She released four chart-topping albums throughout the decade and made history in the process. I love this song solely because of the scene in Pretty Woman when Julia Roberts is in the bathtub listening to it before Richard Gere walks in on her singing.
So memorable! And let me tell you, this song has that in spades. Inject the synths into my veins. I have loved The Smiths since high school and can listen to any and all of their songs on repeat until the day I die. But this song in particular will always make me want to twirl around the room with a smile on my face. This woman captured my heart and got me to step away from the TV and dance. Every now and then, I realize I have been underdosing on Paul Simon, and I have to spend a day or two with the Artists section of my iPod on shuffle.
The rhythm and the harmony on this one is great, especially with Ladysmith Black Mambazo. I love being a goth teen. I miss them! When can we go back?! The carnal, spontaneous desire to bump and grind with strangers underneath strobe lights is evergreen. You feel the heat. One of my all-time favorite Fleetwood Mac songs is this sunny, dreamy pop masterpiece that McVie wrote and sings lead on.
Bjork will always be one of my favorite artists, and I love that this song marries her signature quirk with an upbeat, poppy track. I want a new generation to fall in love with this song. Tracy Chapman has a great twang to her voice, and I love the terse energy.
Every time I heard it, I wanted to hear it again and again. In a further ironic twist, both Foxy and Freddie are at School together private school snobs then!
PS For a great live version click here for Roger Waters live! Remember, some very thin Tasmanian won from memory! And of course the USA fighting in Iran. But as the Buggles started up MTV back when they had music videos we kicked off the decade with this catchy little ditty of. Here is some info: This song to date, has been the hardest to research. Find out more at his website here , or myspace page here.
Maybe he will see his name here and contact the CDU crew and give us more gossip on this track. My gem personally was finding out Ricky Fattar was involved in the song. Given the link to the Beatles and Rutles Monty Python style this may explain the following line:. Gayle and Gillian Blakeney are identical twins who performed together as actresses and as a Dance Pop duo in the s.
They were born in Brisbane, Queensland, Australia on July 9, Here was a movement that had just as much to say as the protest-obsessed hippies of the '60s… the very same music fans who inexplicably pushed back against the music of young, assertive and frustrated Black men looking to raise awareness and change the world through music.
We may dismiss the '80s as an era of musical cheese, light on substance and heavy on excess. Too many people mock the '80s as an age of excess, yet loads of classic singles from the era are studies in cool restraint see: Phil Collins — no, honestly. So though Stewart Copeland could be a florid, flashy drummer, and though Sting was known to dash a few extra flicks on his grooves, "Every Breath" measures each note microscopically, as if arranged with OCD, which makes the stalking vibe that much subtly creepier.
The first and biggest hit by the Norwegian electropop trio A-ha, "Take On Me," rose to international popularity in on the strength of its groundbreaking video, a mix of live-action and pencil-drawn animation that starred dreamy lead singer Morten Harket as the hero of an escapist romance between a lonely woman and a comic-book adventurer. But only one band had transformed that groundbreaking phrase into a musical piece that defined an era almost as deeply as the Ronettes.
Play it somewhere you can howl along, loudly. Sade is just so damned smooth. It would be easy to be consumed by envy if we weren't all being lulled into a dopey, two-stepping, love-drunk stupor.
The Nigerian-born, U. When it comes on, you've got no choice but to relax and drift off into the quiet storm. The meme known as Rickrolling — wherein someone baits you with an enticing link, which points instead to the video for this dance-pop smash — always seemed a little puzzling to us, mainly because, like, who wouldn't want to be surprised with another exposure to this suavely buoyant megajam? Those synthesized strings, that thumping boots-and-pants beat, Astley's weirdly robust croon and his romantic-wooing-as-used-car-salesman-pitch come-on "You wouldn't get this from any other guy" … It all adds up to three and a half of the most effervescent minutes in the '80s canon.
It's impossible to feel bad when this tune's Caribbean-inflected rhythms start pumping from a nearby speaker. The perma-coifed Commodores frontman's single smashes any attempts to resist its groove. And that bit that sounds like made-up gibberish? It is. Richie attempted to find some suitable foreign phrases but got impatient and invented his own international party language. Toto was a collection of studio ringers with credits on Steely Dan and Boz Scaggs records. Wrapped in chest hair, sunglasses and terry cloth, these feathery dudes were too anonymous to be deserving of the term supergroup.
Thankfully, the lotion-slick groove reeks more of coconuts than crisp money. Catchier than a flytrap, more sordid than your craziest night out, Rick James hit the summit of his career with the wild funk of "Super Freak. Even that sampling by MC Hammer can't diminish its greatness.
As the s turned in the s, punks and rockers and there was a difference then both became enamored with the sounds coming out of New York City. Even the Stones went disco and dabbled with rap. No guitar act better assimilated hip-hop than the Clash, probably because they had so much practice sponging up dub. Jones liked it so much he sampled the track a decade later in "The Globe. 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 blockbuster's soundtrack.
It's about as sappy as they come, but Baby Huey smartly slips in a line about how love doesn't require a credit card, which, as anyone who's gone on a date in the past 50 years can tell you, is totally bull. But it's a sweet thought. Maybe not surprising, coming from a band named after an amphetamine, but the U. The lyrics, about songwriter Kevin Rowland's youth as a sexually repressed Catholic kid, verge on dirty while remaining innocuous enough for your work-party karaoke sing-along.
No '80s list would be complete without British synth-popsters the Pet Shop Boys. The lyrics pour out in a nervy jumble of apocalyptic imagery, military danger and mass-media frenzy, with pointed name-drops of pop-culture figures Lenny Bruce, Leonid Brezhnev, Leonard Bernstein and Lester Bangs united only by their initials.
But its cut-through-the-chaos message still connects with anyone aiming to clear out a polluted stream of consciousness.
Oh, that ill-fated bassline. Before Vanilla Ice famously ripped off, er, was inspired by the work of Queen bassist John Deacon, that subtle, infectious plucking heralded the meeting of two wildly influential rock icons.
Considering the titanic forces at work in this tune, it's relatively understated, but it does ultimately climb to the sparkling heights that both Bowie and Mercury inhabited with such ease. Hip-hop hit its golden era in the '80s. As critics continued to peg rap as a passing novelty, this big, lisping teddy bear from Long Island thumbed his nose at such stuck-up stupidity.
His records were as much comedy albums and demonstrations of sampling as pretentious works of art, which made them even greater works of art. Eventually, he had the shit sued out of him, and hip-hop was forever changed.
Jim Kerr's soulful yowl was never better than on this fist-raising banger, an earnestly overwrought piece of melancholic pop bliss. Whether you think of it as "the song from The Breakfast Club " or "the song that made The Breakfast Club cool," it's one of the era's definitive anthems. Has a drum introduction ever sounded this big? Turning jaunty Motown influences into icy synth pop may sound like sacrilege, but that's exactly what English duo Soft Cell did when it covered Gloria Jones's funky stomper in Ditching the original's energy for Marc Almond's cut-glass tones and unashamedly machine-driven melodies, Soft Cell's version soon became huge, paving the way for the '80s synth-pop explosion that followed.
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