Corey Hart -

Corey Hart (born May 31, 1962) is a Canadian singer from Montreal that released five albums on Aquarius/EMI between 1983 and 1990. He rose to international fame with the 1984 hit “Sunglasses at Night,” followed by the chart-topping ballad “Never Surrender,” which became his signature song. His debut album First Offense (1983) and its follow-up Boy in the Box (1985) both went multi-platinum in Canada, with strong showings on the US Billboard charts. Hart remained a prominent figure throughout the decade with further hits like “Everything in My Heart,” “It Ain’t Enough,” and “I Am By Your Side.”

Background

Corey Hart was born on May 31, 1962, in Montreal, Quebec, the youngest of five children raised by Romanian- and Ukrainian-Jewish parents. His parents separated when he was ten, and he was primarily raised by his mother, Mina, who remained his closest familial influence and later the dedicatee of his debut album. Hart showed an early interest in singing and began performing publicly by age 11, notably singing Michael Jackson’s “Ben” for Tom Jones during a visit to Miami. During this period, he also made demo recordings in Las Vegas with Canadian singer Paul Anka, further refining his vocal delivery in a professional setting.

Hart’s transition to original songwriting began in earnest by the end of the 1970s. In 1980, at age 18, he represented Canada at the World Popular Song Festival in Tokyo, where he debuted his own material in an international showcase. Following his return to Montreal, he pursued industry connections directly, including a bold outreach to Billy Joel’s touring entourage. This effort paid off when members of Joel’s backing band invited Hart to Long Island to cut demo sessions. Over the next two years, he worked with various Canadian studio musicians to refine his sound. After multiple rejections and setbacks, Hart secured a contract with Aquarius Records in 1982 at age 20. Several tracks composed during this period—including “The World Is Fire”—reveal the frustrations and persistence that shaped his early artistic voice.

“Sunglasses at Night”

Corey Hart debuted with “Sunglasses at Night,” the lead single from his first album First Offense. Recorded in London with co-producers Jon Astley and Phil Chapman, the track merges a steady sequencer pattern with minor-key guitar accents and a clipped vocal delivery. The lyrics emerged spontaneously during sessions disrupted by cold air from overhead vents, prompting Hart to riff on the surreal line, “I wear my sunglasses at night.”

The single was issued in two formats: a 3:53 edit for 7″ and a 5:20 album-length version. Its descending synth arpeggios underpin a chord cycle of B♭m–Gdim–G♭–B♭m, anchoring the track’s signature tension. Hart sings in B♭ minor, spanning F3 to A♭4.

A. “Sunglasses at Night” (3:53) opens to a pulse beat of fretless bass and modernist synth, which underlies the trepid verses. Corey tenses on the bridge (“While, she’s deceiving me, It cuts my security…”), delivered with vocal flare-ups that usher the chorus (“Don’t switch the blade on the guy in shades, oh no; Don’t masquerade with the guy in shades, oh no”), delivered with urgent, dramatic, second-language English enunciation.
B. “At the Dance” (3:39)

Sessions took place in London, England, with producers Jon Astley and Phil Chapman.

The accompanying video, directed by Rob Quartly, was filmed at the Don Jail in Toronto and imagines a dystopian “fashion police” regime. It features Hart without sunglasses, detained and processed by officers enforcing mandatory eyewear. The female officer in the final scene was portrayed by future MuchMusic VJ Laurie Brown.

Released in late 1983, “Sunglasses at Night” became Corey Hart’s breakthrough hit, peaking at No. 7 on both the US Billboard Hot 100 and Cash Box Top 100, and reaching No. 15 on Billboard’s Mainstream Rock chart. Internationally, it entered the Top 20 in Australia (No. 16) and New Zealand (No. 17), and placed within the Top 30 in both West Germany (No. 21) and Hart’s native Canada (No. 24 on RPM).

First Offense

Corey Hart released his debut album, First Offense, on November 11, 1983, through Aquarius Records in Canada.

His core band featured British session players including bassist Gary Tibbs (The Vibrators, Adam and the Ants), drummer Paul Burgess (10cc), and guitarist Michael Byron-Hehir (Sad Café), who later joined Hart’s touring lineup for several years. Guests include saxophonist Andy Hamilton and guitar legend Eric Clapton, who plays Dobro on “Jenny Fey.”

