| Track | Album |
|---|---|
| Lost In Love | Lost In Love |
| All Out Of Love | Lost In Love |
| Every Woman In The World | Lost In Love |
| The One That You Love | The One That You Love |
| Here I Am … | The One That You Love |
| Sweet Dreams | The One That You Love |
| Even The Nights Are Better | Now And Forever |
| Two Less Lonely People In The World | Now And Forever |
| Making Love Out Of Nothing At All | Greatest Hits |
| Goodbye | The Vanishing Race |
Air Supply, the soft rock duo of Graham Russell and Russell Hitchcock, represent one of those intriguing paradoxes in popular music. Formed in Melbourne, Australia in 1975, they emerged from the shadows of Jesus Christ Superstar, no less – where the two Russells (one English-born guitarist and songwriter, the other Australian lead vocalist with that soaring tenor) discovered their harmonic chemistry. What began as a harmony group touring Down Under quickly morphed into a global phenomenon, selling over 100 million records worldwide and scoring eight top-five hits on the US Billboard Hot 100 in the early 1980s. Yet, for all their commercial dominance, they’ve often been dismissed as purveyors of ‘schmaltzy’ ballads – easy listening for the lovelorn, the kind of music that soundtracked countless slow dances and broken hearts. But dismiss them at your peril; beneath the lush orchestration and heartfelt lyrics lies a craftsmanship that’s endured for five decades.
Their story is one of persistence and relocation. After early Australian success with Love And Other Bruises in 1976, they decamped to Los Angeles, signing with Arista Records and hooking up with producer Clive Davis, who saw gold in their melodic vulnerability. Albums like Lost In Love (1980) and The One That You Love (1981) propelled them to stardom, blending Graham’s poetic songwriting with Hitchcock’s emotive delivery. They weren’t rock rebels or disco kings; they were romantics in an era shifting from punk’s edge to new wave’s synths. By the mid-80s, tastes changed, but Air Supply kept touring, releasing albums, and even venturing into musical theater with All Out Of Love: The Musical in 2018. Inducted into the ARIA Hall of Fame in 2013, they’re still active today, a testament to their quiet resilience. In selecting these ten most representative songs, I’ve leaned to the chronological, focusing on their peak period while nodding to their longevity. These tracks capture the essence of Air Supply: vulnerability, melody, and that undeniable hook that lingers long after the fade-out.
This is where the international magic began with Lost In Love from the 1980 album of the same name. Originally written by Graham Russell in 1978, it was a modest Australian single before Clive Davis insisted on re-recording it for the US market. Peaking at No.3 on the Billboard Hot 100, it set the template for Air Supply’s sound: shimmering acoustic guitars, layered harmonies, and lyrics that ache with romantic confusion: I’m lost in love and I don’t know much / Was I thinking aloud and fell out of touch? Hitchcock’s voice glides effortlessly from whisper to crescendo, embodying that sense of emotional freefall. Lost In Love is not just a ballad; it’s a confession, produced with a polish that masks its raw heart. Historically, this track bridged their Aussie roots to global fame, influencing countless soft rock acts. Personally, I admire how Graham’s melody builds like a wave, crashing into the chorus – simple, yet profoundly effective. In an era of disco fever, it offered a soothing alternative, proving vulnerability could top charts.
If that song introduced them, All Out Of Love, also from Lost In Love, cemented their status as heartbreak specialists. Reaching No.2 in the US and top 10 in Australia, this Graham Russell composition is a masterclass in melodic pleading. The opening piano riff sets a melancholic tone, Hitchcock’s tenor rising in desperation: I’m all out of love, I’m so lost without you. The bridge, with its harmonic buildup, feels like a musical exhale, resolving tension only to build it again. Produced by Robie Porter, it features subtle orchestration that never overwhelms the vocals – a hallmark of their style. This song’s universality lies in its relatability; who hasn’t felt that void? It even inspired covers by artists like Andi Deris of Helloween, showing its cross-genre appeal. In the context of 1980, amid economic woes and cultural shifts, it provided emotional escapism. It is, in a sense, Air Supply’s Stairway To Heaven – not in complexity, but in emotional depth.
Closing out their breakthrough album’s trifecta of hits, Every Woman In The World, also from 1980, hit No.5 in the US, blending pop sensibility with rock edges. Written by Dominic Bugatti and Frank Musker, it’s one of the few non-Russell originals in their canon, yet it fits seamlessly. Hitchcock’s delivery on Every woman in the world to me is you is pure devotion, backed by a driving rhythm section that’s more upbeat than their typical ballads. The saxophone solo adds a soulful layer. Chart-wise, it solidified their hot streak but, representatively, it shows Air Supply’s versatility – romantic without being saccharine. Amid the new wave invasion, this song held the fort for melody-driven pop. Graham’s guitar work shines subtly, reminding us of their live prowess. It’s a song that rewards repeated listens, revealing nuances in the harmonies that make it timeless.
Their only US No.1 single came with The One That You Love, the title track from the sixth album in the following year. This exemplifies Air Supply’s peak polish. Graham Russell’s lyrics – Here I am, the one that you love, asking for another chance – capture reconciliation’s fragility, with Hitchcock’s voice soaring over strings and piano. Produced by Harry Maslin, it features a fuller sound, almost orchestral, that amplifies the drama. Topping charts in Australia and the US, it marked their commercial zenith from an album that went platinum. In historical terms, 1981 was a year of transitions – Reagan’s inauguration, MTV’s launch – and Air Supply offered constancy in love songs. The bridge’s key change is a classic power ballad move, building to an emotional peak. I appreciate how it avoids clichés, focusing on quiet desperation. It’s representative of their ability to turn personal introspection into universal anthems.
Peaking at No.5, Here I Am (Just When I Thought I Was Over You), also from The One That You Love in 1981, is a study in restraint. This Norman Saleet-penned ballad conveys resigned heartache through Hitchcock’s interpretation of Here I am, playing with those memories again with minimal instrumentation allowing vocals to dominate. The subtle bass and drums provide a heartbeat-like pulse, enhancing intimacy. As part of their 1981 dominance, it showcased their consistency – three top-fives from one album. Culturally, it resonated in an era of excess, offering simplicity. Graham’s backing harmonies add depth, creating a dialogue effect. It highlights their non-Russell songs, proving Hitchcock’s voice could elevate any material. The title’s parenthetical twist adds lyrical cleverness, a nod to their thoughtful songcraft.
Another No.5 hit from the same album, Graham’s Sweet Dreams is ethereal, with lyrics like This is the time when you need a friend evoking comfort amid sorrow. The arrangement builds from acoustic beginnings to a choral climax, Hitchcock’s range on full display. It represents their thematic core: love’s redemptive power. In 1981’s pop landscape, it stood out for its gentleness, contrasting harder rock. The production’s reverb creates a dreamlike quality, perfect for late-night radio. The melody is hypnotic, lingering like a half-remembered dream – pure Air Supply magic.
Hitting US No.5 (again!) from the 1982 album Now And Forever, Even The Nights Are Better flips the script to optimism: Even the nights are better, now that we’re here together. This Ken Bell, Terry Skinner, J.L. Wallace composition features Hitchcock’s joyful delivery, paired with upbeat tempo, marking a shift from pure melancholy. The saxophone and synths add 80s flair, making it danceable yet emotional. Representing their evolution, it showed range beyond ballads. Chart success continued their streak, but it’s the hook’s infectiousness that endures.
From the same album, Two Less Lonely People In The World peaked at No.38 but became a fan favourite, capturing serendipity: There are two less lonely people in the world tonight. Written by Howard Greenfield and Ken Hirsch, it’s intimate, with piano-driven verses building to harmonious choruses. It exemplifies their live appeal – simple, singable. In 1982, amid synth-pop rise, it preserved organic emotion. The bridge’s modulation heightens drama, a signature touch.
Jim Steinman’s composition and epic production on Making Love Out Of Nothing At All, from the 1983 Greatest Hits compilation, took it to No.2 with Hitchcock tackling bombastic lyrics: I can make the runner stumble, I can make the final block. The piano intro and building orchestration create theatricality, contrasting their usual subtlety. Representing their boldest hit, it bridged to power ballads like those of Bon Jovi. Steinman’s involvement added grandeur, making it a standout.
From their 90s resurgence on the 1993 album The Vanishing Race, Goodbye reached No.35 but became a staple. This ballad conveys mature farewell with I don’t wanna let you see me cry, featuring acoustic focus and Hitchcock’s seasoned voice. It represents longevity, proving their formula’s timelessness. In a grunge-dominated era, it offered solace, underscoring their enduring appeal.
Air Supply’s legacy isn’t in revolutionising music but in perfecting the art of the heartfelt song. Graham Russell and Russell Hitchcock’s partnership – now spanning 50 years – reminds us that melody and emotion never go out of style. These tracks are paradigms in crafting hits that touch the souls of millions of fans.
This year (2025), Air Supply are celebrating 50 years as a band with a World Tour and the release of Air Supply 50: The Greatest Hits.
Fans Air Supply Public Facebook Group
David Lewis is Australia’s best jazz mandolinist, unless you can name someone else: then he’s Australia’s second-best. In any case, he’s almost certainly top 100. He is a regular contributor to Toppermost, and also plays guitar, banjo and bass professionally. David is also the co-host of the New Politics Australia podcast, with Eddy Jokovich, and they have produced half a dozen books on Australian Politics based on the podcast.
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