The 1980s were a decade of tremendous growth and monumental societal change. The rise of the Reagan right, the AIDS epidemic, the Cold War's conclusion and famine in Africa brought on a new form of counter-culture, seen with Big Hair, new drag and MTV. And playing alongside mega-pop stars Michael Jackson, Madonna, Prince and Duran Duran were many other noteworthy and impactful bands. Though some were lesser known, they all left their imprint on music culture — and society — during and after the decade.
Here, in no particular order, is my list of the ten underrated songs of the 1980s that you need to know. Some of these eventually found fame (though well after they were released), and some should have, but did not. Sure, you may disagree with some of my picks (go ahead - tell me what you think I missed!), but I bet you'll be adding at least a few of these songs to your personal playlist.
The Replacements – “Left of The Dial” - 1984
The Replacements released their fourth album Tim in September 1985. By the mid-'80s, the band had established a reputation for hard partying, but also poetic and poignant songwriting. Front man Paul Westerberg had a very distinct way of writing about heartbreak, and the band was effortlessly cool. They were basically The Strokes of the ‘80s. “Left of the Dial” represents all aspects of what made The Replacements a great rock band.
This song blasts loud guitars over a story-driven narrative focused on Westerberg’s missed connection with a girl (who also was in a band). According to the lyrics, the only way he’d hear her voice again was by tuning in to college radio stations, which were (and still are!) programmed in the lower numbers left of the mainstream channels — hence “Left of the Dial” — hoping to hear her sing.
The Units – “High Pressure Days” - 1980
If you're familiar with The Units, then you also know they didn't release that many records. They did, however, release the song “High Pressure Days,” and it represents a lot of what was fun about ‘80s tunes.
Reminiscent of Gary Numan and Devo but with more edge, “High Pressure Days” has classic new wave synths along with sci-fi soundscapes and Orwellian lyrics. If you're conjuring memories of a bedroom filled with Pepsi Free cans while Pitfall plays on an Atari system, that makes two of us.
Kate Bush – “Cloudbusting” - 1985
It seems like everyone knows Kate Bush’s “Running Up That Hill” thanks to the Netflix series Stranger Things. The song had a massive viral moment in 2022 that put it back on the Billboard charts — 40 years after its release. If you're a more adventurous reader who is now acquainted with Kate Bush but don't know anything else by her — well, she has an eclectic catalogue that has been influential to more artists than can be named.
“Cloudbusting” is the other single released off her 1985 album Hounds of Love, and is classic Kate Bush. With its lead strings hook, marching cadence and heavily philosophical lyrics, it’s a logical next step if you enjoyed “Running Up That Hill” and want to take the plunge deeper into Bush’s discography.
Kurtis Blow – “The Breaks” - 1980
Hip-hop took off in the ‘80s, and acts including Public Enemy, Beastie Boys and N.W.A found mainstream success. One of the forbearers of the genre is Kurtis Blow. Blow was the first hip-hop artist signed to a major label (albeit for a Christmas song) and his track “The Breaks” (released in 1980) established him as one of the fathers of the genre.
The track is a journey of so many of life’s unfortunate downsides — AKA “the breaks.” Just about every hip-hop (and in short time, rap) artist in the future would write about downsides and the struggles of life, but Blow did it first, and even used all original music. That's in comparison to sampling, which has now become inseparable from the genre. Oh — and Blow had a sense of humor, which you can hear in this song "And Ma Bell hands you a whoppin bill / That's the breaks, that's the breaks / For 18 phone calls to Brazil."
Talk Talk – “I Believe in You” - 1988
Talk Talk began as a new wave band and has been pigeonholed in with the likes of Flock of Seagulls, Depeche Mode and Duran Duran. The band’s most well-known song “It's My Life” is classic ‘80s. Big synths, big chorus, big production (No Doubt even made a hit out of covering the track in the mid-2000s). However, something changed later in Talk Talk’s career.
