In The Number Ones, I’m reviewing every solitary #1 single in the history of the Billboard Hot 100, starting with the chart’s beginning, in 1958, and also working my method up right into the present.

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It’s every in the delivery. The expression “get out of mine dreams, gain into mine car” can be a playful if corny little pickup line, or it can be a weirdly intense threat. In ~ the beginning of Billy Ocean’s “Get Outta mine Dreams, get Into my Car,” the british singer’s third and last #1 hit, ocean veers dangerously close come the latter. That’s the little bit where Ocean, his voice multitracked come sound favor a mob, chants, “Hey! You! acquire into mine car!” That’s most likely not miscellaneous you ever before want to hear a stranger yelling at you. If girlfriend hear that, there’s a good chance the you’re about to black color out and also then wake up chained to a radiator in somebody’s basement.

Within a couple of seconds, though, the song’s irrepressible silliness bubbles up, every honking saxophones and cascading drum-machine rattles. As soon as Billy ocean stops chanting and starts singing, he’s an exuberant scamp. Ocean’s lines on “Get Outta my Dreams” are all awkward and ungainly top top paper: “Hey, Cinderella! step in your shoe!” however Ocean howls castle out through so lot pleasure that his auto sounds prefer a nice fun location to be. Of Ocean’s 3 #1 hits, “Get Outta my Dreams” is the catchiest and liveliest — a bright-plastic pop-music time capsule the still bursts v goofy energy.

Billy s himself should gain plenty of credit transaction for that goofy energy. S never had actually much the a pop-star persona, and also “Get Outta mine Dreams, gain Into my Car” isn’t a terribly distinctive song. It’s straightforward to imagine someone favor Huey Lewis to sing “Get Outta my Dreams,” if he’d really bothered to endeavor into late-’80s dance-pop. But virtually any other singer would’ve delivered the song with too much of a self-aware wink-nudge. Ocean simply belts the damn point out. S doesn’t sound like a pickup artist in love through his very own cleverness. Instead, he sounds supremely excited at the possibility that someone is about to get into his car.

But a most the credit should additionally go to Robert john “Mutt” Lange, the guy who produced “Get Outta my Dreams, gain Into my Car” and who co-wrote the song with Billy Ocean. “Get Outta mine Dreams” to be Lange’s an initial #1 hit, but he was already a pop-music veteran by the time he assisted Billy ocean stage his last pop-chart takeover. By the time, Lange was known as probably the world’s biggest arena absent producer, and also Billy s is nobody’s idea of an arena rock singer. However Lange and Ocean made feeling together anyway, due to the fact that Lange’s dizzily maximalist all-hooks sensibility never ever truly belonged come any particular genre.

We obtained into Mutt Lange a small bit in the Number persons Bonus Tracks pillar on Foreigner’s “Waiting because that A Girl like You,” the 1981 single that spent a near eternity grounding at #2. Lange co-produced the song, and also he aided supercharge Foreigner’s already-slick sound by bringing in a very young cutting board Dolby to play keyboards. That’s the type of thing that Mutt Lange was always an excellent at doing: taking big, evident things and making them bigger and an ext obvious.

Lange, born in Zambia, grew up privileged in apartheid-era south Africa, and he started playing in bands in the late ’60s, ~ he’d served out his compulsory armed forces service. In the at an early stage ’70s, Lange started a psych-rock band dubbed Hocus, and he married singer Stevie Vann. In the mid-’70s, Lange and Vann moved to the UK together and also split up shortly afterward. (This would not be Lange’s critical time marrying and also divorcing a musical collaborator.) Lange introduced his creating career when he was around 30, and at first, he mostly operated with pub-rock acts that were starting to mutate into new wave acts: Graham Parker, the Motors, Huey Lewis’ old band Clover. In 1978, the Boomtown Rats had a UK chart-topper with the Lange-produced single “Rat Trap.” but Lange’s genuine breakthrough came as soon as he developed the Australian difficult rock tape AC/DC’s 1979 smash Highway to Hell.

For Highway come Hell, Lange aided AC/DC streamline and also focus your well-established sound, offering their crunch a heft the it had never had. The album damaged AC/DC in the US and also sold millions, but frontman Bon Scott drank self to fatality shortly after ~ its release. ~ Scott’s death, AC/DC recruited Brian Johnson, one English singer who could screech similar to Scott, and also they recorded the 1980 album Back In Black through Lange. Back In Black offered in ridiculous, jaw-dropping numbers, and it remains one of the biggest-selling albums in the history of the world. The single “You Shook Me all Night Long” peaked in ~ #35 top top the hot 100, a rare feat in a climate where hard rock simply didn’t do service on the charts. Indigenous there, Mutt Lange to be made.

