RUN-D.M.C. WINS IN A ‘WALK’

Run-D.M.C.’s “Walk This Way” was the single of 1986.

Other records scored higher on the traditional scales of pop excellence: singles with more of the craft of the Eagles’ “Hotel California,” the commentary of Steve Van Zandt’s “Sun City” or rejuvenating emotion of John Lennon’s “Starting Over”--to cite some of my own past record-of-the-year choices.

Yet no single came as close to defining or, even, igniting a meaningful shift in pop culture during the last 12 months than the New York rap trio’s rowdy, yet playful, remake of the 1976 Aerosmith hard-rock hit.

Even more than Prince’s 1984 breakthrough in “Purple Rain,” the Run-D.M.C. offering represented a healthy fusion of youthful black and white musical sensibilities. In doing so, the record’s success mocked timid rock radio programmers who have long insisted that young white listeners aren’t just disinterested in street-oriented black music, but actively dislike such sounds.

Equally important, the record’s success opened the door for an even bolder mixture of rock ‘n’ rap styles: the heady punk, rap and heavy metal synthesis of the Beastie Boys’ year-end knockout album “Licensed to Ill.”

The vitality and charm of “Walk This Way” was also characteristic of many of the year’s most appealing singles--efforts that aimed more at disarming listeners than challenging them. This was a time when our best record makers seemed intent on celebrating the simple, yet therapeutic pleasures of Top 40 pop.

As in past years, only singles that made Billboard’s Top 100 charts during the last 12 months were eligible for today’s list.

The year’s best hit singles:

1. Run-D.M.C.’s “Walk This Way” (Profile Records).

2. Peter Gabriel’s “Sledgehammer” (Geffen)--This good-natured, high-tech salute to the sexual bravado of R&B; was just one reason this Englishman was the pop artist of the year. His album, videos and tour were equally inspiring blends of artistic ambition and populist instinct.

3. The Bangles’ “Manic Monday” (Columbia)--Prince deserves the credit for writing this cheery pop daydream, but it was the record’s vocal character that made it work--and that character is the Bangles’ forte. Almost equally inviting: the quartet’s “If She Knew What She Wants.”

4. Prince’s “Kiss” (Paisley Park)--”Parade” may have been a woefully disjointed album, but it contained a few jewels, including this witty flirtation and the driving, orchestral textures of “Mountains.” Key line from “Kiss”: You don’t have to watch ‘Dynasty’ to have an attitude.

5. Billy Idol’s “To Be a Lover” (Chrysalis)--The man of a million sneers actually has a heart after all. Idol finally found an endearing way in this sensual, supercharged workout to express his love for Elvis Presley and Memphis-based R&B.;

6. Chaka Khan’s “Love of a Lifetime” (Warner Bros.)--Khan’s exuberant vocal is framed by the exquisite (and exacting) musical punctuation of Scritti Politti’s Green Gartside and David Gamson, who may turn out to be 1987’s Terry Lewis and Jimmy Jam if they want to concentrate on production for a while.

7. Robert Palmer’s “Addicted to Love” (Island)--This dance-floor gem is a compelling wink at the relentless and hypnotic qualities of being swept away romantically.

8. David and David’s “Welcome to the Boomtown” (A&M;)--A gritty update of the Eagles’ expositions on decadence in Southern California that also contains a touch of Steely Dan detachment. Sample lines: Ms. Christina drives a .944 / Satisfaction oozes from her pores / She keeps rings on her fingers / Marble on her floor / Cocaine on her dresser / Bars on her doors.

9. Janet Jackson’s “What Have You Done for Me Lately” (A&M;)--In a surprising and radical step, Michael’s little sister grows up and displays a spunky, independent attitude in this delight from her “Control” album. Honorable mention: “Nasty.”

10. Patti LaBelle and Michael McDonald’s “On My Own” (MCA)--This record was rated over Palmer and Jackson on my midyear list because of the convincing tension in the Bacharach/Sager song itself and in McDonald’s vocal, but the self-conscious edges to moments of LaBelle’s singing don’t wear well.

If we removed the “hit” qualification and opened the competition to all the tracks that were contained on albums during 1986, these records would certainly be contenders for today’s list:

1. Peter Gabriel’s “Don’t Give Up” (Geffen)--Gabriel writes about the loss of self-esteem with uncommon poignance and grace.

2. The Jesus and Mary Chain’s “Just Like Honey” (Reprise)--A haunting and inspired attempt at re-creating the exhilaration of life’s most impassioned moments.

3. Elvis Costello’s “Tokyo Storm Warning” (Columbia)--Someone has written that this may be Costello’s “Highway 61 Revisited” and he may just be right.

4. The BoDeans’ “Looking for Me Somewhere” (Slash)--This country-flavored, acoustic work by one of America’s most promising young rock bands is an especially tender and touching expression of longing for fulfillment.

5. Peter Case’s “Steel Strings” (Geffen)--The former Plimsouls leader speaks eloquently about the false trappings surrounding rock ‘n’ roll idols.

And what would a year-end list be without some villains? Here are the 10 most annoying singles of ’86.

1. Boston’s “Amanda” (MCA)--The sad thing isn’t that this band came back with the same vacuous ‘70s approach, but that 3 million record-buyers were waiting for them.

2. New Edition’s “Earth Angel” (MCA)--Does anyone still think these kids are the new Jackson 5?

3. Duran Duran’s “Notorious” (Capitol)--Does anyone still think these guys are the new Beatles?

4. Peter Cetera’s “Glory of Love” (Warner Bros.)--You can take Cetera out of Chicago, but you can’t take Chicago out of Cetera.

5. Ric Ocasek’s “Emotion in Motion” (Geffen)--You can take Ocasek out of the Cars, but you can’t take the Cars . . . .

6. Human League’s “Human” (A&M;)--Can music get any blander than this?

7. Kenny Loggins’ “Danger Zone” (Columbia)--One reason “Top Gun” was hollow even by lowly sound-track compilation standards.

8. Loverboy’s “Heaven in Your Eyes” (Columbia)--One more reason “Top Gun” was . . . .

9. Timex Social Club’s “Rumors” (Jay)--One rumor that I wish people hadn’t spread.

10. Whitney Houston’s “All at Once” (Arista)--So weepy that it’s a wonder Arista didn’t include a handkerchief with every copy.

GOSPEL SESSION: “Everybody Say Yeah!,” part of Cinemax’s “Sessions” concert series, is a welcome salute to the wide range of contemporary gospel music, but could have been even stronger if it sacrificed some of the big names (Luther Vandross, the Oak Ridge Boys) and concentrated more on the purity and passion of artists like the Mighty Clouds of Joy and Jennifer Holliday. Paul Simon is uncomfortable in the host’s role, but his songs (including “Bridge Over Troubled Water”) are helpful in underscoring the enormous influence that gospel has had on contemporary pop artists. The program will debut at 7 p.m. Sunday on the pay cable service and be reshown seven times during the month.