100 greatest rock songs of the 1980s

Released in October of 1989, Nine Inch Nails’ “Pretty Hate Machine’s” impact on the future of hard-rock music is unmeasurable. Receive news and offers from our other brands? After being pushed by producer Quincy Jones, MJ wrote “Beat It,” the third single from “Thriller,” even bringing in Eddie Van Halen to play guitar and deliver one of his most iconic solos. “Listen Like Thieves [by INXS, 1985] was such a great album. 89. A re-recording of the title track of their debut album, We Care A Lot, earned FNM their first bit of radio/MTV play, the title track was their most explosive yet, while Martin’s guitar was front-and-centre on The Crab Song. Which was precisely what they did with Frontiers. Robert Fripp’s exceptional guitar playing – impassioned, utterly unmistakeable – was key (but not integral; Carlos Alomar’s broad strokes proliferated, while Pete Townshend was brought to bear on Because You’re Young and Chuck Hammer on Ashes To Ashes). VH1’s 100 Greatest Hard Rock Songs. 6 - Voodoo Child (Slight Return) / All Along the Watchtower (1970) [Single] 25: 25. In a world of plump poodle-rock, Had A Dad and Standing In The Shower…Thinking were hard, lean guttersnipe anthems, thrillingly prescient of the 90s scene to come. That was supposed to have been Renegade Angel, the record that Jim Steinman conceived and wrote as the planned follow-up to Bat Out Of Hell. Various admirers (U2 and Peter Gabriel included) helped out on Robertson’s debut, issued over a decade after The Band had signed off with The Last Waltz. It took three-chord punk and gonzo surf into biting political satire – Kill The Poor, California Über Alles, Holiday In Cambodia – while retaining a trashily humorous aesthetic. What they said at the time: “Continually pushing at the boundaries of their ability, continually thriving on the variety of their turbulent sound.” Kerrang! “With or Without You’s” message might be misunderstood at times. What they said at the time: “Proves The Clash can just as easily make a sprawl of a single album as a triple.” Record Mirror. Click the red rock chart peak to find the chart where the song peaked. As Lemmy inhabited the role of insatiable grim reaper the band pounded onward at a relentless marching pace as deliberate as cold-blooded premeditated murder. It was on the Red Hot Chili Peppers’ third album, The Uplift Mofo Party Plan, that the group’s punk-meets-funk merger truly fused – with awesome results. 221 Talking Heads might have better songs. The fact that Hammett manages to blow it out of the water is the cherry on top. “Dirty Blvd.” isn’t just about the rough parts of NYC that Reed experienced first hand. For years, the song has served as the standout moment at live shows, stretching behind its nearly 6-minute album version to reach epic emo heights. “Wanna Be Startin’ Something” follows the disco vibes of “Off the Wall.” Only Jackson and producer Quincy Jones put the sound on steroids, injecting heavy elements of funk and Afrobeat. Not only did the song decimate the Billboard charts and go six-times platinum. Album-oriented rock, also referred to as arena rock and anthem rock, witnessed a rise in popularity with fans who were looking for softer, but more dramatic rock music. ‘Don’t be a prophet in your own land,’ the old proverb runs. Petty’s biggest hit is yet another collaboration with Jeff Lynne. The difference is we did harmonies and they didn’t. At least the definition of rock’n’roll has expanded. The Stones were past their prime by the 1980s, which made “Tattoo You” a rebellious statement. For all its imperfections, Waits’ expression and phrasing as a singer is a showcase like no other. What they said at the time: “Meat ‘anywhere he wants to’ Loaf is waxing rhapsodic once more.” Creem. With two brilliant albums, Pyromania in 1983 and Hysteria in 1987, the Sheffield band created state-of-the-art arena rock in which their stated blueprint – the crunch of AC/DC plus the sophistication of Queen – was perfected in partnership with genius producer ‘Mutt’ Lange. After years of burying their emotions under a tsunami of arpeggios and paradiddles, on Duke Collins and co. wrote about love and heartache. By the mid-80s, Queen needed to get their career back on track. From when he first begins speaking today at his home in Florida, the now 66-year-old guitarist can barely form a coherent sentence to encapsulate his thoughts on Aerosmith’s eighth studio album. What they said at the time: “It sorely misses Peter Gabriel’s perverse wit… but Genesis aren’t for an exodus yet.” Rolling Stone. But Jackson went the conceptual route with the subject matter, crafting an album focused on social issues magnified by its title-track. And we would never make another album as intense as High ’N’ Dry. Their previous LP, the discofied bacchanalia of Hot Space, was the ultimate musical identity crisis – one which lost them half their audience overnight. We wanted him on the first record but he wasn’t available. “Born in the U.S.A.” ranked right up there with the big pop sounds Prince, Michael Jackson and Madonna were creating in the 1980s. Central Rain (I’m Sorry)”. With his own band, he made a great debut album and then topped it with this superb follow-up. The cover for the single of “Sexual Healing” has always seemed odd. Mellencamp (then going by John Cougar) capped things off with “Pink Houses” off of 1983′s “Uh-huh.” All three songs were massive. By their third album, The Pogues had perfected their anarchic folk/punk fusion. In the 80s, no band was bigger than Def Leppard. But it’s also just as much about the inventive nature of how Byrne and company (aided by producer Brian Eno) used their newfound influences. Here, the rest of the Floyd are scarcely on the album. What they said at the time: “Gabriel’s third solo album sticks in the mind like the haunted heroes of the best film noirs.” Rolling Stone. Upon hearing that Done With Mirrors is being reclaimed as one of the great lost albums of the 1980s, Joe Perry’s reaction is one of surprise. AC/DC – “You Shook Me All Night Long”, AC/DC’s first single with lead singer Brian Johnson put AC/DC on the road to rock superstardom following the tragic death of Bon Scott. 10. Rick was amazing on that record. We didn’t want to do High ’N’ Dry II. As synth-pop looked set to dominate the 80s, R.E.M. “Glaswegians are down-to-earth and hard working. The revolution was being recorded and televised. N.W.A. It’s a slice of power pop and new wave that would herald the sound of the rock for the 1980s and beyond. Read the full article about Lou Reed’s New York here. What they said at the time: “Y&T went from mediocre beginnings to full-blooded, hot-rockin’, barnstormin’ metal maestros.” Sounds. A new decade and the change of name from the whimsical Yesterday And Today to the more succinct Y&T ushered in a new era for the Californian band. But you’re hooked. Tweet. 1. Every aspect of the song is perfect pop-rock. Varnished almost to the point of invisibility, it was dismissed as ersatz muzak for the vapid nouveau riche from the one-time masters of postmodern derring-do. This could be the start of Gun becoming a popular band.’”, Rose was right. Tokyo Storm Warning was the kamikaze first single, I Want You was a psychotic love song like nothing else in rock. And what brought about the reunion in late 2000? Follow @TC_dave. Queen sing back-up vocals on the title track, and Andy Warhol created the cover, but it’s the crisp songwriting that packs the real punch, not least in tracks like Learn How To Live and the sublime In Your Eyes. Tainted Love - Soft Cell 8. 80. What they said at the time: “Specialising in decibels and cock-strutting bravado, they put forth the proposition that Might Is Always Right, and the proof on their third LP is pretty convincing.” Rolling Stone, In 1970, Black Sabbath defined a new genre in rock music with not one but two of the greatest heavy metal albums of all time – the debut, Black Sabbath, and Paranoid. Crimson’s first album for seven years could have found them (only Robert Fripp remained from previous incarnations) hopelessly adrift of contemporary developments. For the first time in seven years, Plant re-located his inner golden god, even singing ‘since I’ve been loving you’ on the album fade-out and getting Jimmy Page to play on Heaven Knows and Tall Cool One (which included some cheeky Beastie Boys-style sampling of old Zep riffs). But instead of foppish synth-pop, Drama was a showcase for surging metallic riffs and virtuosic technoflash. Madonna had several hit songs prior to “Like a Prayer.” But that doesn’t mean critics took her seriously. Few artists can compare to Lou Reed when it comes to creating engaging narratives about New York City. Monochrome to full-colour, boys to young men, amateurs to professionals. On Clutching At Straws Marillion ditched any remaining musical excesses for a set of songs that were as concise as they were dark. And it resulted in a perfect album. But in terms of pure hard-rock power, white-hot intensity and balls-out bludgeon riffola, no Leppard record kicks more ass than High ’N’ Dry. At that point, Jackson knew what we would all learn a short time later -- “Billie Jean” was an absolute monster. And its centerpiece, as always, is Nicks’ amazing voice. “Radio Free Europe” is the sound of making catchy rock music without succumbing to the glam. Year: 1980 “Our House” – Madness ... 100 Greatest One-Hit Wonders of the ’80s 05/02/2013 70. Michael Jackson knew “Billie Jean” was going to be a hit the first time he mapped it out in his head. There was a problem. It’s when alternative rock hit college radio. It all made for a savage, commercially disastrous climax to his work with perhaps punk’s greatest rock’n’roll band. Teaser single Ashes To Ashes shot to No.4, then making No.1. It starts with that drumbeat, then a joyful sound from The Cure we really hadn’t heard before. 87. were just the tip of an eclectic iceberg. Electro-dance meets heavy metal? “Mark [Rankin, vocalist] and I were waiting to leave the studio when we heard Better Days [the album’s first single] being cranked out at top volume. What they said at the time: “Fleetwood Mac have never pretended to be heavy thinkers. But “One” becomes mesmerizing long before that moment. The AOR scene became magnanimous. U2 released three singles before “I Will Follow.” But it represents the band’s coming-out party as a creative force. Combat Rock’s tightly packed intensity earned double-platinum Stateside, but it ultimately killed The Clash. What they said at the time: “A breathtaking harmonisation of molten-metal guitar, deadly dance rhythms and poignant, pointed lyrics, the sound of a band with no precedent.” Sounds. The back-to-back release of “Hurts So Good” and “Jack & Diane” made him one of the biggest rock stars in the world. We played it on the last tour. Elsewhere you’ll find Faithfully, a tune that caused many a tear and a tender embrace on the dancefloors of high-school proms coast-to-coast. It is. From Transformer to Street Hassle, here was a shark among minnows. And then the 80s happened. The cover of the album was crappy. It all made for a savage, commercially disastrous climax to his work with perhaps punk’s greatest rock’n’roll band. Whitney Houston’s ballads are beloved. But the band couldn’t stretch their commercial success, and are nowadays neatly filed under the dreaded ‘one-hit wonder’ category. Due initially to the success of Better Days, Gun became familiar faces at the Top Of The Pops studios. Petty ad-libbed “Free Fallin'” during the recording sessions for “Full Moon Fever,” giving the song its layered guitar feel with The Heartbreakers’ Mike Campbell after the fact. But it’s also the band’s grandest accomplishment as a chill-inducing pop-rock song that soars and soars and soars until you just can’t take it anymore. Ambition and a natural belligerence were essential bedfellows, that belligerence not just useful for lacerating thrashers like Creeping Death and Fight Fire With Fire, but also to deliver a defiant middle finger to those who questioned Fade To Black, the forefather of Metallica’s power ballads. Flamboyant metal wasn’t going to cut it anymore, at least not in the jungle. As you know, it was not. No one could have predicted how relevant Chuck D’s lyrics and Spike Lee’ s film would be 31 years later. And that was Pyromania. On the verge of dropping the ‘Cougar’ from his professional name, John Mellencamp secured his place in the American canon of blue-collar songwriters with The Lonesome Jubilee, a collection that reflects on death and disappointment and the passing of generations. It’s when hip hop formed its identity. Mick Fleetwood and John McVie stand forlornly, looking out from the back of this sleeve photo for Mirage, the multimillion-selling Fleetwood Mac album most likely to have slipped your mind. The result is a modern soul and funk sound that had endless appeal for fans of both dance music and traditional R&B. Bath Thus, Houston’s second album kicks off with its lead single, one of the greatest dance tracks ever made. Spontaneous, raw and a bloody good laugh into the bargain, Eat ’Em & Smile was a massive ‘fuck you’ to those who viewed Diamond Dave’s exit from Van Halen as a rock’n’roll suicide by any other name. Songwriters Glenn Tilbrook and Chris Difford were even hailed as the latter-day Lennon & McCartney for their endless flow of deft melodies and adroit lyrics. Whereas Van Halen II had aped some of their debut’s glittering, histrionic pop smarts, album number three was an altogether heavier proposition and all the better for it. Related Song Features for Big Rock Top 200 Songs Of The 1980's. Some accused Madonna of sexualizing God (which was surely her intent). Rap music was always defiant in some shape or form. It is instantly recognizable on songs like Puff Daddy’s “Can’t Nobody Hold Me Down” or Ice Cube’s “Check Yo Self.” And though the rhymes are a throwback, the subject matter in 1982 forever changed the direction of rap music. Scary Monsters’ title track (subtext: claustrophobia, alienation, desperation), reflected its time perfectly; the following year saw riots erupt from the UK’s simmering malaise of nuclear paranoia and inner-city hopelessness. What they said at the time: “Yes sound more like Yes here than they recently have with their classic members.” Sputnik Music. You can feel the heartache and harsh realities of life. AC/DC - Back In Black The death of talismanic singer Bon Scott should have finished AC/DC. Black Sabbath - Heaven and Hell Exit Ozzy, enter Ronnie James Dio– and a new lease of life for heavy metal’s forefathers. And the ‘quiet-loud’ formula which Kurt Cobain confessed he cribbed was carefully honed here. His conclusions weren’t exactly the stuff of Clintons Cards – with the stunning but cynical Brilliant Disguise questioning how well we ever know a partner, while the spare folk of Two Faces admitted to a darker side. American hardcore was still in its infancy when Dead Kennedys issued their defining statement. I Want You was a psychotic love song like nothing else in rock. On the follow-up, the Seattle band went deep into new territory, with a more progressive rock mind-set allied to state-of-the-art production. Aside from Queen’s comeback, it is the performance watch at one of the greatest concerts in history. It’s the stalker song people play at their weddings. What they created ten years later, with Heaven And Hell, was a masterpiece that brought the band back from the dead. Any of its four hit singles could have made this list. But it’s impossible to get past its sweet melody, which turns Petty’s style of heartland rock into a pop force. Released a year and a half before Blondie’s “Rapture,” The Clash’s song was the world’s first example of rap-rock. Peter Murphy called himself “an optimist with nihilistic tendencies”, and like Hammer’s later horror movies, his band winked while they shrieked. But it wasn’t exactly original. “Down In It” was the first single that started it all. What they said at the time: “Perhaps the strongest, most coherent vinyl achievement of its kind since Boston’s debut or Departure by Journey.” Kerrang! “The first time, for Better Days… that was it for me. I Want To Know What Love Is was the hit, yet Down On Love, A Love In Vain and That Was Yesterday join it as masterpieces of AOR, machine-tooled for their era. 1986’s Album also made symbolic peace between the voice of punk and hard rock’s supposed dinosaurs, with the likes of Ginger Baker and Steve Vai among the thunderous hired guns who appeared on the record. Epic Jams: The 20 Longest Songs In Classic Rock History 02/18/2014 63. 1 and the peak of her Eighties output. What they said at the time: “If anybody ever makes Conan The Barbarian into a musical, it should sound something like this” Record Mirror. What they said at the time: “Hanoi Rocks rock’n’roll like they just invented it.” Melody Maker. You can see that wear and tear on his face. CLEVELAND, Ohio – There are better and more important decades of music than the 1980s. “Pictures of You” was inspired by photographs Smith found of his wife after a fire at their home. The genius of Gaye wasn’t limited to his voice. The album’s biggest hit, Oh Sherrie, written for his then-girlfriend Sherrie Swafford, reached No.1 on the US Billboard Rock chart. Like Kiss before them, Manowar were heavy metal superheroes; four muscle-bound, fur-clad warriors proclaiming ‘Death to false metal’. It takes things further, contrasting them with the vivid details of high-end Manhattan life. In 1988, though, the album’s all-pervading sexuality was its undoing, with the sleeve’s topless-and-flaming conjoined twins getting it paper-bagged by US retail chains, and the aforementioned Mountain Song’s video banned from MTV for nudity. Here they swished between retro-futuristic synth pop (Radio Gaga), balls-out rockers (Hammer To Fall, Tear It Up) and perfectly formed chart-pop (I Want To Break Free, It’s A Hard Life). We thought about making it one song with this long instrumental thing at the end, like Free Bird or the piano coda in Layla. What they said at the time: “In spite of itself, War is another example of rock music’s impotence and decay.” NME. But as the nursery-rhyme lyrics and whistling on the big hit Games Without Frontiers demonstrated, his sense of humour and the absurd remained intact. Greatest Rock and Roll Hall of Fame Songs of the 1960s, Greatest Rock and Roll Hall of Fame Songs of the 1970s, Greatest Rock and Roll Hall of Fame Songs of the 1990s, covers for “Control” and “Rhythm Nation 1814.”. I Love Rock 'N' Roll - Joan Jett & The Blackhearts 6. His best record of that decade was Southern Accents, with its glorious, Dixie-referencing anthem Rebels, hypnotic left-field single Don’t Come Around Here No More and the beautiful, elegiac title track. “Hallelujah” might be a song that’s overplayed. Or perhaps outright disbelief would be a more accurate description. She’d been peripheral. What they said at the time: ‘It’s an album that dares to ask the question: What if the next Beatles were a hard-partying hair band?’ Rolling Stone. Street-smart, but with lashings of Brill Building nous, Detroit-leaning chutzpah. What they said at the time: “A classic Neil Young album, deploying the folk ditties and rock gallumph that made him famous.” Village Voice. And yet, here was the most passionate song about sex that had ever been released. 26. And Springsteen coupled it with an intelligent social critique about the treatment of war veterans. What they said at the time: “A shimmer of easy hypnosis that is as beautiful as it is lacking in fire.” Sounds. What’s more interesting is that if you asked the question 20 years ago, “Billie Jean” would be universally accepted as the greatest song of the 1980s. But “F**k that Police” was a level of bluntness the music world had yet to see. Talking Heads – “This Must Be the Place (Naïve Melody)”, By the time “Speaking In Tongues” came along, you thought you knew what to expect Talking Heads. More Vivid was almost a diary for me. But she made do with what she had, even on ballads. What they said at the time: “An Out Of This World album that, ultimately, finds itself struggling to leave the stratosphere.” Kerrang! As the 80s dawned, Van Halen persevered in trying to top the greatest hard rock debut album of all time. The Boss certainly seems to think as much of Tom Waits’ amazing ballad, having covered it with The E Street Band time and time again. The important thing is to break out your bright colors, acid-wash jeans, Members Only Jacket, Bally shoes and have some fun. – “It’s The End of the World As We Know It (And I Feel Fine)”. This was largely frontman Fish’s album, a slice of tortured introspection that mixed the personal (loneliness, failed romance, alcohol and drug abuse) with the global (most noticeably on the bleak White Russians).

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