40 sensational songs from the 1980s

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As a lifelong music enthusiast who has spent countless hours immersed in the rich tapestry of melodies and lyrics that define our cultural landscape, I can confidently say that this list showcases some truly unforgettable gems from the 1980s. Each song represents a unique moment in time, capturing the essence of various genres while also pushing the boundaries of what was considered possible within those confines.

The key to a good list is focus. If the list is too broad, it can be rendered meaningless. I know that. I have been writing lists for a long time. But I’m throwing all that gathered experience right out the window on this one. Instead of narrowing in on the best metal or post-punk songs of a given time period, I’m just proclaiming the following to be the best songs… period… of the 1980s.

Of course, I chose the ’80s for its remarkable diversity among decades of pop music, making it arguably the most diverse. This diversity adds to the difficulty in consolidating them into a unified whole. Yet, I enjoy tackling such challenges.

Essential songs from the 1980s

The ’80s stand out as an intriguing era due to their transitional nature. Traditional rock was losing its grip in the pop music scene, but no clear successor had emerged yet. Consequently, a wide variety of genres – some newly emerging and others well-established – were swiftly adapting and transforming to gain popularity.

In those days, Hip-hop and Dance Pop weren’t as popular as they would later become. Punk and Metal were growing from a small following to a wider audience. At the same time, Funk and Country were evolving into something fresh. New Wave was just emerging, while old-school rock continued to influence all genres with its genetic makeup. In simpler terms, various music styles were undergoing changes and blending together in unique ways during that period.

Let’s examine a diverse playlist of tunes, yet we’ll aim for some organization. In other words…

When I was a child, Casey Kasem played the Top 40 songs, and so I’ve decided to compile a list of 40 songs for this post (although I could have included 250, but I assume you wouldn’t have the time to read through them all). Instead, I’ll categorize them by genre rather than counting them down.

We’ll choose five songs apiece from six major genres, and then fill in the rest with a bit of a grab-bag. Ten more songs culled from five additional genres – a kind of lightning round which if my math is right, gets us to 40 songs in all.

I’m focusing on the diverse style (eclecticism) mentioned earlier by selecting different genres. As per my usual practice, I’ll choose just one song per artist to ensure variety. This approach means that some exceptional tracks may get overlooked. However, know that any song included here is a standout representative of its genre and won’t be here if it doesn’t meet high standards. There’s no room for mediocre or filler songs on this album.

We’ll begin with the granddaddy of all modern popular music – good old rock & roll.

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ROCK & ROLL

In 1970, The Beatles disbanded. Led Zeppelin ceased activities in 1980. As rock and roll evolved, branching into various sub-genres, one enthusiastic Canadian expressed hope in 1978: “Rock and roll, my friend – it will never fade away.

“I Love Rock ‘n’ Roll” by Joan Jett & the Blackhearts (1981)

Let’s kick things off with a classic rock & roll statement that was first recorded by The Arrows back in 1975. Their version had a modest success, but six years later, Joan Jett amplified the rhythm and intensity. She growled the lyrics, switched the gender roles, making the female character the hunter. And she reigned supreme on the Billboard charts for an impressive seven weeks straight during the Spring of 1982.

“Tunnel of Love” by Bruce Springsteen (1987)

By the year 1987, Bruce had reigned as one of the top three influential rock & roll performers globally for an entire decade. His album “The River” was a significant commercial success at the start of this period, and “Born in the USA” surpassed it in popularity midway through. He then released thought-provoking albums – the melancholic “Nebraska” in 1982 and the remarkable collection of love songs spanning all its facets – “Tunnel of Love” in 1987.

The main song is likened to a carnival ride symbolizing the mix of joy, excitement, and fear that comes with starting a new romantic relationship. While “Born in the USA” is more recognized from the ’80s, “Tunnel of Love” demonstrates Springsteen’s exceptional songwriting skills at their peak.

“Veronica” by Elvis Costello (1989)

As a music enthusiast, I can’t help but appreciate another masterfully penned rock tune by Costello. His voice echoes with a beautiful blend of melancholy and triumph as he tackles the subject of aging. Collaborating with Paul McCartney no doubt added to the song’s brilliance, but the unyielding spirit that embodies the woman at its core is pure Elvis Costello.

“Running Down a Dream” by Tom Petty (1989)

From Petty’s highly acclaimed album “Full Moon Fever,” the second released track was undeniably a hard-hitting rock number. The melody is powered by Mike Campbell’s guitar, and his solo in the ending is remarkably high-flying. Moreover, it boasts one of the most stylish music videos of that decade, crafted in the Winsor McCay animation style, a pioneer in modern animation. Essentially, this track is a classic blues rock song with an equally iconic visual element.

“Janie’s Got a Gun” by Aerosmith (1989)

In the closing years of the decade, Aerosmith made a powerful comeback with their album titled “Pump“. This record was brimming with gritty tracks such as “Young Lust”, “Love in an Elevator”, and “Don’t Get Mad, Get Even”. However, it also demonstrated that they could tackle more mature themes like in the song “Janie…” without compromising their rock & roll authenticity.

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Pop Rock

Pop-rock has always been a genre that I found challenging to categorize, yet easily recognizable when listened to. It’s distinct from mainstream pop with a stronger emphasis on guitar, but still prioritizes catchy melodies over heavy metal, or hard rock. Despite the definition, in the ’80s, like other genres, pop-rock was broadening its horizons and exploring new musical territories.

“Our Lips are Sealed” by the Go-Gos (1981)

1981 saw an unexpected arrival with the album “Beauty and the Beat” by The Go-Go’s. Although it was undeniably an all-female pop record, its roots were in the SoCal punk scene, infusing it with a grit and edge that had yet to be widely embraced in mainstream music. While there had been other all-girl pop groups and even some all-girl punk bands before them, The Go-Go’s demonstrated that blending genres could lead to global success.

“Come on Eileen” by Dexys Midnight Runners (1982)

Despite what many Americans might think, Dexys Midnight Runners aren’t just a one-hit wonder, as depicted in The Simpsons. They achieved success in their home country, but nothing quite reached the heights of “Eileen.” This song, fueled by an endless stream of pop hooks, rhythm changes, and the basic principle of pop music – invitations for romance, dominated the charts.

“Girl Afraid” by the Smiths (1984)

The Smiths aren’t strictly categorized as Pop Rock, but they seem to fit best within that genre for lack of a more suitable definition. In truth, they were often labeled as Indie music, a term whose significance was unclear even when we first heard it. “Girl Afraid,” an unusual choice for a single by Smiths’ standards, wasn’t released as one.

It just showed up on their Hatful of Hollow album which wasn’t even released in the States. It was originally the B-side of “Heaven Knows I’m Miserable Now,” a Morrissey title if ever there was one. “Girl Afraid” is the Smiths at their most jangly – it would be in a jangle pop section if I had one. That jangle counterpoints the portentous lyrics perfectly.

“Boy in the Bubble” by Paul Simon (1986, single in 1987)

“Graceland is one of the outstanding albums of the decade. The second track on the album, ‘The Boy in the Bubble,’ is an exceptional song worthy of mention here. However, when you play the album, it’s ‘The Boy in the Bubble’ that greets your ears first, shattering your perception of what pop music can be. With Foreere Motloheloa’s accordion propelling the tune and Bakithi Kumalo’s bass beating with a unique vitality, this song was groundbreaking.

“Walk Like an Egyptian” by the Bangles (1986)

Was “Walk Like an Egyptian” merely a novelty tune? To be honest, it doesn’t really matter, because its infectious melody was irresistible without being simplistic. In fact, it had a subtle cleverness about it, and it was later brilliantly parodied by the Swinging Erudites. Similar to the Go-Go’s, the Bangles were a pop band with a punk spirit within them, which resulted in some fantastic songs. During Christmas of 1986, “Walk Like an Egyptian” reigned as the number one song in America. It maintained its position through January 1987.

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Hip-hop

The first hip-hop track to enter the Top 40 was “Rapper’s Delight” in 1979, while “Ice Ice Baby” took the number one spot in 1990. The 80s, a decade that witnessed hip-hop evolving from a secondary act to a headliner in pop music, came between these two milestones. Here are five songs that played a significant role not just in popularizing hip-hop as a genre, but in integrating it deeply into the broader culture.

“The Message” by Grandmaster Flash & the Furious Five (1982)

In a similar vein, “It’s like a jungle out there – Sometimes I question how I stay afloat.” This phrase, as used by Duke Bootee and Melle Mel, significantly shaped rap music. While others may have tackled serious societal matters earlier, they were the first to achieve significant success with such themes.

For many years, Grandmaster Flash has been associated with a popular song, yet it’s important to note that he played a minimal role in its creation. The same goes for the rest of the Furious Five, with Melle Mel being the only exception. Instead, it was primarily written and performed by Melle Mel and Duke Bootee.

“I Can’t Live Without My Radio” by LL Cool J (1985)

The initial track on LL Cool J’s debut album was released when he was seventeen years old. This was also Def Jam’s first complete album, produced by Rick Rubin at the age of 22. These two young men, one black and one white, sparked a revolution in the music industry with this release. Interestingly, it seems that Rubin was only warming up to his full potential at that point.

“Walk This Way” by Run-DMC and Aerosmith (1986)

Prior to his collaboration with LL Cool J, Rubin had already been associated with Run-DMC. In the year 1986, he felt it was crucial to demonstrate that hip hop wasn’t just a novelty but genuine music. Instead of merely sampling the drum break from Aerosmith’s 1976 rock hit “Walk This Way,” he chose to incorporate it into his work.

They managed to persuade Steven Tyler and Joe Perry to join the studio session for them to sing and play, while Joseph Simmons and Darryl McDaniels added their rapping skills. The blend of rap and rock reached its peak. When this unconventional song climbed up to the fourth spot on Billboard’s Hot 100 chart, Aerosmith experienced a revival, and rap music gained mainstream recognition.

“Bring the Noise” by Public Enemy (1988)

For the first time, Public Enemy’s “Bring the Noise” was prominently featured in the movie based on Bret Easton Ellis’ novel Less Than Zero. The film sparked a variety of reactions – some people enjoyed it, while others saw it as a harbinger of the end times. Regardless, Public Enemy’s song seemed to fit perfectly with the movie’s tone.

1988 saw Public Enemy unveil a track titled as a single from their album “It Takes a Nation of Millions to Hold Us Back“. Chuck D.’s lyrics were direct and relevant, continuing the dialogue initiated by “The Message” and pushing it further. The rhythm was irresistible, on par with the best rock & roll had produced. It prompted dancing. It provoked thought.

“F**k the Police” by NWA (1988)

In a past piece, I explored the similarities between NWA and the Marx Brothers – two creative groups hailing from underrepresented communities who relied solely on their sharp wit and talent to provoke and amuse the establishment. Critics often dismiss gangsta rap as vulgar, and when it’s imitated by less talented artists, it can certainly become crass and lowbrow.

Absolutely, when NWA’s album “Straight Outta Compton” was released in ’88, many critics claimed this was true. The track causing the most controversy was the second one from a powerful opening sequence of songs, which depicted an extreme perspective of the world – based on street wisdom. This song was explosive, both musically and lyrically, and it showed clearly that hip-hop success wasn’t dependent on radio airplay. In the evolving scene at that time, the roles were starting to switch.

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Punk

In the ’60s, Protopunk emerged from the same suburban areas that gave birth to garage rock. It found its first significant surge in the ’70s with bands like Ramones and Sex Pistols defining its core essence. By the ’80s, punk underwent transformation. It expanded in various forms, branching out into hardcore and melodic styles. However, the DIY (Do-It-Yourself) ethos continued to thrive throughout this evolution.

As a devoted admirer, I can’t help but express that the core drive was to harness speed and intensity to keep an impatient audience captivated, often disregarding commercial appeal and polish. The punk scene provided a vast canvas for experimentation, and the masters of this movement truly outdid themselves. In my humble opinion, punk music in the 1980s was perhaps more revolutionary and groundbreaking than any other genre. Here are five exceptional acts that encapsulated this spirit at its finest.

“Holiday in Cambodia” by Dead Kennedys (1980)

The song starts with Klaus Flouride’s ominous bass line, followed quickly by East Bay Ray’s guitar chords that echo like defensive fire against an invisible foe overhead. When Ted’s drums kick in, it feels as if we’ve entered a hellish realm. We’re just twenty seconds into the most aggressive track from the Dead Kennedys’ provocative first album.

As a devotee, when Jello Biafra’s lyrics hit, it’s clear he’s speaking truth to power, much like Bob Dylan in “Mozambique,” but his message resonates with a fervor that feels like the passionate sermons of the most fiery preacher you can imagine, directly addressing the complacent youth of America.

“That’s When I Reach for My Revolver” by Mission to Burma (1981)

The opening track from Boston’s band (consisting of three or four members, depending on whether you include sound engineer Martin Swope who significantly contributed to their unique sound) carries a similar introductory mood to “Holiday in Cambodia.” However, the subsequent feelings of anger and distress are much more restrained. This subtlety might even make it more chilling. The song is essentially about loss, broken vows, and the ominous way America resorts to violence when faced with certain truths. Remarkably, its somber tone has proven eerily prophetic in the over four decades since its release.

“Straight to Hell” by the Clash (1982)

Instead of an early number from the Clash like their previous releases, this song was actually their farewell piece, hailing from their final album “Combat Rock” which showcased the original four-piece band. Contrary to its melodious ska-inspired rhythm, it doesn’t lack the fury that characterized the first two songs. As Joe Strummer sings at the end, “There ain’t no asylum here – King Solomon, he never lived ’round here – Straight to hell, boy – Go straight to hell, by.” This song was later sampled by M.I.A. in her hit track “Paper Planes.

“Makes No Sense At All” by Husker Du (1985)

Back in the ’80s, it was Husker Du from Minnesota who stood out among the heavy metal bands with mainstream potential. With Bob Mould’s vast songwriting skills, and Grant Hart and Greg Norton forming an incredible rock & roll rhythm section, they were truly a force to be reckoned with. Notably, drummer Grant Hart was equally talented in composing songs too. They arguably came the closest to breaking through with “Makes No Sense At All” from their album Flip Your Wig. As a die-hard fan, I’ve always admired their unique blend of power and artistry.

Huskier Du transitioned deliberately from their raw punk origins towards a melodic, radio-friendly form of punk with an edgy twist – essentially pioneering pop-punk a full decade before the term was coined. On the brink of fame, Mould and Hart experienced creative differences leading to the band’s dissolution. There are many facets to this tale, but we’ll save those for another occasion.

“Bastards of Young” by the Replacements (1985)

Back in January 1986, they performed “Bastards of Young” during their iconic SNL gig – a performance that wasn’t their first brush with controversy. Despite being somewhat tipsy, as was often the case for The Replacements during performances, it wasn’t this song that got them in trouble. It was their unsteady rendition of “Kiss Me On the Bus” that prompted Lorne Michaels to take action.

At the age of 13, Billie Joe Armstrong was already tuned in, and it was this early exposure that eventually led Green Day to achieve greatness over the subsequent years.

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Funk

Funck was previously viewed as just an element within specific styles of R&B and Soul music. However, starting in the late ’60s, bands such as Sly and the Family Stone, Graham Central Station, Parliament-Funkadelic, among others, demonstrated that funk had its own strength and could stand on its own. Stevie Wonder then brought funk to new heights with his remarkable 1970s albums. As the ’80s approached, like other genres mentioned, funk started branching out into various directions.

“Funkytown” by Lipps Inc (1980)

Disco had fallen out of favor, having been a dominant force in pop culture during the latter half of the 70s and later becoming a subject of caricature and mockery. However, its influence on dance music was indelible and not easily erased. New York City served as inspiration for Steven Greenberg and Cynthia Johnson when they created their instantly identifiable number-one hit. The song, a blend of Johnson’s forceful chorus (“won’t you take me to Funkytown”) and the skittering verse that could represent a rural dream of the city, encapsulated the bright lights that beckoned to anyone yearning to escape from home.

“Atomic Dog” by George Clinton (1982)

George Clinton was as integral to funk music as anyone else. Through Parliament-Funkadelic, he blazed new trails for the genre and continued innovating even after that collective disbanded. The song “Atomic Dog” is from his Computer Games album, and on the surface, it might appear to be just nonsensical lyrics in support of a good groove.

While your interpretation might be valid, I delved deeper into the symbolism of men being likened to dogs. However, its significance is immaterial given the overwhelming power of the track. The consistent sampling of it by artists like Public Enemy and Snoop Dogg underscores this. Yet, you don’t need to hear it in their songs; simply experiencing the original will suffice.

“Wanna Be Starting Something” by Michael Jackson (1983)

The song “Wanna Be Starting Something” was initially featured on an album Michael Jackson released in early 1982, but it wasn’t until 1983 that the single was officially released. You might recognize the name of that album – it was called Thriller. This album shattered all existing records and catapulted Jackson to global pop stardom.

Instead of opting for the iconic hits like “Billie Jean” or “Beat It”, I could’ve included them, but they didn’t quite match the funky vibe I was aiming for. However, this song appeals to me more. Its irresistible rhythm is unparalleled, making me overlook Michael’s repeated phrase “You’re a vegetable.” Frankly, I don’t understand its meaning, but it doesn’t bother me in the least.

“When Doves Cry” by Prince (1984)

In a way that left no room for doubt, Prince demonstrated that funk songs weren’t limited to lyrics about funky places, dogs, or fennel. Instead, “When Doves Cry” is an epic tale of tortured romance, complete with a divine beat. Its introduction features a powerful guitar riff that transitions into its Yamaha synth melody and then into its persistent rhythm. It’s bold, it’s captivating. It’s unmistakably Prince. This song is frequently found on lists of the best songs of the decade, and even among the greatest of all time.

“I Can’t Stand the Rain” by Tina Turner (1985)

Back in 1973, Ann Peebles set the stage with her remarkable original. Fast forward a decade, Missy Elliott would build upon it as the foundation for her hit “The Rain” in 1987. Treading the middle ground, the undisputed queen of rock gave it a try. She showcased her cover on her comeback album, Private Dancer, which catapulted her back into the limelight as a powerhouse in the music industry. Just like Michael Jackson’s Thriller, there were numerous other standout tracks to select from on Private Dancer, including “Tina Turner,” “What’s Love Got to Do With It,” and “Better Be Good to Me.

My fondness for “I Can’t Stand the Rain” might stem from its origin, as it carries a wistful tone rather than one of defiance. Listening to Tina Turner sing is always delightful, but sometimes hearing her hold back can be equally captivating, especially when it serves a brilliant song production.

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Country

In the early ’70s, Willie Nelson and Waylon Jennings departed from Nashville and moved to Austin, causing a significant stir in the country music scene that still resonates today. This marked the birth of Outlaw country, but would it expand beyond this point? Would it disrupt how Nashville operated? The 1980s provided some groundbreaking music to address these questions.

“Can’t Even Get the Blues No More” by Reba McEntire (1982)

In the late ’70s, Reba McEntire was on a conventional path for women in country music, which brought her moderate success. However, she yearned for something more, and she wasn’t content with just delivering standard heartbreak ballads. She had a passion for rock music, soulful grooves, and the blues as well. This desire led her to strive for greater diversity in her music.

In 1982, she started achieving her goals on the album “Unlimited”. The final version of the album was a blend of rockabilly and blues, perfectly showcasing her vocal abilities. And in 1983, she scored her first number one hit on the country charts. The following year, she commenced a streak of four consecutive Female Vocalist of the Year awards from the CMAs.

“Highwayman” by the Highwaymen (1985)

The Highwaymen – legendary figures in country music – were seemingly destined to never come together, considering the numerous factors that could have prevented their formation. Yet, against all odds, they did, making it feel almost serendipitous now. These four talented musicians not only admired each other but also found themselves at a crucial career crossroads in the mid-’80s, with three of them seeking a resurgence.

Willie Nelson and Waylon Jennings had a complex friendship that swung between affection and animosity. The other three members weren’t too keen on Kris Kristofferson’s vocal political views, which leaned liberal. As for Johnny Cash, he was none other than the legendary Johnny Cash. Despite being at a low point in his career, the supergroup required Cash to form, as it turned out.

Luckily, everyone consented to try it out, and eventually let Marty Stuart and Jimmy Webb persuade them to perform a song by Webb that Glen Campbell had previously recorded in 1979. They wanted something with four identical verses and no chorus to worry about. At first, they weren’t very excited, but Cash promised he could sing the final verse – about the starship pilot – so he was on board. The others followed suit. A myth and a legend were created in the process.

“Guitars, Cadillacs” by Dwight Yoakam (1986)

In the heart of the 1980s, around a decade since the outlaw movement emerged, a duo of young, guitar-wielding musicians ignited a fresh wave that would expand upon the outlaw concept. This new wave was known as neo-traditional and it blended a profound affection for pioneering artists like Hank Williams with a contemporary flavor, heavily influenced by rock and roll.

On his first album titled “Guitars, Cadillacs, Etc., Etc.“, Dwight Yoakam showcased a genuine twang in both playing rockabilly and singing, effectively moving country music away from the lingering strings and choirs of the countrypolitan genre. This transition was aided by another rugged guitarist, about whom we’ll learn more soon.

“Copperhead Road” by Steve Earle (1988)

Is it soon enough for you? Earle’s debut single from his first album titled “Guitar Town” bore a strong resemblance to Yoakam’s initial release. Then, two years later, Earle took things a step further with his second album, Copperhead Road. The opening track of the album, “Copperhead Road,” is powerful and groundbreaking, depicting the transformation from traditional moonshiners to ’80s drug dealers. It features mandolins and organs that echo the rolling hills of Kentucky and Ireland equally.

By the time he hits the third verse, his warning “you better stay away from Copperhead Road” is one of the most ominous lines of ‘80s music produced.

“Why’d You Come in Here Looking Like That” by Dolly Parton (1989)

In the ’80s, Yoakam and Earle were fresh faces in the music scene, while Dolly Parton was already an established queen. For many years, she’d been crafting extraordinary songs. She moved from being a duet partner with Porter Wagoner to becoming a successful solo artist. By then, she had dominated almost every opportunity that the music industry presented to her.

In a slightly different wording: “Dolly Parton was simply repeating her antics, this time with an infectious energy of rock & roll and pure enjoyment that wasn’t always evident in her heartfelt ballads. And when you’re Dolly, who had already conquered the country charts over 20 times, you could have Bela Fleck strumming the banjo, and Ricky Skaggs handling almost everything else.

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Grab Bag

After completing the main six groups, we’re now moving on to a fast-paced segment – an additional ten songs spanning five distinct musical styles, each equally captivating as what preceded them.

New Wave

“Call Me” by Blondie (1980)

The song that ruled the charts before “Funkytown” in spring of 1980 was not part of a Blondie album; it originated from the movie “American Gigolo“. This song was the collaboration between composer Giorgio Moroder and lyricist/singer Debbie Harry. Similar to “Funkytown,” popular tunes in early ’80s were somewhat impacted by disco’s lingering echoes. However, unlike “Funkytown,” this song had a harder rock edge, with Blondie not holding back from the beat, creating an overpowering effect.

“Burning Down the House” by the Talking Heads (1983)

There were still guitars in “Burning Down the House,” but there were more synths and electronics at play. On top of the funkiest of grooves, the collection of sounds created something new and fresh – the newest of new waves. In other hands, this might have been a mess. In David Byrnes’, it was pure pop genius.

“Girls Just Want to Have Fun” by Cyndi Lauper (1983)

The opening track from Cyndi Lauper’s debut album, “She’s So Unusual,” was perfectly named. Every aspect of the song stood out, from Lauper’s unique vocal style that blended innocent exuberance with mature longing, to the unexpected casting of wrestling legend Lou Albano as her father in the music video. A whirlwind of synthesizers initiates the track before giving way to a catchy rhythm that’s hard not to dance to. Lauper transformed Robert Hazard’s original composition into the defining feminist dance hit of the 80s.

“Material Girl” by Madonna (1984/ single 1985)

Back in the day, as a die-hard Madonna fan, I can’t help but feel a tad disappointed. The singles that flanked her iconic “Material Girl” – “Like a Virgin” and “Crazy for You” – soared to number one on the Billboard Hot 100. However, her signature tune didn’t quite make it to the top; REO Speedwagon’s “Can’t Fight This Feeling” held it back. In my book, that’s not fair! It could have been even more heartbreaking, I guess.

As “Material Girl” started climbing down the charts, Phil Collins’ “One More Night” reached number one. I can put up with Speedwagon, but it’s a watered-down version of pop compared to the assertiveness of “Material Girl.” If it had been Phil Collins, I might have needed stronger words.

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Metal

“Ace of Spades” by Motorhead (1980)

I’m not convinced any power trio has ever produced a better song, as these three musicians are exceptionally talented, each delivering powerful performances. The music they create is intense and impactful. Lemmy was an exceptional songwriter with a knack for composing songs that perfectly suited his distinctive voice. Remarkably, the songs are both lightning-fast and melodious, showcasing great skill in composition. I wish my keyboard had umlauts to properly represent some of the German terms in the lyrics.

“Master of Puppets” by Metallica (1986)

The group, known for turning thrash metal into a profitable genre, is also one of the top-selling music acts in the realm of popular music history. They’re renowned for Kirk Hammett’s iconic guitar riffs and possess a powerful lyrical core, rhythmic assault that doesn’t let up, and a knack for standing out among the noise of fast and loud bands that prioritized volume and speed. However, Metallica demonstrated that they could produce more than just this; their capabilities extended far beyond.

Blues Rock

“When Love Comes to Town” by U2 and B.B. King (1988)

As a die-hard fan, I never imagined that pairing the world’s most renowned rock band with one of the greatest blues guitar virtuosos could have been anything less than spectacular. Yet, it exceeded my expectations! Bono and B.B. delivered an electrifying performance. The song starts off pounding hard for the initial two-and-a-half minutes, then Bono gracefully steps aside, giving way to B.B., who dazzles with a swift, skillful solo and takes charge of the final verse and outro.

“Thing Called Love” by Bonnie Raitt (1989)

Back in the day, witnessing Bonnie Raitt belt out one of John Hiatt’s jubilant love songs was nothing short of brilliant. In the ’70s, she was a cherished underground artist, strumming slide guitar and crooning some phenomenal blues rock numbers. However, her fame dipped a bit in the ’80s. But let me tell you, seeing her perform again was like rediscovering an old friend, reminding everyone why she was so beloved in the first place.

Nick of Time, marked by the hit single “Thing Called Love,” significantly transformed Bonnie Raitt’s career, elevating her to unprecedented heights. The funky, bluesy rhythm allowed Raitt an ideal platform to display her transformation from a budding singer with potential into a fully-fledged vocalist capable of producing chart-topping songs.

Folk Rock

“Luka” by Suzanne Vega (1987)

Suzanne Vega noted that Lou Reed’s album, “Berlin” (1973), showed her that any topic could be addressed in a pop song. She demonstrated this freedom of theme in “Luka,” from her second album, “Solitude Standing.” Notably, this was the same album that produced the hit a cappella single “Tom’s Diner.

Musically speaking, “Luka” shines with its vibrant guitars and sugary melody. However, upon closer listening, it becomes clear that this song is about a young boy suffering from domestic abuse, grappling with an unbearable situation. This theme was echoed in Aerosmith’s “Jamie’s Got a Gun” a few years down the line, where two sides of a complex issue were presented.

“Fast Car,” by Tracy Chapman (1988)

We’ve arrived at the conclusion, and we’re now listening to what could very well be the standout song of this entire decade. If not the best, then undeniably the most emotionally resonant and poignant. The uncomplicated acoustic guitar melody provides a perfect backdrop for Chapman’s penetrating, desperate lyrics and her breathtaking vocal performance.

The revival of the tune, sung by country artist Luke Combs, served admirably for those unaware of the original version, and contributed significantly to one of the most emotionally powerful moments at recent Grammy Awards, as Chapman performed the song live while Combs humbly stepped aside, giving her a shining moment on stage.

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2024-09-14 13:02