The original Canadian edition appeared with a black-and-white photo of Hart against a brick wall and included two tracks—“Araby (She’s Just a Girl)” and “Don’t Keep Your Heart”—that were omitted from later issues. Following the single release of “Lamp at Midnite,” Aquarius revised the Canadian LP, replacing “Don’t Keep Your Heart” with the new track and using edited versions of “She Got the Radio” and “It Ain’t Enough.” In 1984, EMI America released the album in the United States with new artwork: a color close-up portrait of Hart. This version restored the longer original versions of certain tracks but dropped “Araby.”

A1. “Sunglasses at Night” (3:58) – Corey adopts sunglasses as a symbol of emotional armor, shielding himself from a manipulative lover’s deceit while clinging to clarity and control. Beneath the cool façade lies a warning: don’t underestimate the pain behind the shades.
A2. “Peruvian Lady” (4:20) – Corey copes with mental fragmentation and a loss of control, caught in the thrall of a seductive but destructive woman—the “Peruvian lady”—whose manipulations unravel his sense of self and derail his direction in life. When he sings “I’m living here like Genghis Khan / The weak man, fighting the meeker man,” he’s confronting the irony of feeling powerful in name only—trapped in a pointless struggle that reflects inner weakness rather than dominance, a warped masculinity eroded by emotional defeat.
A3. “She Got the Radio” (3:54)
A4. “It Ain’t Enough” (3:30)
A5. “Araby (She’s Just a Girl)” (3:40) – Corey becomes obsessed with a distant, idealized girl whose elusive presence fuels his longing and fantasy, blurring reality as he retreats into a dreamworld he calls “Araby.” Though she’s “just a girl,” she becomes a symbol of unreachable desire and inner escape.
A6. “Does She Love You” (3:31)

B1. “Cheatin’ in School” (4:24)
B2. “Don’t Keep Your Heart” (3:45)
B3. “The World Is Fire” (5:03) – Corey grapples with heartbreak and betrayal as a former lover turns distant and cruel, leaving him consumed by emotional devastation. The repeated refrain “the world is fire now” reflects his inner turmoil and the burning aftermath of lost trust.
B4. “At the Dance” (3:29)
B5. “Jenny Fey” (3:35) – Corey observes a solitary woman whose life of isolation, routine, and emotional suppression reflects the silent suffering shared by many unseen figures in the world. Her existence fades into obscurity as the song laments the unnoticed loneliness that persists around us.

Sessions occurred in 1982 engineer Andy MacPherson at Revolution Recording Studios in Cheadle Hulme, Greater Manchester, with additional work done at Eel Pie Studios in London. Producers Jon Astley and Phil Chapman oversaw the sessions with Hart on keyboards. Hart completed the album by August 1982 but later returned to Canada and wrote “Sunglasses at Night,” which he felt compelled to add. He persuaded his label to include it, and the track became the album’s lead single and eventual breakthrough.

Hart recorded the album with engineer Andy MacPherson and received support from guest musicians including Jon Astley on rhythm guitar and vocals, Eric Clapton on Dobro for “Jenny Fey,” and saxophonist Andy Hamilton.

Raul Vega shot the front cover photograph, Jerry McGaraughty handled the back cover, and Michael Diehl provided the layout under the direction of Henry Marquez.

“Sunglasses at Night” appeared as the lead single in January 1984 and reached No. 7 on the US Billboard Hot 100. “It Ain’t Enough,” released later that year, peaked at number seventeen in the US and number four in Canada. Subsequent Canadian singles included “Lamp at Midnite” and “She Got the Radio.”

First Offense reached No. 31 on the Billboard 200 and No. 37 in Australia. It was certified gold in the United States in January 1987 and achieved quadruple platinum status in Canada. Hart earned four Juno Award nominations in 1984 and won Best Video for “Sunglasses at Night.” He also received a Grammy nomination for Best New Artist and won the Félix Award for Album of the Year in Quebec.

Boy in the Box

Corey Hart released his second album, Boy in the Box, on June 14, 1985, on Aquarius Records in Canada and EMI America internationally.

The nine-track set marked a stylistic expansion from First Offense, blending synth-driven pop-rock textures with more layered emotional dynamics and cinematic arrangements.

Boy in the Box opens with the defiant title track and includes the power ballad “Never Surrender,” which became Hart’s biggest hit to date. Hart later stated that the lyrics were shaped by his mother’s steadfast values and his admiration for Winston Churchill, who famously used the titular phrase.

A1. “Boy in the Box” (4:26) – Corey expresses the frustration and isolation of feeling trapped and voiceless, like a “boy in the box” ignored by the outside world. The song channels a sense of inner rebellion and a plea for release from emotional or societal confinement.
A2. “Komrade Kiev” (4:17) – Corey reflects on political manipulation, disillusionment, and the human cost of ideology, framing “Komrade Kiev” as both a metaphor for a scapegoated enemy and a cry against blind obedience. The repeated command to “shoot” exposes the dehumanizing pressure to conform amid a world fractured by fear and doubt.
A3. “Never Surrender” (4:56) – Corey offers a message of resilience and hope in the face of isolation and struggle, urging perseverance even when support is absent. “Never Surrender” becomes a personal vow to hold onto inner strength and the right to fight for one’s path.
A4. “Sunny Place, Shady People” (4:18) – Corey exposes the hypocrisy beneath outward beauty and prosperity, portraying a world where light masks corruption and superficial freedom conceals moral decay. “Sunny place for shady people” becomes a biting metaphor for a society built on illusion and self-interest.
A5. “Eurasian Eyes” (5:28) – Corey falls under the spell of an intense and unexpected love, captivated by the depth and honesty in a woman’s “Eurasian eyes.” What began as emotional detachment gives way to vulnerability, as her presence becomes his only clarity in a cold, empty world.

B1. “Everything in My Heart” (4:50) – Corey wrestles with unreciprocated devotion, offering his entire heart and soul to someone who remains distant, yet he keeps returning despite the pain.
B2. “Silent Talking” (4:35) – Corey struggles with emotional distance and ambiguity, frustrated by a partner’s evasiveness and “silent talking” that leaves him confused, strung along, and searching for clarity in a one-sided connection.
B3. “Waiting for You” (5:14) – Corey offers reassurance to someone feeling lost and isolated, promising unwavering presence and support. The song affirms that no matter the distance or fear, they’re not alone—he’s always waiting, ready to be called upon.
B4. “Water from the Moon” (3:42) – Corey reflects on a lifelong journey of faith, resilience, and self-discovery, realizing that hope and strength come from within—even when it feels as impossible as drawing water from the moon.

Sessions spanned the winter of 1984/85 at Le Studio in Morin Heights, Quebec, with returning producers Jon Astley and Phil Chapman, and took on co-production duties himself.

Hart played a central role in the album’s production. Gary Breit played keyboards, Jon Astley handled Fairlight and DMX programming, and Michael Byron-Hehir contributed lead and rhythm guitars. Bassist Russell Boswell co-wrote the closing track and Bruce Moffet provided percussion. Andy Hamilton returned on saxophone, with guest vocals by Virgil Night on “Boy in the Box” and Dalbello on “Sunny Place, Shady People.”

The front cover photo was taken by Nels Israelson, with additional photography by John Webber and design by Michael Hodgson under the direction of Henry Marquez. Bruce Brault managed Hart during this period.

Released as the lead single one week prior to the album’s release, “Never Surrender” spent nine weeks at number one on the Canadian RPM chart and peaked at No. 3 on the US Billboard Hot 100 in August 1985. It was certified Platinum in Canada and named Single of the Year at the 1985 Juno Awards.

The album generated three further Top 40 hits in both Canada and the US. “Boy in the Box” reached number seven in Canada and No. 26 in the US. “Everything in My Heart,” issued in November 1985 on red vinyl, became Hart’s second Canadian number one in January 1986 and reached number thirty on the Billboard chart. The final single, “Eurasian Eyes,” peaked at number twenty-nine in Canada and was featured in the 1986 film 9½ Weeks, which starred Mickey Rourke and Kim Basinger. Hart wrote the song for his then-girlfriend, visual artist Erika Gagnon.

Boy in the Box reached No. 20 on the Billboard 200 and No. 35 in Australia. In February 1986, it became the second album by a Canadian artist—after Bryan Adams’ Reckless—to be certified Diamond in Canada for sales exceeding one million copies.

Hart received the 1985 Félix Award for Best Album and multiple Juno and ADISQ nominations, including Best Male Artist, Composer of the Year, and Best Video for “Never Surrender.” He toured North America, Japan, Europe, and Australasia in support of the album, performing at major venues including Exhibition Stadium in Toronto, the Forum in Montreal, and the Budokan in Tokyo. Each single received a music video directed by Rob Quartly, whose work on “Never Surrender” earned another Juno nomination.

Fields of Fire

Corey Hart released his third album, Fields of Fire, on September 16, 1986, on Aquarius Records in Canada and EMI America in the United States.

The album marked a shift toward more introspective songwriting and layered arrangements, noted by listeners for its maturity compared to his earlier material.

The album opens with the anthemic “I Am By Your Side,” which reached No. 18 on the Billboard Hot 100 and No. 12 in Canada. Its release coincided with a second single, “Angry Young Man,” issued in Europe. Hart followed in November with a cover of the 1961 Elvis Presley ballad “Can’t Help Falling in Love,” his first released cover version. The track became Hart’s third No. 1 hit in Canada and reached No. 24 in the United States. It also charted in Japan and the Philippines. A fourth single, “Dancin’ with My Mirror,” charted at No. 33 in Canada and No. 88 in the US in spring 1987. “Take My Heart,” released that May, was the album’s final single and peaked at No. 58 in Canada.

A1. “I Am By Your Side” (4:35) – Corey offers unwavering loyalty and emotional refuge, promising to stand beside someone through their darkest moments. No matter the fear or hardship, his presence is constant, dependable, and openly given.
A2. “Dancin’ with My Mirror” (4:16) – Corey reflects on self-image, fantasy, and longing during a sleepless night, using the mirror as both stage and confessional. “Shadows on the lake are obsolete” signals a loss of natural clarity—reflection now offers no truth. “Reflections from behind, and I gaze to the sublime” captures a startled encounter with past selves and a yearning for transcendence. “Paint your picture…prepare to shock” portrays the bold crafting of a persona—dramatic, defiant, and self-aware. Through the act of dancing with his mirror, Corey blurs the line between performer and person.
A3. “Take My Heart” (4:21) – Corey pleads to be fully embraced by someone who awakens his deepest emotions, offering his heart without resistance. He longs to journey as far as love will carry him, trusting only they can lead him there.
A4. “Angry Young Man” (3:43) – Corey reflects on youthful rebellion and misunderstood passion, portraying himself as an “angry young man” struggling to find meaning in a world that dismisses idealism and buries potential beneath cynicism.
A5. “Goin’ Home” (5:18) – Corey seeks refuge from judgment and hardship by returning to his spiritual and emotional “home,” a place of light, memory, and inner truth. Despite feeling lost, he reaffirms that no one can take what keeps him whole.

B1. “Can’t Help Falling in Love” (3:24)
B2. “Broken Arrow” (5:42) – Corey reaches out to someone wounded and emotionally guarded, urging them not to give in to isolation or despair (“You defend what will transcend”). The “broken arrow” symbolizes a wounded soul still capable of healing if they break through the silence and accept genuine care.
B3. “Political Cry” (4:04) – Corey unleashes a fierce critique of global political hypocrisy, exposing how leaders exploit, deceive, and abandon the vulnerable while masking injustice with hollow ideologies. “Political Cry” becomes both protest and plea—for unity, truth, and a world that listens to its forgotten voices.
B4. “Is It Too Late?” (4:35) – Corey delivers a warning about societal decay and moral complacency, as “little brother” observes humanity trading values for progress and profit. Amid the descent, he urges: don’t give up—there’s still time to choose redemption over collapse.
B5. “Jimmy Rae” (5:30) – Corey tells the story of Jimmy Rae, a neglected youth who escapes a broken home only to be crushed by societal indifference and spiritual disillusionment. His downfall becomes a tragic symbol of unheard cries and wasted potential.
B6. “Blind Faith” (5:59) – Corey pleads for transformation through surrender, calling on “blind faith” as a purifying force to break through despair and reignite purpose. Standing alone in trial, he longs for the storm to cleanse and renew him.

Hart recorded the album over the course of a year at Revolution Studios in Cheshire, UK, and Le Studio in Morin-Heights, Quebec, continuing his collaborative work with producer Phil Chapman while assuming full co-production duties.

Hart played keyboards and oversaw the entire recording process. Gary Breit contributed keyboards and backing vocals on “Goin’ Home.” Michael Byron-Hehir handled both lead and rhythm guitars, adding sitar on “Take My Heart.” Russell Boswell played bass, Bruce Moffatt played drums, and Andy Hamilton once again played saxophones. Jon Carin and Ritchie Close programmed Emulator II and SP-12 synthesizers. Frank Opolko played tambourine on “Jimmy Rae.” Richie Cannata co-produced “Angry Young Man,” “Is It Too Late?” and “Jimmy Rae,” with Andy MacPherson engineering “Can’t Help Falling in Love.”

