The first taster from their ‘Reading, Writing And Arithmetic’ LP is a lovely breeze of jangling indie-pop reminiscent of Johnny Marr’s work with The Smiths, but singer Harriet Wheeler’s remarkable set of pipes – with her ethereal, wistful whisper – ensured they had a sound entirely of their own. A goth love song? The result was indie gold. Written by Tim Booth during a period of feeling isolated, the anthemic qualities of the track were picked up by students everywhere, as James became part of the Madchester scene and the legend of ‘Sit Down’ grew and grew. Imagine a world where everyone rushed out to buy a brainstorm like this. Discover more music, concerts, videos, and pictures with the largest catalogue online at Last.fm. We had New Order and Frankie Goes To Hollywood, U2, Prince and Cyndi Lauper, Springsteen, INXS, Bananarama, Duran Duran and the list goes on. And that message is “Don’t look back/ You can never look back“. That told ’em. Words: Ben Hewitt, Matthew Horton, Priya Elan. It became their trademark song, and for good reason. “No you can’t have it back, silly rabbit!” Flavor tells a journalist robbed of his Dictaphone. Follow @TC_dave. It was a musical tour de force too, combining ska, lovers rock and more into a cyclone of musical genre splicing – another example of The Clash mixing it all up to create something brilliant and new. Jim’s vocals are still bottoming out, but some classic ‘Be My Baby’ drums and a hook as clear as a bell open a new JAMC chapter. And what a chorus. List of Malayalam Movie Songs By Year. Can you imagine Christmas without it? Yet with 1987’s ‘Music For The Masses’, Depeche Mode were in a rich vein of form, and ‘Never Let Me Down Again’ is one of their very finest: an ink-blotted masterpiece, from the gloomy synths right down to Dave Gahan’s molasses-rich vocal. This is Phil talking, and he believes what the old man said. A few of the songs on Thump's Old School '80s compilation -- like Marvin Gaye's "Got to Give It Up" and Rufus & Chaka Khan's "At Midnight (My Love Will Lift You Up)" -- came out in the '70s. Have you compiled that perfect love songs playlist for your Valentine’s night? Official UK releases were given to the more brassy stuff but ‘That’s Entertainment’ closer represented the soul of The Jam, or at least the soul of Paul Weller. Written for the film Mannequin by Albert Hammond Jr’s dad (really!) The genius of Graham Massey and his Manchester raveheads was to take the standard building blocks of techno and house, before twisting and molding them into something else entirely. It’s a Byrdsian jangle with that essential Madchester swagger and bite from Ian Brown’s lyric, later better known for devolving into cries of “Amateurs!” as The Late Show‘s power blew. Contemplating his life post- divorce from Carrie Fisher, the song meshed afro-pop with his wonderfully literate, singer/songwriter songwriting style and the results were typically unforgettable. It floats like a butterfly, hovers like a ghost and really narked Guthrie off because it got so much more radio play than any Cocteaus track. And one inclusion -- Bell Biv DeVoe's "Poison" -- came out in 1990. We could talk about Axl’s screeching vocal, of course, but there’s only one real reason why ‘Sweet Child O’ Mine’ is beloved of so many air-guitar aficionados, and that’s Slash – both with the lurching arpeggios of his intro and the subsequent face-melting, wah-wah-wanking solo that’s amongst the best fretwork of all time. On his second solo single after becoming an ex-Smith, Morrissey’s still happily at home with the dour, world-weary stuff but this time he’s calling for seaside Armageddon to a gorgeous, classic melody. As the theme song to pivotal 80s teen drama The Breakfast Club, it found its deeper meaning within the story lines of the disenfranchised youngsters in the flick. Whatever the message, it was a big chart breakthrough. From the squall of 1977’s ‘White Riot’ to this 1982 parting shot. Depending on what mood Dave Lee Roth was in, the charismatic vocalist used to tell journalists that ‘Jump’ was either about a man standing on a ledge about to… or a stripper. Grace Jones’s fusion of funk and reggae, a perfect blend for the Island label, was smoothed considerably by rhythm section Sly Dunbar and Robbie Shakespeare, who slipped comfortably into the musical melting pot of the new wave scene. What’s a Deadhead sticker doing on the back of some posh Cadillac? The one that got the Mondays on Top Of The Pops is a far cry from the sequenced beats of ‘Pills ‘N’ Thrills And Bellyaches’ that established them as baggy chiefs. calendar of rock number one songs : 1980 One Hit Wonders. One’ and discovered the album only had an a cappella version of the track. He is one of two recording acts to achieve more than one year-end Billboard Hot 100 number-one single in the history of the chart, with the other being The Beatles, who also had two year-end number-ones. No, it's not just you. Yet there’s something about The Boss’s masculine-yet-balmy vocal that’s immensely comforting; dreams are dashed, the river runs dry, but somehow, everything is gonna be alright. Die erfolgreichsten Hits 1980 der Single-Charts in Deutschland. If only all debut singles were as self-assured as The Sundays’ inaugural bow. Creepy, but bloody brilliant all the same. https://www.youtube.com/watch?v=WR8cvRgW3wk. David Byrne’s genius lyric about melting away in suburbia (and the existential crisis that ensues) was one thing. Knitting together so many disconnected sounds could have sounded haphazard and slapdash; instead, it’s impressively seamless and skilful. For better or worse, ‘The One I Love’ was REM’s big push through the commercial barriers, a US top 10 hit transforming them in one fell swoop from floppy-haired college radio darlings to bald-bonced plane-trashing heroes of the glossy monthlies. Who were the rock’n’roll rebels now? Inspired by his ex-girlfriend, this is a ramshackle mixture of sweetness and snarkiness – for all its honeyed harmonies, there’s enough bite to Cobain’s lyrics to suggest it’s not just a simpering, doe-eyed declaration of love. Who left the kettle on? The Billboard Hot 100 chart is the main song chart of the American music industry and is updated every week by the Billboard magazine. Alongside Depeche Mode, OMD helped fly the flag for forward-looking British electro pop in the 80s. The Smiths’ second single succeeded where ‘Hand In Glove’ had failed, piercing the Top 30 and getting a bunch of gladioli on Top Of The Pops. But it was Rakim’s brilliantly humble rap that elevated this track into the realms of the truly legendary. All the more kudos to hip-hop pioneer Melle Mel, then, who used the catchiest of R&B grooves and street-smart rhymes to make the whole Just Say No message sound a lot more exciting than it had any right to be. 06. The guitarist rescued the tool from mid-70s Peter Frampton ignominy, to give us the “ooh-wa ooh-wah” sound that ate the world. A great deal of today's music looks to the '80s for inspiration, but there are so many different ideas of what "'80s" as a descriptor can mean. ‘It’s A Sin’ is a riot of thunderclaps, chanting monks and villainous synth riffs from Chris Lowe, but that’s only half the story. Tweet. Ah, the 80s - whatever you thought of the fashion, 80s music was absolutely splendid? The world's defining voice in music and pop culture since 1952. And so it was with ‘Pacific State’, a mixture of sexy saxaphone skronking and brain-burrowing bass so relentless it could worm its way into your noggin and stay there forever more. Public Enemy’s first UK top 20 hit (they never had one of them at home) is as naggingly catchy as any hip-hop smash had to be back in 1988, a relentless squirt of whistles and looped beats absolutely peppered with quotable rhymes and Flavor Flav madness. Two of rock’s biggest behemoths joined forces as Bowie and Freddie Mercury belted out a big, show-off collaborative anthem. [sidebar id=”premium_inline_before_last_p”]. This article is about the American Billboard Hot 100 chart held during the 1980s. JAMC’s second album ‘Darklands’ proved they’d tidied up since the thrilling mess of ‘Psychocandy’. The Triple X-rated nature of this track should not overshadow how absolutely vital it was to the nascent commercial dance scene. ‘Two Tribes’ was the follow-up to the censor-baiting ‘Relax’, but it was a monster hit in its own right – even though it didn’t induce the same foaming-mouth fury as its predecessor, it still topped the UK charts for nine weeks. Propelled by war-hammer drums and the bomb-like stomp of him thwacking his guitar, it also has some of the Modfather’s finest lyrics to boot as its righteous damnation of the Government’s nukes-over-society policy cemented his place as one of the UK’s greatest social commentators. Here, they struck gold with this searching, rap-pop gem which sampled ‘Multiplication Rock’. Holly Johnson still wasn’t playing it safe, marrying lyrics about the Cold War to the foreboding march of a keyboard being bashed to within an inch of its life. August 1978. As it was, it didn’t matter that he was hitching a ride because the song was perfect – odd, self-referential and as pure pop as he’d never be again. Quincy Jones didn’t want the song on the album, which shows what he knows. Now that they’re the punchline to a million stadium-rock sized jokes, it’s easy to forget what made everyone first fall in love with U2 many moons ago – namely, big ol’ emotional rock ballads like this. Plucked from their colossal album ‘The Joshua Tree’, its combination of shimmering, sheeny production and Bono’s walloping vocals saw them rightfully claim their place in rock’s big leagues. And, to top it all off, it ends with the sound of someone puking their guts out – always the sign of a killer party. What next? The youthful, Smiths-ian lyrics tapped into the universal sense of questioning that everyone could relate to. Auf Amazon Music anhören. ‘Buffalo Stance’ came along at a time when dance, hip-hop and pop were creating thrilling hybrids (see also ‘Salt N Pepa’s ‘Push It’ and Tone Loc’s ‘Funky Cold Medina’). The Jam were so unstoppable by early 1981 that this scraped the top 20 of the singles chart on import sales alone. A brooding soul number that quaked with emotional turmoil, Cecil and Linda Womack’s biggest song was perhaps one of the saddest duets of all time, connecting a loss of rhythm with a loss of love. Mixing a punk sneer with rockabilly aggression, this track strutted into the mainstream, following the blast of ‘Rock The Casbah’ and managing to show what a diverse and eclectic bunch the quartet had grown into. It opened new vistas for the band, making them the stars they always knew they were. 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