The year 1985 stands as a fascinating crossroads in music history, a bridge connecting the sounds of the ’70s with the burgeoning styles of the ’90s. It was a time of stylistic diversity, where rock, pop, metal, new wave, alternative, soul, and dance music all found space on the charts and airwaves. This melting pot of genres reflected a music scene in flux, with established artists adapting to new trends and emerging sounds hinting at the future of music.
Our curated list of the top 40 songs of 1985 captures this transitional spirit, showcasing tracks that both nodded to the past and pointed towards the future. The dominance of the old guard began to give way, creating room for fresh voices and innovative approaches. While the landscape of alternative rock, electronic music, and hip-hop was still developing, 1985 offered a glimpse into the exciting directions these genres would take. It wasn’t a sudden revolution, but rather a pivotal year where the groundwork for bold new musical frontiers was being laid. These songs were instrumental in charting that course.
40. Stevie Wonder, “Part-Time Lover”
Stevie Wonder’s incredible run of hits extended well into the 1980s. By 1985, he had already amassed three No. 1 singles in the decade, including collaborations and solo successes. “Part-Time Lover,” from his album In Square Circle, became his ninth and final chart-topping hit. This track, the lead single from his first proper album since 1980’s Hotter Than July, is a clear homage to Wonder’s Motown roots, specifically recalling the infectious energy of ’60s hits by The Supremes and other Motown girl groups. With its playful lyrics and layered vocals, “Part-Time Lover” demonstrated Wonder’s enduring ability to blend nostalgia with contemporary pop sensibilities.
39. Eurythmics, “Would I Lie to You?”
Eurythmics, after establishing themselves in the synth-pop and new wave scene with their first three albums, began to explore deeper into R&B influences with Be Yourself Tonight. Annie Lennox’s rich, soulful voice had always hinted at these inclinations, and Be Yourself Tonight saw the duo fully embrace a genre crossover. “Would I Lie to You?”, the album’s lead single, exemplified this shift with its robust instrumentation. Featuring prominent trumpet, organ, and a full band arrangement, the song moved beyond their signature synth-driven sound, evoking a modern take on classic Stax-era soul. This track highlighted Lennox’s vocal prowess and the duo’s evolving musical direction.
38. USA for Africa, “We Are the World”
Inspired by the success of Band Aid’s “Do They Know It’s Christmas?”, “We Are the World” was an ambitious project spearheaded by Michael Jackson, Lionel Richie, and Quincy Jones. Following a major music awards show, an extraordinary assembly of American music icons convened in a Los Angeles studio to record this charity single. The goal was to raise funds for Ethiopian famine relief, and the sheer star power involved guaranteed massive attention and donations. Featuring luminaries like Cyndi Lauper, Bruce Springsteen, and Tina Turner, “We Are the World” became a cultural phenomenon. It not only raised millions for a critical cause but also showcased the collective influence and generosity of the era’s leading artists.
36. (tie) David Bowie and Pat Metheny Group, “This Is Not America”
David Bowie’s 1984 album Tonight, the follow-up to his commercial juggernaut Let’s Dance, was met with lukewarm reception, even by Bowie himself. Seeking fresh creative avenues, he began exploring collaborations, particularly for soundtrack work. “This Is Not America,” his partnership with jazz virtuoso Pat Metheny for the Sean Penn spy thriller The Falcon and the Snowman, stands out as a highlight from this period. The song is a brooding, atmospheric piece, imbued with a noir sensibility that foreshadows the darker, more experimental territories Bowie would explore later in his career, particularly on his final album Blackstar. The collaboration with Metheny brought a sophisticated jazz fusion element to Bowie’s sound, resulting in a unique and compelling track.
36. (tie) John Cougar Mellencamp, “R.O.C.K. in the U.S.A. (A Salute to ’60s Rock)”
John Mellencamp’s evolution into a socially conscious artist, marked by his reclaiming his birth name, became a significant aspect of his public image in the mid-80s. His album Scarecrow directly addressed the struggles of American farmers during the Reagan era and the broader socio-economic impact on communities. Amidst these serious themes, “R.O.C.K. in the U.S.A.” served as a seemingly lighter, almost tossed-off track at the end of the album. However, this song is far from frivolous; it’s a heartfelt tribute to the rock and roll heroes of the 1960s. Through name-checking iconic figures, Mellencamp connects his music to a lineage of American rock tradition while still resonating with contemporary audiences.
35. ‘Til Tuesday, “Voices Carry”
The pervasive influence of MTV in 1985 cannot be overstated, and ‘Til Tuesday’s breakthrough is a testament to the network’s power. Hailing from Boston, this new wave band’s debut album might have flown under the radar were it not for the heavy rotation of their music video on the then-four-year-old MTV. The title track, “Voices Carry,” became a Top 10 hit, propelled by its memorable video and catchy new wave sound. While subsequent records didn’t achieve the same level of mainstream success for ‘Til Tuesday, it launched the career of Aimee Mann, who would later gain critical acclaim as a solo artist in the ’90s.
34. R.E.M., “Can’t Get There From Here”
After two albums that solidified their jangly, college rock sound, R.E.M. sought a change for their third album, Fables of the Reconstruction. They opted to record in London with English producer Joe Boyd, known for his work with folk-rock luminaries like Fairport Convention and Nick Drake. This shift in environment and production style resulted in a recalibration of the band’s approach. “Can’t Get There From Here,” the album’s lead single, showcased this new direction, moving away from their typical sound towards something darker, meatier, and even weirdly horn-accented. This single signaled R.E.M.’s willingness to experiment and expand their musical palette.
33. The Pogues, “A Pair of Brown Eyes”
The Pogues’ second album, Rum Sodomy & the Lash, produced by Elvis Costello, is widely considered the record where they truly defined their unique identity: a raucous blend of punk energy and traditional folk music. “A Pair of Brown Eyes,” penned by singer Shane MacGowan, is a standout track from this album. It reveals MacGowan’s songwriting depth, blending nostalgic sentiment with musical and lyrical tributes. The melody itself has roots in older folk traditions, and the lyrics even reference Johnny Cash in a jukebox setting. Rum Sodomy & the Lash became a seminal album of the 80s, and “A Pair of Brown Eyes” was crucial in establishing its enduring appeal.
32. R.E.M., “Driver 8”
In contrast to the experimental nature of “Can’t Get There From Here,” R.E.M.’s follow-up single from Fables of the Reconstruction, “Driver 8,” is classic R.E.M. While “Can’t Get There From Here” incorporated brass and deviated from their earlier Americana-infused indie rock, “Driver 8” comfortably settled into their signature sound. It features evocative imagery in both lyrics and music, becoming instantly recognizable as R.E.M. Over time, “Driver 8” has become one of their most enduring and covered songs, with artists ranging from Hootie and the Blowfish to Jason Isbell offering their interpretations.
31. The Firm, “Radioactive”
While Robert Plant, Jimmy Page’s Led Zeppelin bandmate, launched a successful solo career after the band’s dissolution in 1980, Page remained relatively quiet in the early ’80s, save for soundtrack work. In 1985, he made a notable return with The Firm, a supergroup formed with former Bad Company vocalist Paul Rodgers. Despite their pedigree, The Firm was short-lived, lasting for only two albums. “Radioactive,” their sole Top 40 hit, serves as a potent reminder of their combined strengths. The song blends Page’s signature guitar riffs with Rodgers’ powerful vocals, showcasing the potential of this rock supergroup.
30. Tears for Fears, “Head Over Heels”
Tears for Fears achieved significant success with Songs From the Big Chair, a conceptual album delving into sociopolitical and psychological themes, at a time when pop music often leaned towards escapism. “Head Over Heels,” the album’s third U.S. single (fourth in the UK), is no less complex. While seemingly a love song, it explores emotional vulnerability and fragility. Reaching No. 3 in the US, it demonstrated Tears for Fears’ ability to craft sophisticated pop music that resonated with a wide audience, even while tackling deeper lyrical content.
29. Husker Du, “Makes No Sense at All”
Minneapolis punk trio Husker Du maintained a prolific pace after their 1984 breakthrough double album, Zen Arcade. In 1985 alone, they released two albums: New Day Rising and the quickly followed Flip Your Wig. The latter included “Makes No Sense at All,” a blistering 2:43 track considered one of the band’s finest singles. The 7″ release of “Makes No Sense at All” was notably paired with a cover of The Mary Tyler Moore Show theme song, “Love Is All Around,” further highlighting their Minneapolis roots and eclectic musical tastes.
28. Faith No More, “We Care a Lot”
The original version of “We Care a Lot,” featuring Faith No More’s original singer Chuck Mosley, is often considered the definitive rendition of this frequently revisited song. Mosley re-recorded it in 1987, and the band continued to perform it with his replacement, Mike Patton. The lyrics of “We Care a Lot” evolved over time to reflect contemporary pop culture, with references to Madonna and Cabbage Patch Kids being replaced by mentions of Transformers and Garbage Pail Kids. This adaptability and satirical edge became a hallmark of Faith No More’s unique style.
27. Ratt, “Lay It Down”
Ratt, hailing from Los Angeles, nearly broke into the Top 10 in 1984 with “Round and Round,” a significant achievement for a glam metal band amidst the pop dominance of artists like Michael Jackson, Prince, and Bruce Springsteen. For their follow-up album, Invasion of Your Privacy, released in 1985, they largely adhered to the formula of their successful debut: catchy choruses and slinky guitar riffs. “Lay It Down,” the lead single, reached No. 40, marking Ratt’s final entry into the Top 40, but solidifying their place in the glam metal landscape of the mid-80s.
26. The Waterboys, “The Whole of the Moon”
The Waterboys’ most celebrated song, “The Whole of the Moon,” didn’t initially garner the widespread acclaim it enjoys today, although its significance within the Scottish band’s catalog was evident from its release. Bandleader Mike Scott cited C.S. Lewis, author of The Chronicles of Narnia, as a key inspiration, reflecting the artist’s ability to perceive multiple layers of reality. Musically, the song draws from influences as diverse as The Beatles, Prince, and U2, resulting in a rousing, anthemic track that transcends genres and has grown into a beloved classic.
25. The Firm, “Someone to Love”
“Someone to Love,” co-written by Jimmy Page and Paul Rodgers, the masterminds behind The Firm, is among the strongest tracks on their self-titled debut album. Built upon a driving, Zeppelin-esque riff, the song allows Rodgers to venture into Robert Plant-esque vocal territory. The rhythm section, comprised of bassist Tony Franklin and drummer Chris Slade, provides a robust foundation for the interplay between Page and Rodgers, showcasing the combined talents of these rock veterans.
24. The Cure, “Close to Me”
Heading into their sixth album, The Head on the Door, The Cure were emerging from a particularly gloomy period. Robert Smith’s personal struggles and the underwhelming reception of their 1984 album, The Top, led to internal band changes. The Head on the Door marked a turning point, becoming their highest-charting record to date and signaling a lighter, more accessible musical approach. “Close to Me” perfectly encapsulates this shift, blending upbeat new wave elements with their signature post-punk undertones and an undeniable pop sensibility.
23. Madonna, “Crazy for You”
Like a Virgin had firmly established Madonna as a major force in pop music. In 1985, while still riding the wave of her 1984 album, she contributed new songs to movie soundtracks: “Into the Groove” from Desperately Seeking Susan, in which she also starred, and “Crazy for You” from the wrestling drama Vision Quest. “Crazy for You,” a sultry ballad, became her second No. 1 single, cementing her status as an unstoppable pop phenomenon.
22. A-ha, “Take On Me”
“Take On Me” by A-ha is as renowned for its groundbreaking music video as it is for its musical qualities. This Norwegian synth-pop trio achieved worldwide fame with the re-release of “Take On Me” in 1985 (an earlier version had been a hit in Norway in 1984). The song’s innovative rotoscoped video, combined with its catchy synth-pop melody, propelled it to international success. A-ha had one more chart single from their album Hunting High and Low before fading from the US radar by the end of the decade, though they continued to release successful music elsewhere.
21. Huey Lewis and the News, “The Power of Love”
Like many artists in 1985, Huey Lewis and the News contributed a song to the burgeoning trend of movie soundtracks. However, unlike many others, the film associated with their song, Back to the Future, became an enduring classic of the year. “The Power of Love,” their first No. 1 hit, while not directly thematically linked to time travel, became inextricably associated with the movie. Although they had another song on the soundtrack, “Back in Time,” “The Power of Love” became the standout track, solidifying Huey Lewis and the News’ place in 80s pop culture.
20. Madonna, “Into the Groove”
“Into the Groove,” widely considered one of Madonna’s best songs, was surprisingly never officially released as a single in the U.S. despite her immense popularity following her second album, Like a Virgin. Intended purely as a dance track, “Into the Groove” was initially relegated to a B-side on the 12″ single of “Angel,” Virgin‘s less successful third single. Its inclusion in Madonna’s film debut, Desperately Seeking Susan, however, propelled it into the cultural consciousness and solidified its status as a fan favorite and a defining track of her early career.
19. Robert Palmer, “Addicted to Love”
Robert Palmer had been a working musician for two decades before achieving supernova success in 1985 with “Addicted to Love,” the third single from his eighth album, Riptide. Produced by Chic bassist Bernard Edwards and featuring guitar work by Duran Duran’s Andy Taylor (both Palmer’s bandmates in the Power Station side project), “Addicted to Love” was undeniably boosted by its iconic and much-imitated music video. Beyond the visuals, the song itself, with its driving rhythm and Palmer’s suave vocals, is a genuinely great track that resonated deeply with audiences.
18. The Cult, “She Sells Sanctuary”
The Cult began to solidify their signature sound on their second album, Love. “She Sells Sanctuary,” the album’s lead single and centerpiece, marked a crucial transition for the band. It blended post-punk gothic elements with hard rock energy, creating a wall of guitar sound that hinted at new directions. While The Cult’s later work would lean further into hard rock, “She Sells Sanctuary” captures them at a pivotal moment, bridging their alternative roots with their burgeoning stadium rock ambitions.
17. Duran Duran, “A View to a Kill”
Duran Duran’s immense popularity in the mid-80s made them a natural choice to record the theme song for the 14th James Bond film, A View to a Kill. Bassist John Taylor’s personal fandom of 007 further cemented their involvement. “A View to a Kill” holds the distinction of being the last song recorded by Duran Duran’s original lineup before a 15-year hiatus and, more significantly, the only Bond theme to reach No. 1 on the charts. Production assistance from Chic’s Bernard Edwards, a connection from the Duran Duran offshoot Power Station, added another layer of musical sophistication to this iconic Bond theme.
16. INXS, “What You Need”
INXS was steadily gaining momentum outside their native Australia leading up to their fifth album, Listen Like Thieves, in 1985. This album proved to be their breakthrough in the US, reaching No. 11, propelled by the success of its lead single, “What You Need,” which climbed into the Top 5 – their highest US chart placements at that point. Famously written after producer Chris Thomas challenged the band to create a hit, “What You Need” blended new wave with funk influences, a formula so successful that INXS built their subsequent massive hit album, Kick, around it.
15. The Replacements, “Bastards of Young”
After three critically acclaimed indie albums rooted in punk, Minneapolis’ The Replacements signed to a major label for their fourth album, Tim. The album’s creation was fraught with challenges, including guitarist Bob Stinson’s increasing unreliability and production disagreements. Amidst this turmoil, singer and songwriter Paul Westerberg was evolving beyond the band’s earlier, short punk bursts. “Bastards of Young,” a more mature and nuanced track, showcased this growth and essentially laid the groundwork for the alternative rock sound that would dominate the next decade.
14. New Order, “The Perfect Kiss”
By 1985, New Order’s transformation from the somber post-punk of Joy Division to synth-pop innovators was complete. No longer overshadowed by their past, the quartet embraced pop sensibilities on their third album, most notably on the exceptional lead single “The Perfect Kiss.” While the band members themselves claim to be unsure of the song’s meaning, its underlying darker themes still subtly permeate its glossy synth-pop exterior, creating a compelling juxtaposition.
13. ZZ Top, “Sleeping Bag”
The MTV-driven success of Eliminator in 1983 catapulted ZZ Top to unexpected mainstream popularity. Their blend of synths and drum machines with their signature blues boogie yielded multiple hit singles. It was no surprise then when the Texas trio returned in 1985 with Afterburner, essentially repeating the hit formula. “Sleeping Bag,” Afterburner‘s lead single, reached No. 8, matching “Legs” as their highest-charting song and further cementing their unlikely transition into MTV-era pop stars.
12. Aerosmith, “Let the Music Do the Talking”
Aerosmith’s 1985 album, Done With Mirrors, marked the return of their original lineup. While a full-fledged comeback was still a couple of years away, Done With Mirrors was a significant step in that direction. Still finding their footing after reunion, the band was initially short on new material and revived a song originally recorded by guitarist Joe Perry’s solo project in 1980. “Let the Music Do the Talking” became the album’s lead single, serving as a statement of intent for the reunited Aerosmith.
11. Talking Heads, “And She Was”
Talking Heads were known for their restless musical exploration throughout the 80s, moving from world music to club sounds. On their 1985 album, Little Creatures, they subtly incorporated Americana influences. However, being an art-centric New York band, this shift was more about nuanced touches – a steel guitar here, an accordion there – rather than a complete genre transformation. “And She Was,” a standout track from the album, is whimsical and theatrical, embodying the classic Talking Heads’ art-pop sensibility.
10. Dire Straits, “Money for Nothing”
“Money for Nothing” by Dire Straits is undeniably a product of its time. Featuring a distorted guitar tone reminiscent of ZZ Top, backing vocals from Sting (fresh off solo success), and a groundbreaking, MTV-ready video, the song propelled Dire Straits to unexpected pop stardom in 1985. The album Brothers in Arms topped charts, and the song itself, with its satirical lyrics about MTV culture from the perspective of working-class men, reached No. 1 for three weeks, earning multiple Grammy nominations and becoming a defining anthem of the era.
9. Motley Crue, “Home Sweet Home”
Motley Crue, primarily known for Sunset Strip hard rockers like “Looks That Kill” and their cover of “Smokin’ in the Boys Room,” surprised many with the release of “Home Sweet Home” in late 1985. This power ballad, focused on the theme of life on the road and accompanied by a vérité-style video capturing the band’s on and off-stage lives, became a pivotal track in launching the 80s power ballad trend. It demonstrated that even hard rock bands could embrace vulnerability and emotional depth, expanding their appeal and influencing the musical landscape.
8. John Cougar Mellencamp, “Small Town”
“Pink Houses” had already begun to dismantle John Mellencamp’s manufactured pop image from the late 70s. Scarecrow in 1985 was the album where he fully found his authentic voice. Embracing “heartland rock” made in the American heartland, with Mellencamp as a genuine singer-songwriter at the helm, the album paved the way for a wave of similar artists. “Small Town” distills Mellencamp’s ethos into a concise and powerful anthem, capturing the pride and identity of small-town America with the resonant lyric: “I can be myself here.”
7. The Cure, “In Between Days”
Shedding the “gloom and doom” label that had followed them since the early 80s, The Cure embraced pure exuberance in “In Between Days,” the lead single from The Head on the Door. Robert Smith’s vocals follow the buoyant acoustic guitar melody note for note, creating a Day-Glo pop sound. Clearly intended as a pop single, it succeeded spectacularly. “In Between Days” became The Cure’s first song to break into the Billboard Hot 100, signaling a new era of mainstream success for the band.
