Top 30 Greatest 80s Songs You've Never Heard Of

Blue Murder


It’s a misconception that 1980s arena rock and heavy metal went out of fashion during the following decade. Many artists from these genres enjoyed chart success around this time, including Blue Murder. That said, the success of tracks like [xref] “Billy” and “Jelly Roll” didn’t exactly achieve the Billboard numbers hoped by their record label, and Blue Murder’s self-titled debut fell into “IYKYK” territory. Yet, all this means really is that fans can rediscover heavies like “Valley of the Kings,” which makes the most out of John Sykes’ generational guitar playing. The ex-Thin Lizzy man joined together with Vanilla Fudge’s Carmine Appice and session bass legend Tony Franklin to deliver an epic, pounding groove with “Valley of the Kings,” and we definitely appreciate the effort.

The Chameleons UK


The world of 1980s post-punk, goth and indie rock can be a treasure trove of undiscovered classics. The Chameleons UK (known simply as The Chameleons outside of North America) were one of these hidden gems, a reverb-soaked journey into evocative musical excellence. “Don’t Fall” actually wasn’t officially released as a single from The Chameleons’ debut LP, “Script of the Bridge,” but this doesn’t really matter in the end. The album’s strength as one cohesive piece basically ensures that the catchy yet moody atmosphere of “Don’t Fall” feels right in line with other album cuts like “Up the Down Escalator.” Consider this one to be highly recommended if artists like The Cure or My Bloody Valentine are up your alley.

Y&T


The history of California’s Y&T stretches to their origins as Yesterday and Today back in the 1970s. The band’s success also progressed into the nineties with jams such as “Don’t Be Afraid of the Dark.” However, “Contagious” saw Y&T in full hair metal mode. This shift from riff-heavy arena rock served the band well, with an economically composed anthem with a chorus that’s both punchy and immediate. Y&T’s frontman Dave Meniketti possesses a strong bit of grit to his voice, and the “woah-oahs” of the chorus feel ripped from the Bon Jovi playbook. Meanwhile, the video to “Contagious” is the sort of ‘80s cheese that will forever make us yearn for this… let’s go with “simpler” time!

John Farnham


The 1986 film “Rad” is one of those cult classic films that is largely being rediscovered today, decades after flopping at the box office. Its ultra-eighties soundtrack likely has something to do with this retro-appreciation, too, thanks to bangers like “Break The Ice” by John Farnham. The British-Australian singer actually contributed a few songs to this OST, including the epic “Thunder In Your Heart.” Yet it’s that super-processed and epic-sounding production to “Break the Ice” that makes the perfect musical accompaniment to “Rad’s” tale of bitchin’ BMX. Of course, the complete lack of irony also makes “Break the Ice” tailor made to serve as both a main theme and suitably stirring montage music.

Icon


The “Night of the Crime” album by Icon is one of the best melodic rock albums you’ve never heard. The Phoenix, Arizona-based group started out with a heavier sound before taking a more polished direction for album number two. “Danger Calling” is a prime example of how Icon’s collaboration with noted songwriter Bob Halligan, Jr. produced some quality fruit. The latter’s influence streamlined Icon’s compositional chops and honed them to a razor’s edge. Meanwhile, other anthems like “(Take Another) Shot at My Heart” were purely written by the band, proving just how much talent was present within Icon’s musical core.

Real Life


Yep, we’re actually highlighting another song from the “Rad” soundtrack here. But “Send Me an Angel” by Real Life wasn’t simply content to sit on only one film OST. This 1983 single also appeared on the soundtracks to both “Teen Wolf Too” and “The Wizard,” which speaks to the song’s popularity and longevity. What can we say? “Send Me an Angel” just sounds like the 1980s, distilled to a perfect musical essence. It’s catchy and melodic, yet wistful and slightly melancholic. David Sterry’s lead vocals in particular shine on that outstanding chorus, leaning into a romanticism that absolutely spoke to a cinematic generation.

The Sisters of Mercy


Whoever said that goth music needed to be dour and depressing all of the time clearly never rocked out to The Sisters of Mercy. “This Corrosion” was actually produced by frequent Meat Loaf collaborator Jim Steinman, and it shows. This is epic and ultra dramatic rock with pomp, circumstance and swagger. You want soaring choirs? “This Corrosion” has got them. A danceable beat? Hey-now-now, Andrew Eldritch and The Sisters have you covered. Plus, the album version of “This Corrosion” stretches on to an impressive eleven-plus minutes in length, providing just about all of the hyper-stylized, post-apocalyptic goth jams one could ever need.

Gary Moore


The career of Gary Moore, from side-man to solo career, reads like a laundry list of musical riches. While “Out in the Fields” was a hit for Moore and former Thin Lizzy bandmate Phil Lynott, “Over the Hills and Far Away” also takes from Lizzy’s notably narrative-driven tunes to create a “story song” that was unequivocally Moore’s. Influences from Celtic folk are enhanced by the appearance of Ireland’s The Chieftains on the tune, while Moore’s searing guitar work peppers the heavier sections. “Over the Hills and Far Away” was more of a success in Europe than in North America, but we feel like it remains a defining tune from Gary Moore’s impressive discography.

FM


Call it “album-oriented rock,” “adult-oriented rock” or simply AOR; “That Girl” from FM possesses melody for DAYS. This British band has carved a career of eschewing blunt heaviness in favor of a more textured and refined approach to hard rock songwriting. