The 1980s. A sonic boom reverberating with unprecedented musical diversity and innovation. It was an era of bold experimentation, where genres blurred, and artists dared to be larger than life. From the rise of hip-hop to the glam metal explosion, from synth-pop’s sleek soundscapes to the enduring power of rock anthems, the eighties gifted us a soundtrack as vibrant and varied as the decade itself. Buckle up and get ready to dive into a curated collection of the Best 80s Songs, a journey through the hits, the hidden gems, and the unforgettable melodies that defined a generation.
Biz Markie, ‘Just a Friend’
Rapper Biz Markie poses for a portrait in New York City, circa 1988. (Photo by Michael Ochs Archives/Getty Images)
Image Credit: Michael Ochs Archives/Getty Images
Raise your lighters for the incomparable Biz Markie, a true legend of the 80s hip-hop scene and beyond. “Just a Friend” stands as an evergreen party starter, an anthem of romantic frustration turned comedic gold. Originally conceived as a tale of heartbreak, Biz’s humorous delivery and unforgettable off-key chorus transformed it into a singalong classic. The infectious beat and relatable lyrics about navigating the friend zone cemented its place as one of the best 80s hip hop songs and a testament to Biz Markie’s unique genius.
Nena, ’99 Luftballons’
(GERMANY OUT) Nena *24.03.1960- (eigentlich Gabriele Susanne Kerner) Musikerin, Saengerin, D – bei einem Auftritt (Photo by XAMAXullstein bild via Getty Images)
Image Credit: XAMAX/ullstein bild/Getty Images
Nena’s “99 Luftballons” is more than just a catchy New Wave tune; it’s a chillingly cheerful apocalypse anthem. Sung in German, the original version carries a raw energy that surpasses its English counterpart, “99 Red Balloons.” The song’s narrative of balloons mistaken for UFOs and triggering nuclear war is a potent Cold War allegory, delivered with Nena’s distinctive vocals that range from playful to powerfully defiant. This iconic 80s hit remains a staple, reminding us of the era’s anxieties wrapped in a deceptively upbeat package.
My Bloody Valentine, ‘Feed Me With Your Kiss’
My Bloody Valentine,1992. (Photo by Eric CATARINA/STILLS/Gamma-Rapho via Getty Images)
Image Credit: Eric CATARINA/STILLS/Gamma-Rapho/Getty Images
“Feed Me With Your Kiss” marks the explosive genesis of shoegaze, a genre that would become synonymous with 80s alternative music. My Bloody Valentine, led by guitar innovator Kevin Shields, crafted a wall of sound that was both abrasive and ethereal. Shields’ signature tremolo and feedback, combined with Belinda Butcher’s dreamy vocals and driving drums, create a sonic experience that’s both overwhelming and transcendent. This track from Isn’t Anything is a crucial piece in understanding the landscape of best 80s alternative songs, showcasing a band pushing boundaries and redefining guitar music.
Bobby Brown, ‘My Prerogative’
R&B singer Bobby Brown poses for a portrait session with his Gumby style haircut in circa 1988. (Photo by Michael Ochs Archives/Getty Images)
Image Credit: Michael Ochs Archives/Getty Images
Bobby Brown’s “My Prerogative” is the quintessential New Jack Swing anthem, a genre that dominated late 80s R&B. Produced by Teddy Riley, the song is a potent blend of hip-hop beats and R&B melodies, showcasing Brown’s swagger and vocal prowess. Born from frustration with media scrutiny and public perception, “My Prerogative” is a declaration of independence and self-determination. Its impact was so profound that even Britney Spears echoed its sentiment decades later. This track is undeniably one of the best 80s R&B songs, embodying the confidence and rhythmic innovation of the era.
The Fall, ‘New Big Prinz’
The Fall (mit Sänger Mark E. Smith) on 13.04.1988 in München / Munich. (Photo by Fryderyk Gabowicz/picture alliance via Getty Images)
Image Credit: Fryderyk Gabowicz/picture alliance/Getty Images
The Fall, under the leadership of the inimitable Mark E. Smith, were post-punk stalwarts, consistently delivering challenging and brilliant music throughout the 80s. “New Big Prinz” is a prime example of their unique sound – a raw, driving track infused with glam rock energy and Smith’s sardonic wit. With its stomping beat, handclaps, and Brix Smith’s pop sensibility, the song is surprisingly accessible despite its abrasive edges. Mark E. Smith’s signature vocal delivery, a mix of bark and sneer, perfectly encapsulates The Fall’s confrontational and influential approach to music, making it a standout among 80s post-punk songs.
The Bangles, ‘Hero Takes a Fall’
SAN FRANCISCO, CA – AUGUST 2: (L-R) American rock musician and songwriter Vicki Peterson, American bassist, guitarist, songwriter, and singer Michael Steele, American drummer Debbi Peterson and American singer-songwriter Susanna Hoffs, of the American pop rock band The Bangles, pose for a group portrait on August 2, 1984 at The Stone in San Francisco, California. (Photo by Randy Bachman/Getty Images)
Image Credit: Randy Bachman/Getty Images
The Bangles, hailing from California, brought a refreshing blend of toughness and charm to the 80s music scene. “Hero Takes a Fall,” from their debut album All Over the Place, showcases their signature sound: sharp wit, Rubber Soul-esque harmonies, and jangly Rickenbacker guitars. This breakout hit captures their early style as LA rock hipsters with a vintage fashion sense. The song’s clever lyrics targeting male egos and the dynamic guitar work of Susanna Hoffs and Vicki Peterson highlight The Bangles’ unique appeal, solidifying their place within the best 80s pop rock songs. It even caught Prince’s ear, inspiring him to write “Manic Monday” for them.
A-ha, ‘Take On Me’
A-ha (Magne Furuholmen, Morten Harket and Pal Waaktaar), pop group, circa 1985. (Photo by Tim Roney/Getty Images)
Image Credit: Tim Roney/Getty Images
A-ha conquered American hearts with “Take On Me,” a song as famous for its groundbreaking music video as for its irresistible melody. But at the core of its appeal is Morten Harket’s stunning vocal performance, particularly his stratospheric falsetto. Harket’s ability to hold that iconic high note for an extended duration is legendary, even holding a world record for longest held note in a pop song later in his career. “Take On Me” remains a quintessential 80s synth-pop song, instantly recognizable and endlessly captivating, proving the enduring power of Norwegian pop innovation.
Debbie Deb, ‘Lookout Weekend’
Debbie Deb’s “Lookout Weekend” is pure Miami Freestyle energy, a genre that defined dance floors in the 80s. Produced by Pretty Tony Butler, the track is built on infectious DMX beats and Deb’s youthful, exuberant vocals. The song perfectly captures the anticipation and excitement of weekend freedom, transforming the listener into a dance floor goddess ready to embrace the night. With its pulsing rhythm and celebratory lyrics about “jumping music, slick DJs, fog machines and laser rays,” “Lookout Weekend” is a definitive example of the best 80s dance songs and a testament to the vibrant Miami sound.
Leonard Cohen, ‘Tower of Song’
Canadian singer, songwriter, composer, writer and poet Leonard Cohen during the filming of a music clip by the French photographer Dominique Issermann. (Photo by Eric Préau/Sygma via Getty Images)
Image Credit: Eric Préau/Sygma/Getty Images
Leonard Cohen, in his fifties, became an unlikely 80s icon with I’m Your Man, an album that resonated deeply with audiences. “Tower of Song” is a wryly self-deprecating masterpiece, a meditation on aging, desire, and the artist’s life. Cohen’s signature gravelly voice delivers lines about love, death, and the “lifelong torment of desire” with unmatched gravitas and humor. The song’s poignant lyrics, especially “I was born like this, I had no choice, I was born with the gift of a golden voice,” encapsulate Cohen’s persona and enduring appeal, marking it as one of the best 80s singer-songwriter songs, albeit from a uniquely mature perspective.
The Jungle Brothers, ‘Tribe Vibes’
Portrait of the Jungle Brothers at the Hyatt Hotel in Chicago, Illinois, February 5, 1990. (Photo by Paul Natkin/Getty Images)
Image Credit: Paul Natkin/Getty Image
“Tribe Vibes” is a cornerstone of the Native Tongues movement, emerging from the Jungle Brothers’ critically acclaimed album Done by the Forces of Nature. This track is an anthem of unity within the hip-hop community, advocating for Afrocentric consciousness and collaboration. The Jungle Brothers envisioned a utopian scene where “vibe holds the tribe, and it keeps it real tight,” extending inclusivity even to sampling guitar solos from the Bee Gees. “Tribe Vibes” is a landmark in 80s conscious hip hop, celebrating community and musical innovation, shouting out to fellow innovators like A Tribe Called Quest and De La Soul.
Falco, ‘Rock Me Amadeus’
FALCO LIVE, Sendung:
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Falco’s “Rock Me Amadeus” is a glorious example of 80s pop absurdity reaching Number One. Rapping in German about Mozart, Falco’s aim was nothing less than to make powdered wigs fashionable again (unsuccessfully, thankfully). The song’s sheer novelty, blending German lyrics with pop sensibilities and sprinkled with English words like “superstar” and “punk,” made it an international sensation. Falco’s explanation that Mozart would be a pop star today if alive perfectly captures the 80s spirit of genre-bending and theatricality. This track is a testament to the decade’s willingness to embrace the ridiculous, cementing its place as one of the best novelty 80s songs.
Mecca Normal, ‘I Walk Alone’
Image Credit: Jean Smith
Mecca Normal’s “I Walk Alone” is a raw, minimalist proto-riot grrrl statement. Comprising only Jean Smith’s stark vocals and David Lester’s guitar, the song creates a powerful atmosphere of vulnerability and defiance. The lyrics depict a woman walking alone in the city, feeling constantly targeted and exposed. Each repetition of “I walk alone” resonates with increasing depth, turning personal vulnerability into a universal statement of female experience. This track is a crucial precursor to the riot grrrl movement and a powerful example of 80s independent music with a lasting impact.
John Anderson, ‘Wild and Blue’
John Anderson poses at the Circle Star Theatre on March 12, 1993 in San Mateo, California. (Photo by Tim Mosenfelder/Getty Images)
Image Credit: Tim Mosenfelder/Getty Images
John Anderson played a vital role in the New Traditionalist movement that revitalized 80s country music. “Wild and Blue” is pure, unadulterated country, devoid of pop crossover attempts. Anderson’s voice, imbued with Florida backwoods authenticity, combined with fiddle, banjo, and sister Donna’s backing vocals, creates a deeply affecting cheating song. Lines like “Somebody’s room on the far side of town/With your minds all made up and the shades all pulled down” paint a vivid picture of heartbreak and betrayal. This song is a cornerstone of best 80s country songs, representing a return to traditional country values.
Trouble Funk, ‘Drop the Bomb’
UNSPECIFIED – CIRCA 1970: Photo of Trouble Funk Photo by Michael Ochs Archives/Getty Images
Image Credit: Michael Ochs Archives/Getty Images
“Drop the Bomb” by Trouble Funk encapsulates the raw energy of the Washington D.C. go-go scene. Alongside legends like Rare Essence and Chuck Brown, Trouble Funk delivered heavy, live-band funk that was unique to the era. “Drop the Bomb” is a percussive explosion of congas, cowbells, and chanted vocals, evoking a party atmosphere against the backdrop of the nation’s capital. The song’s relentless groove and call-outs to various crews cemented its status as a go-go classic and one of the best 80s funk songs, showcasing D.C.’s unique contribution to the decade’s musical landscape.
Toto, ‘Africa’
Image Credit: Michael Ochs Archives/Getty Images
Toto’s “Africa” is a song that transcends genre, becoming a cultural phenomenon and a subject of endless fascination and debate. Its lush instrumentation, evocative melodies, and somewhat cryptic lyrics about Africa have made it both beloved and endlessly analyzed. The iconic opening synth riff and the soaring chorus are instantly recognizable, contributing to its status as a karaoke staple and a radio mainstay. Whether you ponder the “wild dogs cry out in the night” or simply enjoy its sonic richness, “Africa” remains one of the best 80s soft rock songs, enduring through decades with its unique charm.
INXS, ‘Never Tear Us Apart’
Rock band INXS (from left): Michael Hutchence, Kirk Pengilly, Andrew Farriss, Garry Gary Beers, Tim Farriss, and Jon Farriss. (Photo by Lynn Goldsmith/Corbis/VCG via Getty Images)
Image Credit: Lynn Goldsmith/Corbis/VCG via Getty Images
Michael Hutchence, INXS’s charismatic frontman, delivers a masterclass in emotive performance with “Never Tear Us Apart.” This passionate torch song showcases Hutchence’s vocal range and stage presence, solidifying his status as one of the decade’s great frontmen. The song’s romantic intensity and sweeping melodies, coupled with Hutchence’s heartfelt delivery, made it an instant classic. His iconic line, “We all have wings, but some of us don’t know whyyyyy!“, perfectly encapsulates the song’s yearning and vulnerability. “Never Tear Us Apart” is a definitive 80s power ballad and a testament to INXS’s global appeal.
Joan Armatrading, ‘Me Myself I’
British musician Joan Armatrading poses in front of a diner on West Street, New York, New York, March 1, 1981. (Photo by Allan Tannenbaum/Getty Images)
Image Credit: Allan Tannenbaum/Getty Images
Joan Armatrading, a self-taught guitarist and songwriter, carved a unique space in music history. “Me Myself I” is a powerful anthem of independence and self-reliance. Armatrading’s distinctive voice and guitar style, defying genre conventions and racial expectations, made her a true original. “Me Myself I” celebrates the joy of solitude and self-discovery, with lyrics like “I wanna have a boyfriend and a girl for laughs, But only on Saturday/Six days to be alone” resonating with introverts and independent spirits alike. This song stands as one of the best 80s soul songs with a fiercely individualistic message.
‘Weird Al’ Yankovic, ‘Another One Rides the Bus’
LOS ANGELES, CALIFORNIA – MARCH 20 : Portrait of American musician, parodist, and comedian Weird Al Yankovic as he poses with various food items during a photo shoot, March 20, 1984 in Los Angeles, California. (Photo by Getty Images/Bob Riha, Jr.)
Image Credit: Bob Riha, Jr./Getty Images
“Weird Al” Yankovic’s “Another One Rides the Bus” is a pivotal moment in parody music history. Based on Queen’s “Another One Bites the Dust,” Yankovic transformed it into a hilarious ode to the mundane realities of public transportation. This track, initially gaining traction on the Dr. Demento radio show, proved that Yankovic was more than just a novelty act. Its success paved the way for a long and incredibly successful career filled with parodies like “Yoda,” “(I Lost On) Jeopardy,” and “Like a Surgeon.” “Another One Rides the Bus” is a cornerstone of best 80s comedy songs, marking the arrival of a true comedic genius in music.
Mahlathini and the Mahotella Queens, ‘Ngicabange Ngaqeda’
AMSTERDAM, NETHERLANDS – 18th MAY: South African group Mahlathini and the Mahotella Queens perform live on stage at the Melkweg in Amsterdam, Netherlands on 18th May 1988. (photo by Frans Schellekens/Redferns)
Image Credit: Frans Schellekens/Redferns/Getty Images
“Ngicabange Ngaqeda” by Mahlathini and the Mahotella Queens is a shining example of South African mbaqanga music. Featured on the groundbreaking compilation The Indestructible Beat of Soweto, this track opened global ears to the vibrant sounds emerging from apartheid-era townships. Simon “Mahlathini” Nkabinde, “the Lion of Soweto,” with his deep bass voice, alongside the Mahotella Queens and the Makgona Tshole Band, created music that defied brutality with beauty. This track is a crucial piece of 80s world music, predating Paul Simon’s Graceland and highlighting the rhythm of resistance and creativity in South Africa.
Spacemen 3, ‘That’s Just Fine’
Jason Pierce of Spiritualized of and Spacemen 3, poses for a portrait in sunglasses in front of psychedelic op art patterened wallpaper, Rugby, United Kingdom, 1991. (Photo by Martyn Goodacre/Getty Images)
Image Credit: Martyn Goodacre/Getty Images
Spacemen 3’s “That’s Just Fine” is a deep dive into psychedelic drone rock, perfectly capturing the band’s drug-induced and experimental ethos. Featured on the compilation Taking Drugs to Make Music to Take Drugs To, the track is a hypnotic loop of feedback, echo, and mumbled vocals. Sonic Boom and Jason “Bassman” Pierce create a sonic landscape that’s both mesmerizing and unsettling, drawing inspiration from the Velvet Underground and the Stooges. Despite its minimalist structure, “That’s Just Fine” possesses a strange romantic beauty, making it a unique entry in the realm of 80s psychedelic songs.
Peter Schilling, ‘Major Tom (Coming Home)’
UNITED STATES – OCTOBER 31: AMERICAN BANDSTAND – Show Coverage – 10/31/83, Peter Schilling on the Walt Disney Television via Getty Images Television Network dance show
Image Credit: ABC Photo Archives/Disney General Entertainment Content/Getty Images
Peter Schilling’s “Major Tom (Coming Home)” offers an intriguing unauthorized sequel to David Bowie’s space saga. This German synth-pop hit revisits Major Tom, lost in space, adrift in his capsule. While a fan-fiction continuation of Bowie’s classics, “Major Tom” stands on its own as a synth-pop gem with its own unique narrative and catchy melody. Its success demonstrates the enduring fascination with the Major Tom character and the appeal of 80s synth-pop music, proving that even fan-inspired works can achieve classic status.
Rush, ‘The Spirit of Radio’
ENGLAND – 1st JUNE: Alex Lifeson, Geddy Lee and Neil Peart from Canadian rock band Rush pose backstage during their Permanent Waves tour of England in June 1980. (Photo by Fin Costello/Redferns)
Image Credit: Fin Costello/Redferns/Getty Images
Rush’s “The Spirit of Radio” is a brilliant exploration of the music industry and the power of radio itself. The song critiques the commercial pressures within music while celebrating the timeless essence of rhythm and honesty. Musically complex yet accessible, the track features Rush’s signature virtuosity, including a surprising reggae breakdown at the end. Geddy Lee’s powerful vocals and insightful lyrics make “The Spirit of Radio” not just a great rock song, but also a commentary on the medium that brought music to the masses, securing its place among the best 80s rock anthems.
Steel Pulse, ‘Chant a Psalm’
Rhythm guitarist and lead singer David Hinds with English roots reggae band Steel Pulse, Fr. Amde Hamilton priest left and Yancy Gwen deacon back center of the St. Teckle Haymonot Ethiopian Orthodox Church at Hollywood hotel in Hollywood, California circa 1982 (Photo by Shirley Hamilton/Amde Trust/Getty Images)
Image Credit: Shirley Hamilton/Amde Trust/Getty Images
Steel Pulse, UK reggae stalwarts, delivered a message of hope with “Chant a Psalm” from their album True Democracy. At a time of personal and political turmoil, David Hinds’ lyrics offer solace and strength through biblical narratives. Chanting the names of Moses, Daniel, Samson, and Solomon, the song encourages faith and resilience. “Chant a Psalm” is a powerful example of 80s reggae music with a spiritual and uplifting message, showcasing Steel Pulse’s commitment to both musical excellence and social commentary.
Strafe, ‘Set It Off’
Strafe’s “Set It Off” is an underground NYC dance classic, a raw and energetic track built on booming 808s and a simple, direct invitation: “Y’all want this party started right? Y’all want this party started quickly?” While not a mainstream radio hit, “Set It Off” became hugely influential, its sonic blueprint echoing in countless dance tracks in the decades that followed. This song is a foundational piece of 80s underground dance music, demonstrating the power of raw beats and infectious energy to ignite a party.
The Police, ‘When the World Is Running Down’
Pop band The Police in studio 1980 Sting with Andy Summer and Stewart Copeland. (Photo by Gavin Kent/Mirrorpix/Getty Images)
Image Credit: Gavin Kent/Mirrorpix/Getty Images
The Police, despite their numerous iconic hits, also delivered deep cuts that shone just as brightly. “When the World Is Running Down” from Zenyatta Mondatta is a prime example. Sting described the period as “a very difficult time… a sense of urgency and quite a lot of drugs,” and that tension is palpable in the track’s restless energy. The song’s groove is hypnotic, with lyrics depicting a bored, wealthy European seeking escape in bootleg James Brown videos and pondering the emptiness of material possessions. “When the world is running down, you make the best of what’s still around” becomes a mantra for finding meaning in a chaotic world, making this one of the best 80s new wave songs with depth and resonance.
Oran ‘Juice’ Jones, ‘The Rain’
NEW YORK – JULY 1987: American R&B singer Oran
Image Credit: Michael Ochs Archive/Getty Images
Oran “Juice” Jones’ “The Rain” is a masterclass in R&B storytelling, delivered with a unique blend of smooth vocals and dramatic monologue. The song unfolds as a breakup narrative, with Jones catching his lady with another man and meticulously planning her eviction. The spoken-word breakdown is legendary, filled with memorable lines like “You gotta get on outta here with that alley-cat-coat-wearing, hush-puppy-shoe-wearing crumb cake!” and the unforgettable closer, “You without me like cornflake without the milk!” “The Rain” is a standout example of 80s R&B ballads with a theatrical flair and unforgettable personality.
Bananarama, ‘Shy Boy’
LONDON – 1st JANUARY: English pop group Bananarama posed in London in 1983: Left to Right: Siobhan Fahey, Sara Dallin and Keren Woodward. (Photo by Mike Prior/Getty Images)
Image Credit: Mike Prior/Getty Images
Bananarama, the iconic girl group of the 80s, delivered hit after hit with their carefree attitude and catchy melodies. “Shy Boy,” from their debut album Deep Sea Skiving, is arguably their most irresistible track. Showcasing their signature unison vocals and seductive nonchalance, the song is pure pop perfection. Bananarama’s journey from post-punk beginnings to hi-NRG disco queens is embodied in “Shy Boy,” making it a definitive example of 80s girl group pop songs that prioritized fun and style over vocal perfection.
Minor Threat, ‘Straight Edge’
Minor Threat and Susie on Dischord House front porch, 1982 by Rebecca Hammel
Image Credit: Rebecca Hammel
Minor Threat’s “Straight Edge” is hardcore punk at its most potent and concise. In just 46 seconds, this D.C. crew delivered a life-affirming manifesto for a generation. “Straight Edge” isn’t about rules; it’s about personal agency and conscious choices, rejecting self-destructive behaviors. Ian MacKaye’s raw vocals and the song’s blistering pace create an intense and impactful experience, particularly when his voice cracks as he pushes “something I just don’t neeeeed“. “Straight Edge” is a seminal track in 80s hardcore punk, its brevity and intensity amplifying its message.
The Raincoats, ‘No One’s Little Girl’
Image Credit: David Corio/Redferns/Getty Images
The Raincoats were pioneers in redefining punk rock in the early 80s, infusing it with art-school sensibilities and feminist perspectives. “No One’s Little Girl” is a quirky and powerful track that challenges misogynistic clichés with deadpan humor and angular rhythms. Gina Birch’s chanted vocals, Ana Da Silva’s dissonant guitar, and Vicky Aspinall’s violin create a unique and unsettling soundscape. Lines like “I never shall be in your family tree” are delivered with a defiant edge, making “No One’s Little Girl” a crucial example of 80s feminist punk songs and The Raincoats’ innovative approach.
Ray Parker Jr., ‘I Still Can’t Get Over Lovin’ You’
CANNES, FRANCE – JANUARY 01 : Posed portrait of singer Ray Parker Junior in Cannes, France in 1985. (Photo by David Redfern/Redferns)
Image Credit: David Redfern/Redferns/Getty Images
Ray Parker Jr., often underrated, was a consistent hitmaker in the 80s. “I Still Can’t Get Over Lovin’ You” showcases his versatility, blending R&B with synth-pop influences. Parker, a Motown prodigy himself, even nods to UK synth-pop with a subtle “Every breath you take, I’ll be watching you, girl” reference at the end. The song’s melancholic melody and Parker’s heartfelt vocals, confessing “I can’t turn you loose, though I know it’s self-abuse,” make it a standout 80s R&B ballad with a touch of New Wave sensibility.
Girlschool, ‘Yeah Right’
UNITED KINGDOM – MARCH 01: Photo of GIRLSCHOOL; posed, studio, group shot (Photo by Fin Costello/Redferns)
Image Credit: Fin Costello/Redferns/Getty Images
Girlschool, the all-female metal band from the UK, delivered a raw and rebellious anthem with “Yeah Right.” This track celebrates female freedom and defiance, with lyrics about women’s right to “stay out all night raising hell.” Kelly Johnson’s powerful guitar riffs and the band’s energetic performance make “Yeah Right” a quintessential 80s heavy metal song with a feminist edge. The music video, featuring Motörhead’s Philthy Animal Taylor in drag, further amplifies the song’s playful and rebellious spirit.
Ministry, ‘Revenge’
Portrait of the band Ministry for a portrait in a photo studio in Chicago, Illinois, May 10, 1982. Singer Al Jourgensen stands in the center. Stephen
Image Credit: Paul Natkin/Getty Images
Ministry’s “Revenge” is a surprisingly catchy and angsty synth-pop track, a far cry from Al Jourgensen’s later industrial metal sound. Jourgensen himself famously disowns his early synth-pop era, but “Revenge” remains a fan favorite. With its New Romantic synths and melodramatic lyrics about teen heartbreak, the song is undeniably effective. “Revenge” serves as a reminder of the diverse sonic landscape of the 80s and a testament to the unexpected appeal of even the most disavowed early works of iconic artists, making it a curious entry in the best 80s synth-pop songs.
The Rolling Stones, ‘Undercover of the Night’
(L-R) Mick Jagger, Charlie Watts, Keith Richards, Bill Wyman and Ron Wood of the Rolling Stones. (Photo by Robin Platzer/Getty Images)
Image Credit: Robin Platzer/Getty Images
“Undercover of the Night” is an often-overlooked gem from the Rolling Stones’ 80s output. This track sees the band experimenting with contemporary sounds, incorporating elements of The Clash, Grandmaster Flash, Lee Perry, and Duran Duran. The result is a politically charged song addressing US imperialism in Latin America, driven by the exceptional rhythm section of Bill Wyman and Charlie Watts. “Undercover of the Night” is a testament to the Stones’ enduring ability to adapt and innovate, making it one of the best 80s Rolling Stones songs and a surprising foray into the decade’s sonic landscape.
The Jim Carroll Band, ‘People Who Died’
BERKELEY, UNITED STATES – OCTOBER 25: Jim Carroll performing with his band at Sproul Plaza in Berkeley, California on October 25, 1980. (Photo by Clayton Call/Redferns)
Image Credit: Clayton Call/Redferns/Getty Images
Jim Carroll, known for The Basketball Diaries, brought his raw street poetry to rock and roll with “People Who Died.” This high-speed track is a visceral and unflinching eulogy for friends lost to drugs, violence, and the harsh realities of street life. Carroll’s rapid-fire delivery and the song’s driving energy create a powerful sense of urgency and grief. “People Who Died” is a raw and unforgettable example of 80s punk rock, reflecting the darker side of the decade with unflinching honesty.
Samantha Fox, ‘I Wanna Have Some Fun’
UNITED KINGDOM – JANUARY 01: Photo of Samantha FOX (Photo by Suzie Gibbons/Redferns)
Image Credit: Suzie Gibbons/Redferns/Getty Images
Samantha Fox, the queen of trash-disco, returned with “I Wanna Have Some Fun,” a pure celebration of hedonism and carefree enjoyment. With acid-house strings and a hired B-boy chanting her name, the song is unapologetically fun and over-the-top. Fox’s cheeky London accent and playful lyrics, starting with a drunk dial, perfectly embody the era’s embrace of excess and lightheartedness. “I Wanna Have Some Fun” is quintessential 80s disco-pop, a guilty pleasure anthem that encourages letting loose and embracing the moment.
Queen and David Bowie, ‘Under Pressure’
Queen singer Freddie Mercury and David Bowie talking backstage at the Live Aid concert, Wembley Stadium, London, 13th July 1985. (Photo by Denis O
Image Credit: Denis O’Regan/Getty Images
“Under Pressure,” the collaboration between Queen and David Bowie, is a monumental meeting of two iconic musical forces. Freddie Mercury’s vocal acrobatics reach new heights in this track, matched by Bowie’s equally powerful and nuanced performance. Instead of competing, Mercury and Bowie harmonize and complement each other, creating a song that is greater than the sum of its parts. “Under Pressure” is a unique and timeless track, unlike anything else in either artist’s discography, solidifying its place as one of the best 80s collaborations and a testament to their combined genius.
Dexys Midnight Runners, ‘Come On Eileen’
BIRMINGHAM – SEPTEMBER 09: L-R Steve Shaw, Helen O
Image Credit: Brian Cooke/Redferns/Getty Images
Dexys Midnight Runners’ “Come On Eileen” is a Celtsploitation masterpiece, blending pop hooks with Irish folk instrumentation. With its fiddle melodies, “too-rye-aye” chants, and Kevin Rowland’s passionate vocals, the song is instantly infectious. While often labeled a one-hit wonder in the US, “Come On Eileen” remains a beloved and enduring track, its energy and charm transcending geographical boundaries. The line “At this moment, you mean everything” captures the song’s romantic intensity, making it a standout example of 80s new wave pop.
Lionel Richie, ‘All Night Long (All Night)’
American singer Lionel Richie poses for a portrait with his piano and sunset in Los Angeles, California, circa 1983. (Photo by Bonnie Schiffman/Getty Images)
Image Credit: Bonnie Schiffman/Getty Images
Lionel Richie’s “All Night Long (All Night)” is the ultimate party anthem, embodying Richie’s pastel-era charm and calypso-infused pop sensibilities. The song is a vibrant celebration of joy and togetherness, with Richie adopting an exaggerated Jamaican accent and incorporating made-up African chants. Its infectious rhythm and feel-good vibes have made it a wedding and party staple for decades. “All Night Long (All Night)” is quintessential 80s pop soul, a testament to Lionel Richie’s ability to create universally appealing and uplifting music.
The Stone Roses, ‘I Wanna Be Adored’
The Stone Roses – 1989, The Stone Roses – 1989 (Photo by Brian Rasic/Getty Images)
Image Credit: Brian Rasic/Getty Images
The Stone Roses’ “I Wanna Be Adored” is a statement of intent, a declaration of ego and ambition. This track, with its hypnotic groove and Ian Brown’s confident vocals, is a masterclass in building atmosphere and anticipation. The song’s simple yet powerful message—the desire for adoration—resonated deeply, launching The Stone Roses and the Madchester scene into the spotlight. “I Wanna Be Adored” is a cornerstone of 80s alternative rock, its confident swagger and sonic textures influencing generations of musicians.
New Kids on the Block, ‘Hangin’ Tough’
UNSPECIFIED – JANUARY 01: Photo of NEW KIDS ON THE BLOCK and Donnie WAHLBERG and Joey McINTYRE and Danny WOOD and Jonathan KNIGHT and Jordan KNIGHT; Posed group portrait L-R Donnie Wahlberg, Danny Wood, Joey McIntyre, Jonathan Knight (front) and Jordan Knight (Photo by Michel Linssen/Redferns)
Image Credit: Michel Linssen/Redferns/Getty Images
New Kids on the Block’s “Hangin’ Tough” is the ultimate boy band anthem of the late 80s. This track, with its catchy chorus and danceable beat, propelled NKOTB to superstardom and defined the boy band phenomenon of the era. Despite initial critical skepticism, even figures like Chuck D recognized their genuine love for hip-hop, highlighting the genre-bending spirit of the late 80s. “Hangin’ Tough” is a foundational track in 80s boy band pop, showcasing the energy and appeal that captivated millions of fans worldwide.
Missing Persons, ‘Words’
Dale Bozzio of Missing Persons performs on the TV show
Image Credit: Ron Wolfson/WireImage
Missing Persons’ “Words” perfectly captures the angst and alienation of teenage life. Dale Bozzio’s distinctive vocals and the band’s quirky New Wave sound create a song that’s both catchy and emotionally resonant. Lines like “No one notices/I think I’ll dye my hair blue” became anthems for misunderstood teens everywhere. “Words” is a quintessential example of 80s new wave songs that tapped into the anxieties and desires of a generation, making self-expression and individuality paramount.
Ratt, ‘Round and Round’
Portrait of the band RATT, left to right,Robbin Crosby (1959 – 2002), Bobby Blotzer, Stephen Pearcy, Warren DeMartini, and Juan Croucier in Chicago, Illinois, May 12, 1984. (Photo by Paul Natkin/Getty Images)
Image Credit: Paul Natkin/Getty Images
Ratt’s “Round and Round” was the glam metal anthem of the summer of ’84, catapulting them to the forefront of the Sunset Strip scene. Stephen Pearcy’s raspy vocals, Warren DeMartini and Robbin Crosby’s guitar work, and the song’s infectious chorus made it an instant classic. The music video, featuring Milton Berle in drag, further amplified its appeal. “Round and Round” is a definitive example of 80s glam metal songs, embodying the era’s excess, catchy melodies, and larger-than-life personas.
The English Beat, ‘Twist and Crawl’
The Beat 1982 English Beat (Photo by Chris Walter/WireImage) *** Local Caption ***
Image Credit: Chris Walter/WireImage
The English Beat’s “Twist and Crawl” is driven by one of the slinkiest basslines of the decade. This multiracial ska band from Birmingham, England, used their music to challenge racism and promote unity. “Twist and Crawl,” with its herky-jerky rhythms and Dave Wakeling’s smooth vocals, is both danceable and socially conscious. The band’s Go Feet record label, with its inclusive imagery, further underscored their message of unity and fun. “Twist and Crawl” is a standout example of 80s ska songs, blending infectious rhythms with a positive message.
L’Trimm, ‘Cars With the Boom’
Image Credit: © Roy Volkmann/Courtesy Warner Music Group
L’Trimm’s “Cars With the Boom” is pure Miami Bass energy, a high-octane track designed to be played loud and proud. This duo, Tigra and Bunny, turned cars into mobile boomboxes, spreading Miami Bass havoc wherever they went. The song’s simple, repetitive lyrics and booming bass are designed to get crowds moving, making it a quintessential party starter. “Cars With the Boom” is a prime example of 80s Miami Bass songs, showcasing the genre’s raw energy and party-centric ethos.
Modern English, ‘I Melt With You’
Portrait of the band Modern English backstage at the Park West in Chicago, Illinois, May 6, 1983. Counter clockwise from left, guitarist Gary McDowell, singer Robbie Grey, keyboard player Stepehn Walker, drummer Richard Brown, and bassist Michael Conroy. (Photo by Paul Natkin/Getty Images)
Image Credit: Paul Natkin/Getty Images
Modern English’s “I Melt With You” is defined by its iconic humming guitar solo, a moment of pure sonic bliss. Despite its upbeat melody, the song’s lyrics are surprisingly apocalyptic, depicting lovers embracing as the world ends. Robbie Grey’s vocals and the song’s dreamy atmosphere create a bittersweet and romantic mood. “I Melt With You” is a classic example of 80s alternative songs that blended catchy melodies with deeper, often darker, lyrical themes.
Billy Idol, ‘White Wedding’
LONDON – 1st JANUARY: English singer Billy Idol (ex Generation X) posed in London in 1982. (Photo by Clare Muller/Redferns)
Image Credit: Clare Muller/Redfern/Getty Images
Billy Idol unleashed his rebellious energy with “White Wedding,” a rock anthem that blends sex, religion, and raw rock and roll. Idol’s sneering vocals and the song’s driving beat established him as a rock icon of the 80s. “White Wedding” is a quintessential 80s rock song, embodying the decade’s embrace of rebellious personas and stadium-ready anthems. Its music video, with its gothic imagery, further solidified Idol’s image as a rock and roll provocateur.
Peech Boys, ‘Don’t Make Me Wait’
Peech Boys’ “Don’t Make Me Wait” is a seminal track in the history of house music, crafted by legendary Paradise Garage DJ Larry Levan. This song embodies the spirit of the Garage, a haven for dance music culture. Levan’s production evokes a vibrant cityscape coming alive at night, filled with partygoers ready to dance until dawn. “Don’t Make Me Wait” is a foundational piece of 80s house music, showcasing Levan’s genius and the innovative sound that emerged from the Paradise Garage.
The Dream Syndicate, ‘Open Hour’
Image Credit: Gie Knaeps/Getty Images
The Dream Syndicate’s “Open Hour” is a sprawling, psychedelic guitar jam, showcasing the band’s love for extended improvisation and sonic exploration. Emerging from LA’s Paisley Underground scene, The Dream Syndicate drew inspiration from bands like the Velvet Underground and Television. “Open Hour,” also known as “John Coltrane Stereo Blues” in longer versions, is a showcase for Karl Precoda and Steve Wynn’s guitar interplay, creating a feedback-drenched and mesmerizing sonic journey. This track represents the best 80s psychedelic rock, a testament to the power of guitar-driven improvisation.
Linton Kwesi Johnson, ‘Inglan Is a Bitch’
(NETHERLANDS OUT) NETHERLANDS – JANUARY 01: Photo of Linton Kwesi JOHNSON (Photo by Lex van Rossen/MAI/Redferns)
Image Credit: Lex van Rossen/MAI/Redferns/Getty Images
Linton Kwesi Johnson, the pioneering dub poet, delivered powerful social commentary in “Inglan Is a Bitch.” This track, from his album Bass Culture, addresses the oppression and racism faced by Afro-Caribbean immigrants in London. Johnson’s spoken-word poetry in patois, combined with reggae rhythms, creates a potent and unflinching portrayal of social injustice. “Inglan Is a Bitch” is a crucial example of 80s reggae with social commentary, highlighting the struggles of marginalized communities and the power of music as protest.
Dominatrix, ‘The Dominatrix Sleeps Tonight’
Dominique Davalos of cult US synth pop group Dominatrix, New York, 1984. (Photo by Michael Putland/Getty Images)
Image Credit: Michael Putland/Getty Images
Dominatrix’s “The Dominatrix Sleeps Tonight” is a mysterious and kinky NYC club classic. This track, shrouded in anonymity, features whip cracks, drum machines, and synth textures to create a dark and alluring atmosphere. The narrator, a robotic dominatrix, delivers deadpan vocals describing a wild party and a night of dominance. “The Dominatrix Sleeps Tonight” is a unique and enigmatic entry in 80s electronic music, embodying the underground club culture and pushing boundaries of sound and subject matter.
Conclusion:
The best 80s songs represent a decade of unparalleled musical innovation and diversity. From pop anthems to underground sounds, from rock ballads to hip-hop’s rise, the eighties provided a rich tapestry of genres and artists that continue to influence music today. This playlist is just a starting point, a glimpse into the vast and vibrant sonic landscape of a truly unforgettable decade. So, turn up the volume and let the iconic 80s hits transport you back to a time of big hair, bold sounds, and musical magic.
