Top 10 80s Bands You Forgot Were Awesome

Synth pop was a big business back in the 1980s, with Britain’s ABC existing, in our minds, as one of the genre’s unsung heroes. The arrangements here sound “bigger” than many of ABC’s other contemporaries, lending songs like “Be Near Me” an impressive amount of orchestral “oomph.” Elsewhere, lead vocalist Martin Fry possesses a strong voice, one capable of delivering big, strong hooks while also containing a proper amount of sensitivity. The ‘80s, like any other decade, were full of one hit wonders, but we feel like ABC’s track record speaks for itself: these guys were a cut above the rest.

It’s quite unfair that this pioneering English act from the New Wave movement is known more for its assortment of hairstyles than the quality of its music. After all, the discography of A Flock of Seagulls is actually quite full of interesting tunes, for those willing to do a little digging. Oh sure, “I Ran (So Far Away)” is still a defining tune from the 1980s, but A Flock of Seagulls albums also retained deep cuts that showcased their musicality. Tunes like “Space-Age Love Song” and “The More You Live, The More You Love” demonstrated the excellent synth and guitar interplay within the band’s songwriting, and helped further distance A Flock of Seagulls from more fashion-focused acts of the day.

It’s not by accident that this list contains a startling amount of musical talent from The United Kingdom. There was something of a second British Invasion during the 1980s, as legions of new wave, post-punk and heavy metal acts emerged from that area to take over the rest of the world. The Fixx weren’t so easily pigeonholed into a genre, however, and this both helped and hurt them over the years. On one hand, they were just a solid rock act, notching hit singles such as “One Thing Leads to Another.” On the other hand, there wasn’t really a “gimmick” upon which to sell The Fixx overseas. The music speaks for itself, essentially, and we feel the band was actually a bit underrated.

Now, here was a band whose choice of name definitely helped define their career. Orchestral Manoeuvres in the Dark are probably better known by the acronym OMD, but this defiantly unhip electronic music duo achieved quite a bit of success during their career. That said, we still feel that there’s gold to be mined beyond the obvious OMD hits like “If You Leave.” Band members Andy McClusky and Paul Humphreys knew how to make bass, synth, percussion and voice sound BIG as hell, boasting hooks large enough to snag a whale. The music of Orchestral Manoeuvres in the Dark definitely sounds “of its time,” but we don’t think that’s a bad thing whatsoever. In fact, that’s exactly why we love them.

The commercial landscape of 1980s heavy metal, like any musical movement, possessed a myriad of subgenres. Not all glam was made equal, to be sure, with L.A. Guns existing within that special little microcosm known as “sleaze metal.” This was a rough ‘n ready rock band who, alongside another group called Hollywood Rose, resulted in the formation of superstars Guns ‘N Roses. L.A. Guns did achieve chart success with the single, “The Ballad of Jayne” and put out a lot of music in the 90s, but we honestly prefer the less polished nature of their 1988 debut. That record contained rip-roaring jams like “No Mercy,” “Sex Action” and “One More Reason.” It was a perfect midway point between dirty looks and big hooks.

We know that The Trans-Siberian Orchestra are a big deal around the holidays, but there’s also a connection to their metallic pedigree that reaches to the 1980s. We’re referring to Savatage, a group founded by brothers Criss and Jon Oliva. The former’s generational skills as a guitar talent were tragically cut short by a drunk driver in 1993, but Savatage’s discography with him remains indispensable for metalheads who appreciate influences from classical music. The band continued along after both Criss Oliva’s death, as well as Jon Oliva’s departure from lead vocals, with guitarist Al Pitrelli eventually collaborating with Jon and composer Paul O’Neill on TSO. For our money, though, LPs like “Gutter Ballet” and “Hall of the Mountain King” are worth their weight in gold.

New Wave never sounded so dramatic. Ultravox seemed to have studied hard during the “how to write a great chorus” classes while in songwriting school. How else could one explain the epic grandeur of hits like “The Voice,” “Hymn” or “Dancing with Tears in My Eyes?” The latter in particular highlights how Midge Ure’s lead vocals take Ultravox to another level, as he soars with stately, insistent grandeur. Ultravox crafted 1980s pop as high art, a melodically satisfying approach with impeccable hooks and note-perfection execution. The band may have experimented a bit during the 1970s, but it was the ‘80s where Ultravox’s rise to musical prominence was assured.

Call it “shoegaze” or maybe post-punk, but there was definitely something special to the sound of The Chameleons UK. This English group’s reverb-soaked journey into atmospheric rock had a bit of a malevolent streak. Specifically, albums such as “Script of the Bridge” would go on to influence heavier metal acts such as France’s Alcest[c]. Groups that would be inspired by The Chameleons’ ability to mope and rock in equal measure. Songs such as “Don’t Fall” and “Up the Down Escalator” meld brooding, resonant vocals with edgy guitar licks and this feeling of aggression bubbling just below the surface. It’s brilliant stuff.

Some bands just exude an effortless amount of cool. Australia’s The Church are definitely one of those bands. It’s difficult to pinpoint anything specific about their sound, other than it feels dreamlike and resplendent. They create a gorgeous tapestry of melodies and atmosphere that weave their web in a manner that doesn’t quite feel like goth, nor traditional rock. Instead, The Church takes listeners upon a journey with songs such as their definitive hit, “Under the Milky Way.” Truth be told, however, there’s a lot to love about their entire discography. The Church is just a great band.



Before we unveil our top pick, here are a few honorable mentions.

“Shattered Dreams” Is An All Time Bop

From Heavy Metal to AOR Heaven

A Formidable Force & Pioneer for Glam Rock

Hard-Hitting Eighties Metal, A Cut Above the Rest

Anthemic Rock with Hooks For Days

They were a band able to continually reinvent themselves, while also never forgetting how to ROCK. The Cult started out in full goth mode under the moniker of Southern Death Cult, before the mid-80s saw a shift into full arena rock sturm und drang. Truth be told, we love it all, including the work The Cult did during the nineties and beyond. That said, there was just something special about that holy trinity of albums between 1985 and 1989: “Love,” “Electric” and “Sonic Temple.” The latter in particular saw anthems like “Fire Woman” send The Cult into the stratosphere. Frontman Ian Astbury howls like a man possessed, while embodying a dichotomous personality stresses shamanism and hedonism in equal measure. And we’re. Not. Worthy.

Which ‘80s band do you feel has the most consistent back catalogue? Let us know in the comments!

muh-CLUSS-kee https://youtu.be/Iv4ZFw3BnUQ?si=B86NN8TYyoAsdgJA&t=5
HUM-frees https://youtu.be/Iv4ZFw3BnUQ?si=B86NN8TYyoAsdgJA&t=5
[b]Savatage rhymes with "sabotage" / SAVVA-tawzsh https://youtu.be/xPbPLS21wSg?si=2S6a9pLJqCaq3o7u&t=13
oh-LEE-vuh https://youtu.be/D6IurOYcyEA?si=KKfkL0maJIeYAW4V&t=15
al pit-TRELLY https://youtu.be/LGEfbtvw2Zs?si=FjQaZ8st013h8Mpf
[c]al-SESSED https://youtu.be/24XrLErXB34?si=a3FLRG28CA2HKgJy&t=1