In terms of pure loveliness, few melodies in the '80s could match this chart-topping offering from Olivia Newton-John, one of pop's finest, most enduring female singers. Quite a sweet chorus for a Pixies song, really, but nicely offset by some deranged Black Francis screaming about “GOD is seven!“. Still, a great love song. Its air of mystery slotted handily into the film, but Ian McCulloch knew he had a belter on his hands from the moment he woke up one morning with the chorus already in his head. Words: Ben Hewitt, Matthew Horton, Priya Elan. It would prove a natural fit for The xx ,who memorably covered the song years later. By this point, you know where you stand on this one: You hear Jonathan Cain's piano intro, and you either swell up with joy or wince in pain. Two decades before T-Pain fell in love with a stripper (and subsequently a bartender) and Kanye West made 808s & Heartbreak, Ohio outfit Zapp’s frontman Roger Troutman was serenading ladies with the aid of Auto-Tune’s weirder, funkier uncle: the talk box. None of that quiet-loud stuff here – ‘Debaser’ is full throttle throughout, celebrating Black Francis’s new favourite thing, Luis Buñuel and Salvador Dali’s surrealist, eyeball-slicing movie Un Chien Andalou. But Arctic Monkeys didn’t namecheck ‘Rio’ in ‘I Bet You Look Good On The Dancefloor’ for naught – they knew that, despite the horrowshow haircuts, it’s still one of the sexiest and sunniest synthpop singles of the 80s. Now that they’re the punchline to a million stadium-rock sized jokes, it’s easy to forget what made everyone first fall in love with U2 many moons ago – namely, big ol’ emotional rock ballads like this. A pretty nifty way of trying to impress your other half, that. Despite the sweet ‘n’ sugary melody and big, glacial chunks of shimmering guitar, there’s a dark underbelly – the disturbing Lolita-like tale of the romantic frisson between a 5-year-old girl and her would-be suitor, who just so happens to be a 50-year-old bloke. We already have this email. The arrangements on the sophomore album, The Raw & the Cooked, are spare and inflated, like punks playing to Wall Street. This article includes an overview of the major events and trends in popular music in the 1980s.. This 1985 hit by Tears for Fears is one such song, an existential meditation of sorts, opening with the line, “Welcome to your life—there’s no turning back.” It’s a serious pop song, as bassist-singer Curt Smith remarked: “It's about everybody wanting power, about warfare and the misery it causes.”. The SEARCH BOX is in the top right corner of the table. What are the Dead doing on a best-of-the-’80s list, you ask? © 2020 NME is a member of the media division of BandLab Technologies. The Bo Diddley beat is a syncopated musical rhythm that combines elements of Afro-Cuban and Latin music into a dynamic rock beat, making the music sound more energetic. But beyond the radio-friendliness of the cut—its popularity was something many Deadheads scoffed at, as if liking it made listeners less devoted or discriminate fans—it’s also kind of a perfect, with an upbeat tempo, some genuine catchiness and just enough lyrical cleverness. Obviously hip-hop’s evolved, got madder, got badder, got blander since 1988 – but let’s not forget NWA’s impact. At nearly seven and a half minutes, "Blue Monday" is one of the longest songs ever to show up on the U.K. singles chart. Is there anyone who doesn’t like this song? THIS WEEK’S FEATURED SONG. Produced by Stock, Aitken And Waterman, ‘You Spin Me Round’ spun a new disco web around Pete Burns’ catty vocal style. It’s all drenched in strings, nostalgia and pathos as Moz starts filling up about greased tea and grey proms, spooning on the melodrama until we’re all remembering miserable holidays in the English rain. It does what great rock and roll should: combine sexuality with bold theatricality. https://www.youtube.com/watch?v=e9dOrmf5_i0. Who has the most songs on the list – Madonna, Prince, George Michael, Whitney Houston, or Michael Jackson? Pivotal in its use of samples, Mark Moore borrowed from songs by the likes of Gil Scott Heron, Debbie Harry and Stacey Q for this acid house banger. Simon was in rare form on the title track on his pivotal 86 album. Released as the lead single from his seminal Purple Rain album and film, the bass-free ‘When Doves Cry’ was a thing of graceful beauty. Food manufacturers went on an additives frenzy, everything was made out of plastic, makeup trends made humans look like robots.… So it’s little wonder it turned out that even the pop stars themselves weren’t real, as in the case of German dance-pop duo Milli Vanilli. It is simply one of the most touching and beautiful love songs of all time, and it's matched with characteristically innovative songwriting from one of the greatest craftsmen of all time. Insanely popular in its home country, the song also made waves internationally, shifting millions of copies and becoming an instant karaoke classic. Poised between staying or leaving both The Clash and girlfriend Ellen Foley, Mick Jones’s lyrics were appropriately propulsive. A global hit in 1981, the star's signature song finds him joined by the mighty Temptations on backing vocals—including James's uncle, Melvin Franklin. It wasn't just a souped-up DeLorean that safely spirited Back to the Future's Marty McFly home to the '80s: He was also aided by this ditty from harmonica-blowing everydad Huey Lewis, who penned the song for the 1985 blockbuster's soundtrack. https://www.youtube.com/watch?v=I1wg1DNHbNU. Can you imagine Christmas without it? Der sogenannte Post-Punk mit Gruppen wie The Cure und Joy Division lieferten einen neuen Soundtrack ab, der zu überzeugen wusste. Quite a lot, but you get the idea. RECOMMENDED:– The best ’90s songs– The best party songs ever made– The best classic rock songs– The best karaoke songs– The best pop songs of all time. Using the TABLE below, you may sort the list of THE TOP 500 POP SONGS OF THE 1980S by rank, title, artist, and year. And to this day, we’re betting the fanbase for the breezy sing-along fave (co-written by Jeff Lynne) still runs the gamut—from get-me-out-of-here teens to the dads they think are lame, and from snobs who wouldn’t be caught dead doing karaoke to people who live for it. Music. “Drive” was their ultimate slow-dance for the end of prom and the template for every Killers song ever. The switch works, as does the mesh of guitars, ringing and scratching, manic as Francis’s delivery. The vocals of Graham Russell during the verses gently and liltingly imbue the song with emotion, while Russell Hitchcock's somewhat cloying presentation of the chorus gives new meaning to the term "over the top." Edwyn Collins and co bagged their first, and last, Top 10 hit when ‘Rip It Up’ was released as a single – and it’s easy to see why. But it’s a good thing the Scottish group wised up: The synthy cut has a permanent place in ’80s pop culture. The trio, a splinter from the English Beat, had its roots in ska, but over two albums chiseled a new pop sound that would echo onward from Massive Attack to TV on the Radio. Talking Heads and Brian Eno created this most postmodern of tracks. The answers, of course, are “maybe” and “absolutely not.” Simple Minds initially rejected the offer to record the song written by Keith Forsey and Steve Schiff, who scored John Hughes’s high-school classic. … Richie attempted to find some suitable foreign phrases but got impatient and invented his own international party language. Supposedly inspired by real-life reports of Iranians being flogged for owning forbidden CDs, Joe Strummer knocked up a farcical fantasy of pilots ignoring orders to bomb the transgressors and crank up the volume on their cockpit radios instead. There’s something to be said for having a boss. https://www.youtube.com/watch?v=7q5WjYjzrEQ. It would prove the British outfit’s first hit across the pond and soundtrack too many young loves (and young loves lost) to count. The first single ever recorded by the indie-rock outfit, “Tugboat” consists of only two chords, some scant lyrics about not wanting to do much of anything, save being a tugboat captain (a reference to the Velvet Underground's Sterling Morrison, a clear hero), and...that’s about it.

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