Erika Gagnon, Hart’s creative partner, handled design and photography, with additional images by Guido Harari.

Fields of Fire reached No. 55 on the Billboard 200 and was certified Gold in the United States. In Canada, the album achieved double platinum status within three months of release. Hart received multiple nominations at the 1987 Juno Awards, including Best Male Vocalist, Single of the Year for “Can’t Help Falling in Love,” and Best Album Graphics for the artwork designed by Gagnon. He also earned Félix and ADISQ nominations in categories including Album of the Year and Best Male Artist. Hart toured extensively in support of the album through Japan, Europe, and North America but collapsed from exhaustion after a July 1987 performance in Canada and subsequently took time off from the road.

Young Man Running

Corey Hart released his fourth album, Young Man Running, on June 23, 1988, through Aquarius Records in Canada and Manhattan Records in the United States.

In contrast to the dense arrangements and cinematic style of Fields of Fire, this album leaned into more stripped-down instrumentation and confessional lyrics, marking a stylistic pivot toward personal expression.

The album’s lead single, “In Your Soul,” featured guest vocals by British soul singer Ruby Turner and became Hart’s third Canadian No. 2 hit, while reaching No. 37 on the US Billboard Hot 100. The track’s music video, directed by Meiert Avis, was shot on location in New Mexico and Utah. Hart toured extensively in support of the album, performing sold-out shows in Japan—including a return to the Budokan—and appearing in the Philippines, Quebec, and the Canadian Maritimes. Young Man Running peaked at No. 11 on the Canadian RPM chart and No. 121 in the United States. It received an ADISQ nomination for Album of the Year in Quebec.

A1. “Don’t Take Me to the Racetrack” (3:40) – Corey pushes back against a chaotic, one-sided relationship filled with mixed signals and emotional games, using the racetrack as a metaphor for being forced into a competition he never agreed to. He rejects being judged, controlled, or made to perform in someone else’s drama.
A2. “In Your Soul” (3:57)
A3. “Truth Will Set You Free” (4:21)
A4. “Chase the Sun” (3:18) – Corey embraces a life of personal truth and defiance, choosing freedom over conformity as he commits to “chase the sun”—a metaphor for purpose, clarity, and self-liberation. The song rejects fear and constraint in favor of spiritual resilience and inner conviction.
A5. “So It Goes…” (3:48)
A6. “Still in Love” (3:41)

B1. “Spot You in a Coalmine” (4:50) – Corey declares an unshakable emotional connection, claiming he can recognize and reach the one he loves even in the darkest, most obscured places (coalmines). Despite hardship, confusion, or distance, his devotion remains instinctive and unwavering.
B2. “Lone Wolf” (3:41) – Corey wrestles with isolation and emotional restlessness, portraying himself as a “lone wolf” yearning for connection but trapped in cycles of longing and rejection. Though briefly uplifted by love, he remains uncertain if he’s destined to be alone.
B3. “No Love Lost” (4:02)
B4. “Crossroad Caravan” (2:43) – Corey recalls a turbulent childhood shaped by constant upheaval, where his family—especially his mother—sought stability and emotional refuge amid life’s transience. The “crossroad caravan” becomes a symbol of both displacement and unexpected freedom.
B5. “Chippin’ Away” (3:40)

A bonus track titled “21” appeared exclusively on the Japanese release.

Hart recorded Young Man Running between 1987 and early 1988, working primarily at AIR Studios in Montserrat, with additional recording at Sarm West Studios in London. He produced the album himself with Andy Richards co-producing select tracks. Matt D’Arbanlay-Butler engineered the album, assisted by Richard Edwards and Matt Howe.

Hart played keyboards and acoustic piano on most tracks. Michael Byron-Hehir contributed electric and acoustic guitars, dobro, mandolin, and harmonica. Ruby Turner duetted on “In Your Soul” and “Spot You in a Coalmine.” Russell Boswell played bass, Greg Haver played drums, and saxophone parts were split between Andy Hamilton and Mel Collins. Andy Richards contributed keyboards and Fairlight Series III programming on several tracks. Ray Coburn provided additional keyboard support. The Escolania de Montserrat boys’ choir appeared on “Lone Wolf,” and a group credited as the “Good ‘Ole Boys” provided backing vocals on “Chippin’ Away.”

Erika Gagnon designed the sleeve and contributed photography alongside Herb Ritts and Rebecca Blake. The album cover, shot by Ritts, marked a visual departure for Hart, presenting a more introspective image aligned with the tone of the music.

Discography: