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#20: “Only Lonely” (1985)
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Bon Jovi
Bon Jovi may be a multi platinum-selling rock act, but that doesn’t mean they don’t possess some serious deep cuts in their back catalog. “Only Lonely” is taken from the band’s sophomore effort, “7800° Fahrenheit,” which was a more experimental and artistic take on Bon Jovi’s melodic rock. Here, the anthemic hooks of Bon Jovi’s self-titled debut are tempered with a sleek ‘n synthesized sound, while the accompanying music video feels like a mini-movie. The chorus is to die for, as well, a desperate-sounding and emotionally charged performance from Jon Bon Jovi that ranks among his very best. We’re saying it right here and now: don’t sleep on “Only Lonely.”
#19: “Self Control” (1984)
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Laura Branigan
The original version of “Self Control” was an Italo-Disco song released by singer Raf in 1984, but it’s Laura Branigan’s cover of the tune from that same year that’s arguably endured to the modern day. The song is steeped in a massive-sounding, 1980s production, yet Branigan’s vocals never get lost in the mix. Instead, her powerful delivery shines through, as booming synths and hot guitar licks complement the song’s danceable beat. “Self Control” is hooky as hell, from that infectious chorus to each groovy verse. Oh, and that music video? Pure eighties excellence, ya’ll.
#18: “Dead Man’s Party” (1985)
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Oingo Boingo
Danny Elfman may be best known today for his wonderful film scores, but old school eighties kids know full well how dope Oingo Boingo was back in the day. “Dead Man’s Party” is perhaps one of the group’s catchiest tunes, and appeared on the soundtrack for the Rodney Dangerfield film “Back to School” back in 1986. The song possesses a vibe all its own, with throbbing bass, cool lyrics and Elfman’s soaring, enchanting vocals. “Dead Man’s Party” may be finally getting its due these days on some Halloween mixes from the cooler kids you know, but we’ll always cop to being fans of this one-of-a-kind group.
#17: “Message of Love” (1981)
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The Pretenders
Is there any pop act more representative of the 1980s than The Pretenders? Maybe, but we highly doubt they have a front person as terminally cool as Chrissie freakin’ Hynde. “Message of Love” possesses a vibe that’s simultaneously current and retro, a fifties throwback visually but a New Wave classic back in its day. Hynde’s vocals are intentionally minimalistic and disinterested, almost as a precursor to some of the things Sheryl Crow would do on her debut album in the nineties. “Message of Love” is melodic and deceptively well-written, incorporating multiple moods that feel ahead of their time in terms of structure and efficiency.
#16: “Run With Us” (1987)
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Lisa Lougheed
If you were a kid living in Canada during the 1980s, then it’s highly likely that you loved watching “The Raccoons” on T.V. It’s also likely that you loved its theme song, “Run With Us,” by Lisa Lougheed…and we’re right there with you. There’s something emotionally resonant about the song that we can’t quite explain. Lougheed’s vocals are powerful, but also possess a palpable energy that just drives home that million dollar chorus. “Run With Us” boasts a compelling synth beat, some high-energy guitar licks and some gothic backing atmosphere that are unlike anything else from the time. It takes us back to youthful innocence every time we hear it.
#15: “A Mission in Life” (1989)
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Stan Ridgway
You may not know the name Stan Ridgway, but fans with their ears to the ground back in the 1980s can probably recall his old band, Wall of Voodoo. That group possessed its own, quirky ‘80s history with their hit, “Mexican Radio,” but this solo cut from Ridgway is comparatively more confessional and down-to-earth. The vibe feels more Billy Joel than New Wave weirdness, but that isn’t a bad thing. The backing instrumentation is particularly evocative, and showcases Ridgway’s unique vocals in a wonderful way. The production is also thick and layered, in that way only ‘80s records could be. It’s a deep cut that we highly recommend.
#14: “Wings of the Storm” (1989)
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Whitesnake
You’d be forgiven for ignoring “Wings of the Storm” by Whitesnake, since it was conveniently tucked away at the end of their 1989 album, “Slip of the Tongue.” If you did do that, however, then you’d be missing out on what’s perhaps the glam metal band’s fastest and most aggressive moment. Whitesnake’s bluesy history from the 1970s is all but forgotten, as “Wings of the Storm” rips out of the gate with a startling amount of speed. It never lets up on the gas, either, as Steve Vai’s fretboard is practically set alight, as the guitarist lets it rip with fiery licks. David Coverdale, for his part, stretches his vocal chords to the heavens, proving Whitesnake’s metallic might without a shadow of doubt.
#13: “Eighties” (1984)
Killing Joke
We realize that having a song simply titled “Eighties” on this list may seem lazy, but this English group was anything but complacent. Killing Joke was a remarkably prescient and forward-thinking band for their time, serving as influences for many other groups in their wake. Nirvana was absolutely one of those bands, to the point where the latter’s “Come As You Are” has been accused of stealing the main riff from “Eighties.” Do you hear it? We admit that it’s close, but we also admire Killing Joke’s cutting, almost industrial guitar tone and martial approach to delivering their rhythms. Is it post-punk? Alternative? New Wave? We’re not sure, but what we do know is that “Eighties” is KILLER.
#12: “But Not Tonight” (1986)
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Depeche Mode
The discography of Depeche Mode is chock full of bangers, but 1986’s “Black Celebration” just has to count among the band’s best. “But Not Tonight” is perhaps a lesser-known track from that album, however, because it possesses a more upbeat feeling to its melodies. “Black Celebration” is fairly dark, on the whole, and “But Not Tonight” breaks things up nicely with a sound that hearkens back to Depeche Mode’s earlier, more minimalistic work. The electronic framework is cold, but Dave Gahan’s vocals are red hot, and “But Not Tonight” is made all the better for that fact.
#11: “Don’t Pay the Ferryman” (1982)
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Chris de Burgh
What’s the first song you think of when the name “Chris de Burgh” comes up in conversation? Most of us would probably list his hit 1986 ballad, “Lady in Red,” for obvious reasons. “Don’t Pay the Ferryman” from 1982 couldn’t sound any more removed from that hit, however, an energetic art rock song for the ages. The production is polished to a silvery sheen, and “Don’t Pay the Ferryman” is written with electricity to spare. De Burgh’s vocals are evocative and in control, detailing the song’s mythological and Shakespearean origins with a palpable power. As a result, “Don’t Pay the Ferryman” practically begs for repeated spins.
#10: “When I’m Gone” (1981)
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Albert Hammond
A double-edged sword about professional songwriting is how one can remain almost completely anonymous, while also having a profound effect upon millions of music fans. Albert Hammond was one of those people, a prolific composer who wrote hits for others but seemed to eschew personal fame when it came to his own career. “When I’m Gone” practically begs for the listener to do some deep digging into Hammond’s career, however, thanks to this song’s confessional nature and emotional viability. The song feels tailor made to connect with its audience, a beautifully melancholic song that boasts a fantastic production, one that perfectly highlights Hammond’s voice. “When I’m Gone” is a hidden gem that deserves all the flowers.
#9: “No Easy Way Out” (1985)
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Robert Tepper
You just know it when you hear it. Call it “montage music” or “training music,” it’s those songs that show up in movies when times are tough, and demand that the hero step up their game. For Sylvester Stallone in “Rocky IV,” that song was “No Easy Way Out” by Robert Tepper, and it’s an absolute master class. Tepper is without a shred of irony as his vocal performance goes for broke with a sincere amount of power and passion. It’s such a barnburner, that the accompanying instrumentation almost feels like an afterthought, but pay attention: there are some amazing melodic choices here. “No Easy Way Out” makes us feel like world champions, EVERY day.
#8: “Age of Consent” (1983)
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New Order
New Order rose from the ashes of Joy Division, a pioneering voice in the burgeoning post-punk and early alternative rock movement. That band’s purposefully minimalistic style was opened up and brightened a bit with New Order, however, influencing an entire generation of goth rock fans in the process. “Age of Consent” is taken from New Order’s sophomore effort, “Power, Corruption & Lies,” and immediately strikes as something special. The reverberating guitar chords and echoed production are evocative as hell, while Bernard Sumner’s vocals float atop it all with personality and style. Trust us: if you dig The Cure, The Smiths or Depeche Mode, then check this one out.
#7: “Cambodia” (1981)
Kim Wilde
If you only know the career of Kim Wilde from her early hit, “Kids in America,” then might we suggest the singer’s more experimental sophomore effort, “Select?” This 1982 album was marked by a pronounced atmosphere of experimentation and even slight menace, as evidenced by this single, “Cambodia.” The song is dark and mysterious, a layered synth-pop song that feels delivered from outer space, yet anchored by Wilde’s gorgeous, otherworldly voice. “View from a Bridge” is another great song from “Select,” but there’s only one “Cambodia,” and once you hear it, we doubt you’ll forget it.
#6: “It’s a Sin” (1987)
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Pet Shop Boys
Isn’t it funny how songs tend to take on lives of their own? The Pet Shop Boys’ Neil Tennant told “The Daily Dish” in 2019 how he originally wrote “It’s a Sin” without much thought as to how seriously it would be taken by the group’s fans. The song was initially conceived during Tennant’s reflection about his Catholic school upbringing, but many fans today have internalized the songs’ themes of repression and shame and frequently interpret them as cathartic. Tennant also interestingly compared “It’s a Sin” and the Pet Shop Boys’ hi-NRG music to heavy metal. And you know what? We totally hear it. “It’s a Sin” ROCKS, plain and simple.
#5: “Dancing with Tears in My Eyes” (1984)
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Ultravox
That title may sound extravagant (because it is), but that’s just part-and-parcel for Ultravox’s deeply romantic, New Wave sound. The British group formed in the ‘70s, but saw their greatest success in the ‘80s, thanks to gems like “Hymn” and “The Voice.” “Dancing with Tears in My Eyes” highlights how Midge Ure’s lead vocals truly take Ultravox to another level, as he soars above the song’s synthesized, ‘80s beat with a stately grandeur. This is ‘80s pop at its most melodramatic, but also some of its most melodically satisfying. The songwriting is impeccable, the chorus wonderful and the execution note-perfect. Check out Ultravox: you won’t be disappointed.
#4: “Ride Like the Wind” (1980)
Christopher Cross
Christopher Cross’ debut album may have dropped for Christmas of 1979, but this first single thankfully fits our criteria, having been released in February of the following year. If we’re being honest, though, any time is a great time to rock “Ride Like the Wind.” This isn’t only due to the spectacular songwriting displayed by Cross, but also those amazing backing vocals from Michael McDonald. The former Doobie Brother assists Cross in a way only he can, smoothing over “Ride Like the Wind” with his velvety voice, and creating pure musical heaven in the process.
#3: “Wild, Wild West” (1988)
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The Escape Club
The story of The Escape Club is a funny one since this British export actually didn’t do too well in their homeland. “Wild, Wild West” was a hit in the U.S., however, and we totally see why, because the song feels like a movie montage scene come to life. This isn’t a slight whatsoever, mind, because we admire The Escape Club’s dedication to unabashed, sugar-coated pop. “Wild, Wild West” is an earworm that sounds indebted to Duran Duran, with an approach that’s weird and nearly impossible to categorize. It’s funky, with a little rock for good measure, and catchy as hell.
#2: “Kayleigh” (1985)
Marillion
It may seem improbable that a 1980s prog rock band could go on to influence the proliferation of an actual forename in their native U.K., but truth is indeed stranger than fiction. The early career of Marillion was largely indebted to the sound of 70s Genesis, but “Kayleigh” was an unadulterated pop hit from a group known for crafting ten-minute-plus epics. Lead singer Fish emotes with abandon, while the chorus-and-delay-drenched guitar of Steve Rothery creates that insanely catchy opening lick. It’s beautiful and bittersweet, a true gem deserving of discovery by anyone who assumed prog simply died in the ‘70s.
#1: “The Sun Always Shines on T.V.” (1985)
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a-ha
Norway’s a-ha will probably always be best known for their smash international single, “Take On Me.” However, there’s also a lot of other musical gold to be mined for fans seeking out more great music. The band’s theme to the James Bond film “The Living Daylights” was a franchise highlight, but “The Sun Always Shines on T.V.” may just be a-ha’s secret weapon. Morten Harket delivers a vocal performance that rivals even his watershed moments on “Take On Me,” while also proving that a-ha was no one hit wonder. “The Sun Always Shines on T.V.” is expertly composed and magnificently executed, a slice of absolute pop/rock perfection.
Feel like shouting out a deep cut from your favorite band? Let us know in the comments!