6. Bangles, “Manic Monday”
Prince was at the peak of his influence in 1985, and even songs he initially intended for other artists became massive hits. “Manic Monday” was originally written for his female trio Apollonia 6 before he gifted it to another all-women group, the Los Angeles power-pop quartet The Bangles. Released as a single in late 1985 and included on their 1986 album Different Light, “Manic Monday” with its paisley pop vibe made The Bangles stars and further extended Prince’s incredible streak of songwriting successes.
5. Prince and the Revolution, “Raspberry Beret”
Prince could seemingly do no wrong in 1985. He had emerged as the biggest artist of 1984, a remarkable feat considering the chart dominance of Michael Jackson and Bruce Springsteen. When it came time to create the follow-up to Purple Rain, Around the World in a Day, he filled it with a mix of studio outtakes, experimental pieces, and pure pop gems like “Raspberry Beret.” This track, a whimsical and slightly psychedelic romp, complete with finger cymbals and strings, showcased Prince’s boundless creativity and his ability to effortlessly blend genres.
4. Tom Petty and the Heartbreakers, “Don’t Come Around Here No More”
Tom Petty’s sixth album, Southern Accents, was plagued by creative and personal struggles from its inception. Originally conceived as a concept album about the South, it lost its thematic focus midway through. Eurythmics’ Dave Stewart was brought in to produce new tracks, and Petty famously injured his hand in frustration during the recording process. Stewart’s distinct synth-pop production style is somewhat at odds with The Heartbreakers’ signature sound, but the resulting track, “Don’t Come Around Here No More,” with its memorable video and undeniable hook, proved irresistible, becoming a classic despite its troubled origins.
3. Kate Bush, “Running Up That Hill”
“Running Up That Hill” was always a standout track from Kate Bush’s masterpiece album, Hounds of Love. However, its resurgence in popularity in 2022, thanks to its prominent placement in the Stranger Things TV series, elevated it to even greater heights of recognition. Methodically constructed over five musically intense minutes, “Running Up That Hill” is a masterclass in songcraft. The dynamic interplay between the drums and Bush’s powerful vocals, particularly towards the song’s climax, underscores its enduring brilliance and emotional depth.
2. Simple Minds, “Don’t You (Forget About Me)”
Soundtracks became a vital platform for artists in 1985, offering a quick route to release new music, often accompanied by readily available music videos derived from film footage. For Glasgow band Simple Minds, “Don’t You (Forget About Me)” marked their US breakthrough. Prior to this, they hadn’t even cracked the Billboard Hot 100. Their US debut single went straight to No. 1, largely thanks to its inclusion in the iconic Brat Pack film The Breakfast Club. The song became synonymous with the movie and propelled Simple Minds to international stardom.
1. Tears for Fears, “Everybody Wants to Rule the World”
Tears for Fears’ sophomore album, Songs From the Big Chair, was a conceptually ambitious project for a synth-pop duo from England who had barely registered on the US charts previously. Yet, it yielded not only one of the best songs of the 80s but also a No. 1 hit in regions where the band was virtually unknown just a year prior. “Everybody Wants to Rule the World,” the lead single, appears initially as an unassuming pop song. However, upon closer listening, its thematic depth and musical complexity emerge. Perhaps this intriguing duality – instantly accessible yet subtly profound – is why it became one of the biggest hits of 1985. Or, perhaps it’s simply a timelessly great song, a melodically perfect and instantly appealing piece of music that comes along only rarely.
Conclusion:
1985 was truly a year of musical transition, a fascinating blend of established artists reinventing themselves and new sounds beginning to emerge. From charity anthems to power ballads, from synth-pop masterpieces to heartland rock anthems, the Top Songs Of 1985 showcased a diverse and dynamic musical landscape. This list serves as a snapshot of a pivotal year, highlighting the songs that not only topped the charts but also captured the spirit of a decade in flux, paving the way for the musical innovations that would follow.
