS BONUS BEATS: Here’s DJ Felli Fel sampling “Jump” on the 2010 Fat Man Scoop/Lil Jon/Three 6 Mafia collab “I Wanna Get Drunk”:

(DJ Felli Fel’s highest-charting distinct is the 2007 Diddy/Akon/Ludacris/Lil Jon collab “Get Buck In Here,” which ailing at #41. Fat Man Scoop doesn’t accept any Hot 100 hits as advance artist, but he appeared on Missy Elliott’s 2005 clue “Lose Control,” which ailing at #3. It’s a 9. Lil Jon’s highest-charting distinct as advance artisan — or as advance artisan with the East Side Boyz, anyhow — is 2003’s “Get Low,” which ailing at #2. It’s a 10. As a bedfellow and a producer, Lil Jon will eventually arise in this column. Three 6 Mafia’s highest-charting single, 2005’s “Stay Fly,” ailing at #13. As a guest, Three 6 Mafia affiliate Juicy J will eventually arise in this column.)

BONUS BONUS BONUS BONUS BEATS: Here’s Bruce Springsteen, at a 2014 alive show, accoutrement “Jump” — with Tom Morello accomplishing the shredding — and authoritative it complete a accomplished hell of a lot like a Bruce Springsteen song:

(Bruce Springsteen’s highest-charting single, 1984’s “Dancing In The Dark,” ailing at #2. It’s an 8.)

BONUS BONUS BONUS BONUS BONUS BEATS: Here’s the Dutch EDM DJ Armin Van Buuren debuting his “Jump” remix at the 2019 Ultra Music Festival, while David Lee Roth plays hypeman:

(Armin Van Buuren’s highest-charting single, 2013’s “This Is What It Feels Like,” ailing at #96.)

THE NUMBER TWOS: Nena’s apocalyptic German-language synthpop banger “99 Luftballons” ailing at #2 abaft “Jump.” It’s a 9.

Cyndi Lauper’s cartoonish sunshine-ray “Girls Aloof Appetite To Accept Fun” additionally ailing at #2 abaft “Jump.” It’s an 8.

Finally, Rockwell’s synth-funk freakout “Somebody’s Watching Me” ailing at #2 abaft “Jump.” It’s addition 8.

THE 10S: Shannon’s giddy, anfractuous Latin bathe electro-pop canticle “Let The Music Play” ailing at #8 abaft “Jump.” It’s abracadabra from the actual start, and it’s a 10.

(Revisit our attending aback at Van Halen’s affliction album, III, twenty years afterwards it was released, and analysis out our contempo account with Patty Smith area she talks about axis bottomward an action to advanced Van Halen.)

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