The synths were abandoned and ambience was embraced. Front man Mark Hollis began channeling minimalism and lyrics of mysticism and tragedy. “I Believe in You,” the sole single from 1988’s Spirit of Eden, perfectly encapsulates the changes to Talk Talk. The song’s lyrics draw upon Hollis’s brother, who had become addicted to heroin. The track plays out a scenario where his brother gave up heroin and finally was able to live with himself as himself. It’s a sad, yet beautiful piece.
The Sugarcubes – “Birthday” - 1988
The Sugarcubes are often remembered as being Björk’s band, pre-solo career. Hailing from Reykjavik, Iceland, the group, which released three albums over the decade, accumulated a cult following. Björk’s talent would not go unnoticed, and “Birthday” is a textbook example of all wonderfully weird björkisms.
The song has guttural vocal exclamations that sound like they’re coming from an extra-terrestrial, followed by some of the most beautifully unique singing and lyrics. “Birthday” is a track that was ahead of its time, and it sounds like it could have been released today. Björk, as you more musically educated readers will know, went on to have a lucrative solo career throughout the ‘90s and ‘00s.
Arthur Russell “Soon-To-Be Innocent Fun / Let’s See” - 1986
Born and raised in Iowa (hey – look at that!) Arthur Russell is hard to pin down. A classically trained cellist, Russell crafted avante garde, electro-acoustic, ambient pop. That’s a mouthful, and not an actual genre, but it’s my best attempt to categorize his music.
“Soon-to-Be Innocent Fun / Let’s See” comes off Russell’s 1986 album World of Echo. The track is comprised of two things: Russell’s voice and a cello. The cello is presented in an other-worldly way, sounding like many different instruments all at once. Russell’s voice is used to astonishing effect, at times sounding like an unknown instrument and at other times vocalizing nonsensical noises. Russell was an innovator, and this track shows his prowess for crafting hauntingly beautiful music in a non-conformist way.
The Primitives – “Crash” - 1988
Ok. Quick, and necessary aside here. Power pop is basically up-tempo rock with catchy choruses (think songs by The Cars and Cheap Trick). In the '80s it morphed into overall "alternative," but the idea remained the same. The Primitives were basically a one hit wonder with this song, but it’s fun and easy listening and totally epitomizes power pop. And, for you Dumb and Dumber fans, this song should be very familiar, as it was used in the film.
Released in 1988, this song was ahead of its time. It sounds like it's straight out of 1995. From the intro guitar to the vocals, hand claps and even “nananana” chorus, it truly embodies 1990s pop energy. But, this song wasn't released in the '90s. If it was, maybe The Primitives would have found more widespread success. Unfortunately that wasn't in the cards for the band but throwing on "Crash" is always bound for a nostalgic good time.
The Chameleons – “Up the Down Escalator” - 1983
The Chameleons should have been big. The band’s debut album Script of the Bridge is a no-skip masterpiece of post-punk excellence. The group takes a cue fromU2 guitarist, The Edge, but crafts something more sinister, something that oozes dark energy. Bands such as Interpol, The Killers and The National have all cited The Chameleons as influential.
“Up the Down Escalator” is a pummeling track with sky-high guitars and lyrical themes of societal inequality. It's a great way to introduce yourself to the band as a whole.
Sisters of Mercy – “Lucretia My Reflection” - 1987
Staying on the theme of darkness, Sisters of Mercy were one of the forerunners of goth rock. And compared to bands like The Cure and Joy Division, Sisters of Mercy fully embraced Goth. Also, this band looked like vampires. And I have to wonder, did the lead singer’s sunglasses ever come off?
This track starts with a bass line so ominous, so fist-poundingly-intense, that I don't know whether to cower or start doing pushups. Andrew Eldritch's vocals begin just above a whisper, heightening the tension as they grow. By the time the chorus hits and the guitars are at full blast, don't be surprised if you look in the mirror and find yourself sporting eyeliner and your own dyed black hairdo.