In the years after back In Black, Lange worked with Foreigner on 4 and also with the car on Heartbeat City, 2 hugely successful records. Lange also took the Sheffield hard rock band Def Leppard under his wing, producing their albums High ‘N’ Dry and also Pyromania. V Lange, Def Leppard found towering production and gleaming hooks, and they became stars. (Leppard will show up in this pillar soon.) but not all of Lange’s success was in the arena-rock, um, arena. Lange likewise knew just how to put together a pop song. Huey Lewis and The News, for instance, scored their very first top-10 hit v the Lange-written 1982 single “Do You believe In Love.” (That one peaked in ~ #7. It’s a 5.)

In 1984, Billy ocean vaulted the end of obscurity, reaching #1 v the breakout fight “Caribbean Queen (No more Love top top The Run).” Ocean’s follow-up solitary was a supremely catchy quasi-rock jam dubbed “Loverboy.” Billy Ocean and his continual collaborator Keith Diamond co-wrote that one through Mutt Lange, and Diamond and Lange created it together. “Loverboy” is usually an arena-rock song; v minor adjustments, that could’ve been a hit for Def Leppard or the Cars. But Billy s sang the hell the end of it, and also the tune landed best in the post-“Beat It” zone where a black pop singer might sing a straight-up rock song and also turn it into a smash. (This was a sadly short-lived phenomenon, as white absent stations were loathe to play noþeles from black pop singers.) yet timing is everything. “Loverboy” confirmed up at the appropriate time, and also it peaked in ~ #2. (It’s one 8.) Lange additionally had a hand in composing “When The Going it s okay Tough, The difficult Get Going,” Billy Ocean’s donation to the soundtrack the the 1985 movie The Jewel that The Nile, and also that one also peaked in ~ #2. (It’s a 6.)

By 1988, Billy s was riding one improbable struggle streak. After practically a te as a full unknown in America, ocean knocked out 6 top-10 hits in 2 years. Two of castle — weirdly, the two with eight-word track titles — do it all the way to #1. When s went to work-related on his 1988 album Tear down These Walls, Ocean normally got together with Mutt Lange for an additional song with an eight-word title. I wonder if s noticed the pattern, if he provided “Outta” instead of “Out Of” on the “Get Outta mine Dreams” location so that he’d fight that exact word count. (“When The Going gets Tough, The difficult Get Going” has a nine-word title, so maybe that’s why it didn’t reach #1.)

Tear down These Walls, which took its title from the well known speech that Ronald Reagan provided at the Berlin wall surface the previous year, is a fascinating album, though it’s not a particularly an excellent one. Ocean released the LP a couple of days prior to his 38th birthday, and it find him make the efforts to record up v the sound of the moment. Ocean co-wrote the location track, because that instance, through Mutt Lange and brand-new jack totter auteur Teddy Riley, a guy whose occupational will soon appear in this column. I’m pretty sure that one track is the just time Lange and also Riley ever worked together, and I great we had more. It’s fun simply to imagine the two of castle in the studio together, trying to find middle ground. (They walk a pretty an excellent job, honestly. “Tear down These Walls” is a cool song. The didn’t make the warm 100, however it did reach #27 on the R&B chart.)

Where Billy Ocean’s 2 previous albums had both gone twin platinum, Tear down These Walls just went platinum once, and “Get Outta my Dreams” was its just top-10 hit. But man, that’s a hit! as soon as you recognize “Get Outta my Dreams” is a Mutt Lange production, you can’t unhear it. Unlike “Loverboy,” “Get Outta my Dreams” doesn’t really sound like arena-rock, yet it quiet floods her pleasure centers the same means a Def Leppard track could do. The production is vast and layered, and also it’s lousy through hooks.

The “Get Outta my Dreams” intro has actually jackhammering drum machines and car-horn beeps and also heavy breathing, which provides the “Hey! You!” bit a little bit creepier. (Ocean later said that label execs obtained him to “cut out several of the grunts and groans” from the opening: “Part of the trouble they foresaw to be it could encourage perverts to molest tiny children.” that seems like a stretch come me, yet I assumption: v it’s great to continue to be on the safe side there.) various other than the old-school honk-bleat sax solo, almost everything top top “Get Outta mine Dreams” is synthetic, and also yet the song never ever seems tinny or chintzy. Instead, those programmed drums knock you about from all sides, and Ocean and Lange develop these an excellent playful melodies on top of them.

