This week In ’80s Throwback’ 03/52

1 . UB40 . Food For Thought

Released in 1980, “Food for Thought” by UB40 cuts through the haze of early reggae-inspired pop with an abrasive glare at global inequalities.

Without flinching, the song juxtaposes the hunger of the world’s impoverished against Western overabundance, throwing lines like “Ivory Madonna dying in the dust” at the listener like grenades of guilt.

Its nimble chord sequencing in A minor lends an understated melancholy, while the reggae rhythm propels the track with a sense of inevitability, as if mirroring the relentless march of systemic apathy.

The minimalist production and raw delivery strip away any excess gloss, leaving the lyrics to hammer their message home with brutal efficiency.

The music video avoids theatrics, focusing instead on the band as a machine of solemn intent, performing under stark visuals to let the song’s weight speak for itself.

Chart success didn’t dilute its purpose; the fact that it reached number one in New Zealand and ranked high elsewhere says less about mass understanding than it does about the song’s infectious delivery.

The song’s misinterpreted lyrics—a point of frustration for writer Robin Campbell—highlight the gap between a listener’s appetite for rhythm and their willingness to chew on meaning.

Still, decades on, “Food for Thought” stands resilient, a snapshot of early UB40 at their most critical and relevant, even if the world it critiques has yet to budge.

Lifted from : BBC tapes UB40 (1981)

2 . Queen . I Want To Break Free

Queen’s “I Want to Break Free” lashes out with an air of defiant liberation, penned by bassist John Deacon for their 1984 album *The Works*.

Its E major 12-bar blues progression is a nod to rock traditions, contrasting sharply with the sleek, synthesizer-laden veneer courtesy of session musician Fred Mandel and his Jupiter-8 solo.

Released on April 2, 1984, this track soared to number three in the UK charts and found apex success in countries like Austria and Belgium, all while barely making a ripple in the US at number 45.

The accompanying David Mallet-directed video is as unforgettable as it is audacious, with the band gleefully parodying *Coronation Street* dressed in drag—a creative suggestion from Roger Taylor’s then-girlfriend that landed the clip in both acclaim and controversy.

Despite its divisive rollout stateside, the song gained a permanent slot in their live shows, notably during the 1984–85 Works Tour and 1986 Magic Tour.

Its worldwide cultural footprint remains, blending theatrical flair with a mainstream edge, unapologetically embracing contradiction at its finest.

Lifted from : Queen return to rock Rio (1985)

3 . INXS . Original Sin

Released in 1983 as the flagship single of INXS’s fourth album *The Swing*, *Original Sin* strides boldly into the new wave landscape, pairing Nile Rodgers’ polished production with a provocative lyrical premise.

Written by Michael Hutchence and Andrew Farriss, the track ropes in Daryl Hall on the chorus, a collaboration that feels both serendipitous and slightly surreal—a nod to Hall & Oates’ dominance during that era.

Built on a pulsating groove layered with taut guitar riffs and synth flourishes, the song teeters between commercial pop appeal and a glimpse of INXS’s brooding charisma, a tension that would become their calling card.

The lyrics invite interpretation, skimming themes of societal expectations and cross-cultural relationships, making for a narrative as intriguing as the song’s music video.

Filmed in Japan, the visual alternates between surreal imagery and the band weaving through motorcycle-laden cityscapes, lending the whole thing an offbeat edge that defies easy categorization.

Though the track hit No. 1 in Australia, cementing its place as one of INXS’s definitive early works, its underwhelming Billboard Hot 100 peak (No. 58) hints at America’s slower embrace of their sound.

Still, the song’s allure endured, finding new life in 2010 with a dance-infused reinterpretation featuring Rob Thomas, and again years later via a mini-series-fueled download resurgence.

Critically, it oscillates between being an adventurous outlier in their catalog and a prototype of the slick fusion that would later define their global superstardom.

Far more than a straightforward pop song, *Original Sin* dares listeners to sit with its complexities—be it in its ambiguous lyrics or its sonic blend of drama and restraint.

Lifted from : On TV today . INXS at ‘The Tube’ (1986)

4 . Randy Newman . I Love L.A.

Released in 1983, “I Love L.A.” emerges as a tongue-in-cheek ode to the contradictions of Los Angeles, drenched in sunny melodies and biting wit. Newman crafts a landscape that feels equal parts postcard-perfect and absurdly garish, with meticulously placed shoutouts to ubiquitous streets like Century and Santa Monica Boulevard, blending local pride with satirical undertones.

The opening verse, soft and unassuming with electric piano and saxophone overtones, briefly borrows melodic DNA from Rodgers and Hart’s “The Lady Is a Tramp.” Before long, the track shifts into an anthemic pop-rock groove, injecting Beach Boys-like exuberance, complete with a sly nod to their anthem “Surfin’ U.S.A.” The spirited chorus, punctuated by Christine McVie and Lindsey Buckingham’s echoing “We love it,” sweeps the listener into an ironic celebration drenched in glossy hooks.

Steve Lukather’s guitar solo adds the precise dose of California sheen, punctuating an already satirical orchestration. Despite its upbeat veneer, Newman’s delivery carries a wryness, quietly asking whether the city he adores deserves such unqualified affection. For a track that didn’t crack the Billboard Hot 100 at release, it found its moment during the 1984 Olympics via a Nike ad, transforming into an unlikely L.A. anthem brimming with commercial kitsch.

The accompanying music video paints a kaleidoscopic snapshot of the city, balancing its sunlit glamour against its inherent wackiness. Featuring cameos from members of Toto and Ambrosia, it revels in its over-the-top portrayal while keeping one eyebrow permanently raised. Newman’s tongue-in-cheek narrative portrays L.A. not as perfect but as unmistakably alive and absurdly unforgettable, much like the song itself.

Lifted from : Warner Bros. publish Randy Newman’s seventh album . ‘Trouble in Paradise’ featuring ‘I Love L.A.’ (1983)

5 . Yes . Hold On

“Hold On” by Yes emerges from their 1983 album *90125*, a project that warps progressive rock into a catchier, radio-friendly territory.

The song fuses two original Trevor Rabin tracks, “Hold On” and “Moving In,” and morphs them into something bigger, thanks to contributions by Chris Squire and Jon Anderson.

Unlike the rest of the Trevor Horn-led *90125*, this track carries the fingerprints of Yes themselves, co-producing their way into a more collaborative sound.

The flashy veneer doesn’t mask the odd structure—a mashup of Rabin’s rock sensibilities and Anderson’s more ethereal tendencies, wrapped in ‘80s production gloss.

While “Hold On” only peaked at 43 on the U.S. Mainstream Rock chart, it snagged enough attention to earn a spot on multiple Yes compilations, which might say more about the band’s legacy recycling than about the song itself.

Rabin’s initial demos, later released on his 2003 solo album *90124*, strip back the arena polish, revealing an embryonic version that feels both raw and refreshingly direct.

The live cut on *9012Live: The Solos*, taped in Edmonton, Canada, plays up the track’s more dynamic, improvisational possibilities, even if the performance sounds like the band flexing rather than innovating.

A mix of personal ambition and group synergy, “Hold On” underscores an era when progressive masters flirted with commercial success, somehow balancing art and accessible hooks with a bit of awkwardness thrown in for good measure.

Lifted from : Yes rock In Rio (1985)

6 . Bryan Adams . Straight From The Heart

Released in 1983, Bryan Adams’ *Straight From The Heart* sets the stage as the first breakthrough for a Canadian rocker primed for U.S. stardom.

Originally penned by Eric Kagna, with Adams chiming in on the instrumental bridge, the track feels like a joint effort between earnest simplicity and calculated sentimentality.

The song’s lean runtime of 3:32 doesn’t overstay its welcome—and why should it?

Its structure, predictably formulaic, operates on the universal appeal of heartfelt declarations, wrapped in a rock ballad sheen that screams early ’80s radio airplay.

The success speaks for itself: climbing to number 10 on the Billboard Hot 100 and becoming a staple for Adams’ career-defining album, *Cuts Like A Knife.*

It’s a piece crafted for mass sing-alongs, buoyed by Adams’ gritty yet melodic vocals, which sound effortless even when bordered on straining for emotional resonance.

The production by Adams and Bob Clearmountain ensures the track feels bigger than it is, yet grounded enough for repeat spins without losing its charm.

The music video completes the package—Adams performing with his band, locked into the era’s aesthetic of no-nonsense earnestness, albeit bordering on cliché.

If you dig a bit deeper, there’s an understated irony in a song so meticulously crafted to sound “from the heart.”

But that’s rock ’n’ roll for you: sometimes, the power chord and a gravelly voice are all it takes to make the intangible tangible, even for just three-and-a-half minutes.

Lifted from : Bryan Adams releases his third album . ‘Cuts Like . Knife’ featuring ‘Straight from the Heart’, ‘This Time’ and ‘Cuts Like . Knife’ (1983)

7 . KISS . Tears Are Falling

Released in 1985, “Tears Are Falling” shines as a standout from KISS’s *Asylum*, an album drenched in glam metal theatrics and unapologetic bombast.

Opening with the visual dramatics of a weeping woman tearing down curtains, the music video sets a tone of over-the-top melodrama, perfectly in sync with the band’s penchant for spectacle.

Paul Stanley takes center stage, his vocals exuding both longing and flamboyance, while Bruce Kulick’s guitar solo delivers precision amidst layers of pop-metal gloss.

The track leans heavily into a catchy chorus that sticks like glue, though its lyrical simplicity makes it feel more like a product of its time than a timeless gem.

Charting modestly at position 51 and nestled in MTV’s *Top 100 Videos of All Time* in 1986, the song clearly struck a chord in the neon-soaked mid-’80s landscape.

The band’s colorful outfits and newly polished production mirror the era’s obsession with style over grit, encapsulating KISS’s evolving identity post their makeup-clad heyday.

While “Tears Are Falling” isn’t quite a career-defining moment, it offers a snapshot of KISS adapting to the shifting trends of ‘80s rock, balancing commercial savviness with a touch of their signature theatricality.

*Asylum* itself goes further, achieving Platinum status and securing a 29-week run on the charts, outshining this individual track by delivering an entire palette of high-energy glam rock.

Lifted from : As we wish Kiss singer Paul Stanley . Happy Birthday, the day has come to do . ‘Kiss At Their Bests’ post

8 . Irene Cara . What A Feeling

Flashdance… What a Feeling, performed by Irene Cara, is a quintessential artifact of early ‘80s pop culture, doubling as an anthem for ambition and resilience.

Composed by Giorgio Moroder with lyrics by Keith Forsey and Cara herself, it combines synthesized sheen with an emotive vocal performance that juxtaposes robotic production with raw, human fervor.

The song occupies the key of B♭ Major with a tempo of 122 beats per minute, a deliberate pacing that mirrors the structured determination of its cinematic counterpart.

Its ascent to commercial success was meteoric, dominating the Billboard Hot 100 for six weeks and finding a comfortable spot as a global chart staple in 1983.

The awards cabinet isn’t empty, either—a trifecta of major accolades, including an Academy Award, Golden Globe, and a Grammy, certifies its triumph not just with listeners but also among industry gatekeepers.

Joe Esposito, Stephanie Spruill, and Maxine Willard Waters contribute layered background vocals, but their touches never overshadow Cara’s declaration of independence.

Gold-certified before eventually going Platinum, the song’s commercial reception matched its critical appeal, cementing its place in vinyl collections and cassette decks worldwide.

Slotted into Irene Cara’s album *What a Feelin’* and the movie’s original soundtrack, it functions both as a narrative device for Flashdance and as a standalone pop hit, catering to listeners who seek empowerment in the form of catchy synthesized hooks.

The music video and film scenes are practically inseparable in memory—Cara’s soaring vocals cascade over images of Jennifer Beals’s character channeling ambition into (of all things) welding and dream-chasing.

By 2008, the track landed at #26 on Billboard’s All Time Top 100, a feat emblematic of its time-traveling capacity to persist within collective cultural memory.

The Library of Congress’s 2023 addition of the track to the National Recording Registry isn’t just an accolade; it’s an acknowledgment of its significance as both a cultural artifact and an irresistible earworm.

The synth-driven production inevitably dates it, unmistakably anchoring the sound within its early-80s context, but its message feels strangely timeless—equal parts nostalgia trip and motivational pep talk with just a hint of shoulder-padded theatrics.

Lifted from : On TV today, the American Music Awards (1984)

9 . Sade . Is It A Crime

Released in 1985 as part of Sade’s second album *Promise*, “Is It a Crime?” steps into the world of emotional shamelessness with an elegance that deflects melodrama.

The song opens cautiously, almost like gathering courage, before it unravels into a narrative of ache and persistence, one where the protagonist confesses love with unsettling transparency.

Sade Adu’s voice, velvety but edged with a quiet defiance, is the heart of this piece, moving through the shifting cadences without ever appearing to lose its way.

The instrumentation plays along like a conspiratorial partner, building with slow-burning brass and piano, only to pull away when it borders on indulgence.

The accompanying video—directed by Brian Ward—hints at domestic trauma through its imagery of late-night jazz lounges and shadowy urban melancholia.

There’s a theatricality to it, but the subdued kind that never overstays its welcome or feels like an unnecessary embellishment.

This isn’t just a song; it’s practically a thesis on restrained dramatics, oscillating between tender admissions and unrelenting emotional declarations.

“Is It a Crime?” makes its case within the cultural confines of mid-80s musical storytelling, refusing to scream but demanding to be heard through its unadorned honesty.

Lifted from : Happy Birthday Sade Adu. ‘Much Adu About Love Thing’

10 . Dolly Parton . Real Love

Dolly Parton’s “Real Love,” a 1985 collaboration with Kenny Rogers, finds the duo navigating the middle ground between pure country and polished pop production, offering a chart-topping reminder that Nashville artists were no strangers to crossover ambitions.

The song, written by David Malloy, Richard “Spady” Brannon, and Randy McCormick, boasts a slick, radio-friendly arrangement, its sentimental lyrics mirroring the syrupy production that often defined mid-’80s country-pop hybrids.

Both Parton and Rogers deliver vocals that tread the line between heartfelt and formulaic, their chemistry undeniable yet feeling somewhat calculated in its attempt to appease both country die-hards and contemporary pop audiences.

Despite reaching number one on the Hot Country Songs chart and peaking at an unremarkable 91 on the Billboard Hot 100, the track’s appeal seems tailored more to their established fan base than a broader musical audience grappling with the emerging dominance of synth-heavy pop trends.

The accompanying music video, cobbled from footage of their nine-city HBO concert tour, doubles down on their larger-than-life personas while lacking the subtlety or intimacy their voices sometimes imply.

“Real Love” earned Parton two GRAMMY nods, though its artistic merits feel secondary to its commercial aspirations—a strategy that helped push the album to number nine on the Billboard Top Country Albums chart but left critics hankering for a return to the duo’s earlier, less glossy output.

The inclusion of Parton’s solo version on a 1995 compilation serves as a testament to her star power, though it also suggests that the track, stripped of its dual billing, might reveal cracks in the foundation of its production-driven charm.

All told, “Real Love” embodies the push-pull of an era when country music was stretching its legs toward mainstream acceptance, losing some grit but gaining a broader stage.

Lifted from : Happy Birthday Dolly Parton

11 . Def Leppard . Photograph

Released in 1983 as part of Def Leppard’s bombastic “Pyromania” album, “Photograph” quickly becomes an emblem of radio-friendly hard rock with its polished production and unforgettable riffs.

The track, driven by a manic energy, showcases a band perfecting the synthesis of pure pop and gritty rock as overseen by Robert John “Mutt” Lange, a producer seemingly incapable of subtlety but undeniably effective here.

The lyrics touch on unattainable desire—Joe Elliott’s longing-filled vocals positioning the song as an ode to yearning rather than a straightforward love letter.

Despite its suggestive connection to Marilyn Monroe (thanks to the video), the narrative transcends simple idol worship, appealing to broader sentiments of chasing the unreachable.

Musically, the song thrives on rich, layered harmonies and a slick guitar interplay courtesy of Phil Collen and Steve Clark, while Rick Allen’s thundering drums anchor the track.

The music video, directed with maximalist flair, blends glam imagery and an unapologetic homage to pop culture icons, dominating ’80s MTV airwaves and cementing the band’s growing appeal.

Critical acclaim notwithstanding, its modest UK chart performance contrasts the song’s ascension to near-anthemic status in North America, where it holds a prolonged reign on Billboard’s Top Tracks chart.

Retroactively, “Photograph” exists as both a cultural artifact of MTV’s golden age and a technical statement on how to craft an arena-ready anthem that burns itself into collective nostalgia.

Lifted from : Vertigo publish Def Leppard’s third album . ‘Pyromania’ (1983)

12 . Whitesnake . Love Ain’t No Stranger

Whitesnake’s “Love Ain’t No Stranger” is a fiery power ballad that marries melodrama with 1980s hard rock theatrics.

Emerging from their breakthrough album *Slide It In*, the track begins with a dreamy keyboard intro courtesy of Jon Lord, setting a brooding, almost wistful tone.

Moments later, it flips the script, melting into gritty guitar-driven bombast—a masterclass in dramatic escalation.

This tension between tender vulnerability and raw power mirrors David Coverdale’s vocal delivery, which oscillates between hushed intimacy and towering defiance.

The song’s lyrics play on archetypal themes of heartbreak, weaving their narrative around loneliness and betrayal without ever feeling mawkish.

Mark Rezyka’s accompanying music video adds to the song’s mystique, amplifying its noir-ish, rain-soaked atmosphere while leaning into the glam-tinted excess of the era.

If the misty-night settings feel vaguely cheesy by today’s standards, it’s the right kind of cheesy—earnest, exaggerated, and unapologetically entertaining.

A fan favorite that continues to make the rounds on tour, it’s no wonder the band has played it over 800 times live.

Far from a mere slice of 80s nostalgia, the track remains a touchstone for anyone craving the genre’s theatrical emotional highs.

Lifted from : Whitesnake rock In Rio . day . (1985)