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Last updated on November 30, 2025, updated monthly. |
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 1 . Fine Young Cannibals - Johnny Come HomeFine Young Cannibals' 1985 track "Johnny Come Home" fuses rock and ska with Roland Gift’s distinct vocals and a jazzy trumpet solo. The song tells the story of a runaway, alternating between the perspective of the youth and his parents, capturing themes of isolation and disillusionment. Writer(s) : David Steele (Gb 1), Roland Lee Gift Publisher(s) : Universal Music Publishing Limited (Gb) Featured on the 1985 album Fine Young Cannibals
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 2 . Sheena Easton - Almost Over You"Almost Over You" by Sheena Easton paints a picture of emotional recovery after a painful breakup. The lyrics navigate encounters with mutual friends and the challenge of letting go. They contrast the narrator's lingering sadness with the ex's chilly demeanor. Easton's voice reflects resilience, showing how time helps heal emotional scars. The chorus captures the in-between state of moving on—being nearly past the former relationship. This song portrays growth and signals hope in moving beyond past hurt. The music video is directed by Kevin McVey. Writer(s) : Cindy Richardson N Walker, Jennifer K Kimball Publisher(s) : Sony Atv Melody Featured on the 1983 album Best Kept Secret
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 3 . Thompson Twins - Hold Me Now"Hold Me Now" is one of the Thompson Twins' biggest hits, released in 1983. The track, known for its catchy chorus and signature synths, was written by the three band members. It reached number 4 in the UK and number 3 in the US. "Hold Me Now" was included in the soundtrack of the romantic comedy "The Wedding Singer," directed by Frank Coraci, released in 1998. The song plays in a scene where the main character, Robbie (played by Adam Sandler), walks away from Julia (played by Drew Barrymore) after a failed performance. The music video is directed by Rupert James. Writer(s) : Alannah Joy Currie, Joseph Martin Leeway, Thomas Alexander Bailey, Tamas Z Marosi Publisher(s) : Point Music Ltd Featured on the 1984 album Into the Gap
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 4 . Bryan Ferry - Kiss and TellBryan Ferry's "Kiss and Tell" released in 1988, is speculated to reference his relationship with supermodel Jerry Hall before she left him for Mick Jagger of the Rolling Stones. The music video features Mandy Smith, model Denice Lewis, and Christine Keeler, known for her involvement in the Profumo affair. "Kiss and Tell" is part of the soundtrack for the film "Bright Lights, Big City" directed by James Bridges, starring Michael J. Fox and Kiefer Sutherland. The music video is directed by Andy Morahan. Writer(s) : James Richard Steinman Publisher(s) : Firelight Ferry Featured on the 1987 album Bete Noire
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 5 . Naked Eyes - Promises, PromisesNaked Eyes’ 1983 track "Promises, Promises" stands out as a quintessential new wave anthem, blending synthpop sensibilities with a distinctive melody. Produced by Tony Mansfield, this hit climbed to number 11 on the Billboard Hot 100. Remixes by Jellybean, featuring background vocals by Madonna, were later released in 2001. Known for its heavy synthesizer use, the song also finds a spot on the Grand Theft Auto V soundtrack. The music video is directed by Mike Mills. Writer(s) : Rob Fisher, Peter James Byrne Publisher(s) : P J B Music, Three D Music, Universal Music Publishing Mgb Limited Featured on the 1983 album Burning Bridges
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 6 . Thompson Twins - Doctor! Doctor!"Doctor! Doctor!" is a standout track by the British group Thompson Twins, released in 1984. Written by Tom Bailey, Alannah Currie, and Joe Leeway, this iconic synth-pop song from the 80s reached number 3 on the UK charts and number 11 on the US charts. The band, formed in 1977, gets its name from the detectives in the comic "The Adventures of Tintin". Tom Bailey and Alannah Currie, who lived as squatters in London before finding success, married in 1991 in Las Vegas, later moving to New Zealand, where they lived for several years before separating in 2003. The music video is directed by Dieter 'Dee' Trattmann. Writer(s) : Joseph Martin Leeway, Thomas Alexander Bailey, Alannah Joy Currie Publisher(s) : Point Music Ltd Featured on the 1984 album Into the Gap
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 7 . Blondie - The Tide Is HighOriginally a Jamaican rocksteady gem by John Holt and The Paragons in 1967, Blondie’s 1980 take on "The Tide Is High" turned it into a reggae-infused pop anthem that dominated charts on both sides of the Atlantic. The track’s reimagining leaned on a lush arrangement, blending horns and strings under the direction of band member Jimmy Destri, giving the song a vibrant texture atypical of Blondie’s usual fare. Released as part of their fifth studio album "Autoamerican," the song quickly found itself at the top of the Billboard Hot 100 in the U.S. and the UK Singles Chart, securing Blondie yet another stake in the era's defining pop moments. Debbie Harry’s charismatic delivery anchors the track, her voice walking the line between serene and subtly determined, underscoring the narrative of tenacious romantic devotion without venturing into melodrama. The music video’s nautical and tropical visuals emphasized the carefree yet persistent tone of the song, while Harry’s radiant screen presence ensured its place in MTV’s formative years. While departures into reggae territory by major pop acts might read as opportunistic in less capable hands, Blondie’s version avoided being reductive by imbuing the composition with genuine artistry and ambition. "The Tide Is High" wasn’t just a reflection of the band’s appetite for experimentation; it was a strategic reinvention that broadened their appeal without abandoning their confident edge. The longevity of the track is underscored by the countless remixes, covers, and samples it has spawned, cementing it as a recurring fixture in pop culture’s ever-recycling playlist. Its place in "Autoamerican" stands as a reminder that mainstream success doesn’t always have to come at the expense of stylistic risk, even if the results themselves occasionally lean a bit heavy on the polished side. For all its charm, the track's persistent air of romantic optimism might not appeal to all, but its craftsmanship ensures it resonates far beyond its initial chart-topping splash. Featured on the 1980 album Autoamerican
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 8 . Texas - Every Day Now"Every Day Now" is a song by the Scottish band Texas, released in 1989. The track showcases Sharleen Spiteri's distinctive voice. Texas, formed in 1986 in Glasgow, quickly gained popularity with their debut album. The video for "Every Day Now" was shot in various locations around Glasgow, adding an authentic local touch to the video. The music video is directed by Stéphane Clavier, Tony Van den Ende. Writer(s) : Sharleen Spiteri, John McElhone Publisher(s) : Bmg 10 Music Limited Featured on the 1989 album Southside
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 9 . Thompson Twins - Lies"Lies" arrives as the lead single from Thompson Twins' third studio album, "Quick Step & Side Kick," marking their 1982 return with a tightly wound synth-pop pulse. The track climbs to number 30 on the Billboard Hot 100 in the spring of 1983, finding greater traction in the American market. Its B-side, "Beach Culture," shares in the momentum, with both tracks spending two weeks ruling the American dance chart that January. A surreal touch defines the music video, where three pairs of feet emerge from beneath blankets at the foot of an oversized bed, rhythmically bouncing in sync with the song. As the scene unfolds, a nurse slides a privacy screen into place, hinting at a setting more clinical than cozy. At the time of release, the band operates as a trio, consisting of Tom Bailey, Alannah Currie, and Joe Leeway, a configuration that aligns with their most commercially viable years. Subsequent releases push the group further into mainstream pop success, strengthening their presence on both UK and US charts. The music video is directed by Maurice Phillips. Writer(s) : Joseph Leeway Martin, Alannah Currie Joy, Thomas Bailey Alexande R Publisher(s) : Point Music Ltd Featured on the 1982 album Quick Step & Side Kick
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 10 . Thompson Twins - King For A DayReleased in October 1985, "King For A Day" by Thompson Twins straddles polished pop-rock and synth-driven new wave, shaped by the co-production of Nile Rodgers and Tom Bailey. Two distinct versions circulate: the UK cut leans into icy synthesizers and altered lyrics, while the US/album version swaps in electric guitar with cooler detachment. The single peaks at #8 on the Billboard Hot 100, marking a transatlantic nod to the band’s streamlined trio era. Writer(s) : Thomas Alexande R Bailey, Alannah Joy Currie, Joseph Martin Leeway Publisher(s) : Point Music Ltd Featured on the 1986 album Here's to Future Days
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 11 . The Lightning Seeds - Pure"Pure" marks Ian Broudie's leap from producer to frontman, a shift he initially approached with hesitation. Recorded in Kirkby with a modest run of 200 copies, the track gained momentum through radio airplay and The Haçienda's influence. Its success pushed The Lightning Seeds into the spotlight, landing on their debut album "Cloudcuckooland" in 1990 and later resurfacing on a 1996 compilation. Covered by various artists and featured in films and TV, the song remains Broudie’s defining first step as a songwriter. Writer(s) : Ian Broudie Zachary Publisher(s) : Chrysalis Music Ltd Featured on the 1989 album Cloudcuckooland
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 12 . Kate Bush - Army Dreamers"Army Dreamers" is a song by Kate Bush released in 1980. It tells the story of a grieving mother for her young adult son, killed during military maneuvers. The song tackles the poignant theme of young soldiers losing their lives in service. Kate Bush, known for her unique style and distinctive voice, often explores complex subjects in her songs. The video for the song features Kate Bush in camouflage, surrounded by soldiers in a wooded setting. The music video is directed by Keef. Writer(s) : Catherine Bush Publisher(s) : Kate Bush Music Ltd Featured on the 1980 album Never for Ever
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 13 . Simple Minds - Someone Somewhere In Summertime"Someone Somewhere In Summertime" emerges as a shimmering and atmospheric track from Simple Minds' 1982 album *New Gold Dream (81–82–83–84)*. The lyrics evoke a deep sense of longing and optimism about connecting with someone in an anonymous world. Lines like "Somewhere there is some place that one million eyes can't see" capture this sentiment. Musically, the interplay between Charlie Burchill's ethereal guitar and Mick MacNeil's layered keyboards creates an expansive and dreamy soundscape. The song is celebrated for its romanticism and introspective optimism, remaining a staple of the band's repertoire. Writer(s) : James Kerr (Gb 2), Charles Burchill, Michael Joseph Mcneil, Derek Forbes Publisher(s) : Emi Music Publishing Ltd, Jim Kerr Management Consultancy Ltd, Universal Music Publishing Limited (Gb) Featured on the 1989 album New Gold Dream (81-82-83-84)
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 14 . Thompson Twins - Lay Your Hands On MeThompson Twins' "Lay Your Hands On Me," penned by Tom Bailey, Alannah Currie, and Joe Leeway, debuts in 1984 on "Into The Gap" for its UK single release, later resurfacing in a reworked version on 1985's "Here’s to Future Days." Co-produced by Alex Sadkin and Bailey, with Nile Rodgers polishing the U.S. edition, the track secures No. 13 on the UK Singles Chart and No. 6 on Billboard Hot 100, buoyed by a Brian Grant-directed video steeped in ceremonial grandeur. Live Aid 1985 sees the song's global staging, with Madonna, Rodgers, and Steve Stevens amplifying its live debut. The music video is directed by Mike Mills. Writer(s) : Joseph Martin Leeway, Thomas Alexander Bailey, Alannah Joy Currie Publisher(s) : Point Music Ltd Featured on the 1985 album Here's To Future Days
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 15 . Yazoo - Don't GoCharacterized by its catchy synth riff and Moyet's powerful voice, "Don't Go" by the British duo Yazoo is their second single released in May 1982 after the success of "Only You". Vince Clarke, who left Depeche Mode in November 1981 after the release of their first album, "Speak & Spell," recruited Alison Moyet through a small ad to form Yazoo. "Don't Go" reached number 3 on the UK charts and remains an 80s classic. The music video is directed by Chris Gabrin. Writer(s) : Vincent Clarke Publisher(s) : Musical Moments Ltd, Sony Music Publishing (Uk) Limited Featured on the 1982 album Upstairs at Eric's
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 16 . Mike + The Mechanics - Silent Running [On Dangerous Ground]Silent Running [On Dangerous Ground], released in 1985, is a standout song by Mike + The Mechanics, with lead vocals by Paul Young (not to be confused with the solo artist of the same name). The track tells a story of survival and resistance in a dystopian future, a theme resonant with the Cold War era. Co-written by Mike Rutherford, a founding member of Genesis, and produced by Christopher Neil, known for his work with Sheena Easton, "Silent Running" was used in the film "On Dangerous Ground" (1986) directed by Lawrence D. Foldes. The music video is directed by James Yukich. Writer(s) : Michael Rutherford, BA Robertson Publisher(s) : R And Ba Music Limited, Michael Rutherford Publishing Ltd Featured on the 1985 album Mike + The Mechanics
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 17 . Bronski Beat - Smalltown BoyReleased in 1984 as the lead single from "The Age of Consent," "Smalltown Boy" signals Bronski Beat’s arrival with synths fully charged. Written by Steve Bronski, Larry Steinbachek, and Jimmy Somerville, it lands somewhere between heartbreak and high energy. Mike Thorne handles production, wrapping the track in pulsating electronics just shy of melodrama. Between Somerville’s falsetto and the minimalist groove, it clocks in as a tale of departure, isolation—plus a suitcase or two. An international hit and LGBTQ+ anthem, though you won't find much cheering in the lyrics. The music video is directed by Bernard Rose. Writer(s) : Michael Freder Ick De Wolf, Philip M Lipscomb, Jarrod Dougla S Montague, Stephen Steel E Richards Publisher(s) : Bronski Music Ltd, Bmg Rights Management Uk Limited Featured on the 1984 album The Age of Consent
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 18 . Men Without Hats - Safety DanceReleased in 1982, "Safety Dance" by Men Without Hats thrives as a synth-pop anthem from their debut album "Rhythm of Youth," penned by lead singer Ivan Doroschuk. A New Wave staple, the track retorts to stringent club bans on pogo dancing, a frenetic early 80s trend. Stateside, it clinches No. 3 on the Billboard Hot 100 and tops the Billboard Dance Club Songs chart, while charting No. 1 in South Africa and No. 6 in the UK. Tim Pope directs its iconic video in West Kington, England, adorning it with medieval revelry—a peculiar maypole, morris dancers, and whimsy aplenty. "Safety Dance" infiltrates pop culture via films like "Biodome" and "Hot Tub Time Machine" and TV gems such as "Glee," "Family Guy," and "The Simpsons." Resonating years later, Men Without Hats electrify Montreal's '77 Festival in 2018 with this enduring hit. The music video is directed by Tim Pope. Writer(s) : Ivan Doroschuk Publisher(s) : Chapeau Les Editions, Ivan Ltd, Pri Songs Inc Featured on the 1982 album Rhythm of Youth
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 19 . Swing Out Sister - Twilight WorldReleased in 1987 on Swing Out Sister’s debut "It’s Better to Travel," “Twilight World” pairs jazz-tinged textures with the clean finish of sophisti-pop production. Producer Paul Staveley O’Duffy adds polish without excess, letting the trio—Corinne Drewery, Andy Connell, and Martin Jackson—do their thing with layered synths and touches of brass. Drewery’s vocals keep their cool amid the sheen, delivering composure where drama might have flailed. The song spawns multiple mixes, the “Superb, Superb Mix” not least among them, which nudge it into club territory and round out its late-'80s studio gloss. Writer(s) : Corinne Drewery, Andrew John Connell, Martin Jackson Publisher(s) : Bmg 10 Music Limited, Sony/Atv Music Publishing Allegro (Uk) Featured on the 1987 album It's Better to Travel
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 20 . Dexys Midnight Runners - Come On EileenReleased in 1982 as part of *Too-Rye-Ay*, Dexys Midnight Runners’ “Come On Eileen” managed to blend an unlikely cocktail of Celtic folk, pop, and soul, all wrapped in one raucous anthem that refuses to play by the rules. Written by Kevin Rowland, Jim Paterson, and Billy Adams, the track captured attention not only for its incessantly catchy tempo shifts but for its sly narrative of youthful infatuation. The fiddles don’t gracefully glide as much as they whirl like a drunk uncle at a wedding, lending the song a wild energy that borders on chaos, while the playful tempo change midway feels like a celebration barreling out of control as the night deepens. No less striking is the visual language of the accompanying music video. The band, clad in proletarian-chic dungarees, stomps through a nonspecific 1930s-working-class daydream, blurring lines between art and pub brawl. It doesn’t just *ask* for authenticity; it declares it. Chart success was not so much achieved as obliterated. The track hit #1 in the UK in 1982 and the US Billboard Hot 100 in 1983, an achievement doubly impressive given its utter refusal to sound like anything else of its time. The track arrived like a disheveled guest to a synthpop and new wave party, refused to follow the mood, and then somehow became the star of the evening. Award bodies took note, with the Brit Award for Best British Single accompanying the song’s trajectory, though “Come On Eileen” seems to work best as something living outside institutional praise. It re-emerges periodically, whether as a nostalgic charmer on compilations or theoretically inappropriate karaoke fodder—every generation seems to rediscover its idiosyncratic magnetism. While its cultural appeal spans commercials, rom-com soundtracks, and meme territory, what sustains is the sheer gall of its construction. Between its untamed crescendos and Rowland’s impassioned squawks, the song manages to embody a chaotic yet oddly sweet yearning for connection, swaying between nostalgia and immediacy with disarming bravado. Featured on the 1996 album Ralph Tresvant
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ABOUT 80S NEW WAVE POPWhat Is 80S New Wave Pop ?The term “new wave pop” refers to a musical genre that emerged in the late 1970s and early 1980s, characterized by a fusion of pop music and innovative electronic sounds. “New wave” was coined to differentiate this style from other musical genres of the time, particularly punk rock. The “pop” part indicates catchy melodies and more accessible song structures. Launched in 1981, MTV plays a crucial role in popularizing new wave pop by looping music videos from bands like Duran Duran, A-ha, and The Human League. Music videos become an essential way for artists to connect with their audience. New Wave Pop: Instruments & SongsTechnological advances spur the rise of synthesizers and other electronic instruments, opening new sonic possibilities. The genre synth-pop—think Kraftwerk or Gary Numan—plays a crucial role by integrating electronic instruments and exploring rich, varied sound textures. New wave pop makes intensive use of these synthesizers, treats guitars with effects, and employs drum machines for precise, mechanical rhythms. The sonic aesthetic of new wave pop benefits from polished production and effects like reverb and delay. Advanced recording techniques of the time, such as multitrack recording and sampling, create complex and immersive soundscapes. Vocals can be treated with electronic effects, reinforcing the music’s futuristic aspect. New wave pop songs generally follow a classic pop structure with verses, choruses, and bridges but incorporate surprising and innovative elements in the arrangements. Rhythms are often danceable and catchy, melodies infectious, and harmonies can be both simple and sophisticated, striking a balance between familiarity and novelty. New Wave Pop And FashionNew wave pop comes with a distinctive and bold visual style that defines the 1980s. It mixes bright colors and bold or geometric patterns, reflecting the influence of pop art and modernism, or adopts clean and quirky looks with oversized costumes and minimalist accessories. Makeup can be dramatic, characterized by heavily accented eyes, while hairstyles are elaborate, sometimes embracing a kitschy and playful approach. New Wave Pop In CultureNew wave pop significantly influences the media and popular culture of the 1980s and beyond. Soundtracks of movies like “Valley Girl” (1983), “The Breakfast Club” (1985), and “Pretty in Pink” (1986) feature artists like Orchestral Manoeuvres in the Dark (OMD), The Psychedelic Furs, and Simple Minds. The same goes for TV shows like “Miami Vice” (1984-1990), known for its extensive use of new wave pop music and visual aesthetic, with vibrant colors and avant-garde looks influenced by the new wave style. In advertising, the futuristic and technological sounds of new wave pop are used to attract a young and trendy audience, whether for Sony, Casio, or Coca-Cola. |
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