Lyrically, “Get Outta my Dreams” is a mess. The song acquired its title and its ide from Johnny Burnette’s 1960 rocker billy hit “You’re Sixteen,” a much-creepier track that Ringo Starr took to #1 in 1973. (That tune might in reality encourage perverts come molest small children, currently that i think around it.) ~ above “You’re Sixteen,” the heat is “you walked out of mine dreams and also into my arms.” Billy Ocean’s lyrical adjustment might make “Get Outta my Dreams” a little much more threatening, however it also enables for much more car-horn sound effects, i beg your pardon is a an excellent thing. (The song likewise borrows that is toot-toot beep-beeps native the Beatles “Drive mine Car.”) as a song about cars, “Get Outta my Dreams” likewise gives ocean a possibility to sing part truly delirious nonsense: “Smooth operator, touch my bumper!”

That ridiculousness works. “Get Outta my Dreams, acquire Into my Car” is a pure, euphoric vision of popular music absurdity. If girlfriend think too hard around the song, that feels prefer the stupidest, most vapid thing imaginable. If you start asking questions, an ext questions will appear. (For instance, when ocean sings, “Get the while girlfriend can, I’ll be your nonstop miracle,” what can that probably mean? If he’s really a non-saw miracle, why would there be an expiration day on his offer?) yet when the song is playing, the moves. Charisma just bursts out of this thing. As soon as the key change kicks in, Lange provides it a rushing whoosh, prefer a train start a station, and that is my shit.

The “Get Outta mine Dreams” video clip only reinforces that emotion of giddy silliness. Director terry Bulley, that would walk on to make a 1997 Cliff Richard TV movie called Heathcliff, spins a story that Billy ocean picking up a car-wash attendant and also taking her to a drive-in movie. In the movie they go see, Billy ocean dances v a sax-playing cartoon duck. In the year that Who Framed i get it Rabbit, the clip’s combination of animation and live action isn’t very sophisticated, however it’s still funny to see a goldfish inexplicably swimming roughly Billy Ocean’s submarine car, or a gas station’s pumps transforming into backup singers. Also, i like how the girl in the video clip lip-syncs every the chanting parts, implying that her voice is a entirety lot deeper than one can imagine.

Billy Ocean’s Tear under These Walls album came out in January of 1988, soon after Def Leppard released your Mutt Lange-produced blockbuster Hysteria. (Hysteria‘s title track peaked in ~ #10 a week before “Get Outta my Dreams” got to #1. It’s a 9.) “Get Outta mine Dreams” turned out to be Billy Ocean’s final top-10 hit. Ocean’s follow-up, the ballad “The colour Of Love,” peaked in ~ #17. A year later, s released a greatest-hits album with a straight-up new jack swing single called “License come Chill,” which Ocean and also Lange co-wrote and also which peaked in ~ #32. The was the critical Billy s song to graph on the hot 100.

After Tear under These Walls, ocean waited 5 years to release his following album. Ocean recorded few of the smoothed-out 1993 R&B LP Time To relocate On in Chicago v R. Kelly, a man who will unfortunately show up in this column. Time To move On to be Ocean’s critical album because that Jive Records, the label that he’d helped establish. The seems prefer Ocean mainly retired after that one. He didn’t release an additional album for 16 years. These days, ocean collects occasional lifetime-achievement awards and records as soon as he feels choose it. He released an album referred to as One World critical year.

It’s funny to watch Billy s pop increase every when in a while these days, however he doesn’t seem too came to with burnishing his legacy. He struggled because that a long time, then went ~ above a warm streak. Now, as a result, Billy ocean gets to live the end the rest of his work in comfort. The seems favor a great life.

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Mutt Lange also seems come be an ext or less retired this days, and also he’s presumably got sufficient money the he can buy everyone analysis this obelisk a brand-new luxury auto without ever adjusting his means of life the tiniest bit. (He more than likely won’t do that, though.) Mutt Lange’s work will show up in this tower again.

GRADE: 8/10

BONUS BEATS: on a 2013 edition of the AV Club’s late, lamented video series AV Undercover, Virginia theatrical-thrash school Gwar extended “Get Outta mine Dreams, acquire Into my Car” and segued straight from that track to the Who’s “Baba O’Riley.” This didn’t make any type of sense, and yet it likewise made perfect sense. Right here is that absolutely wonderful performance: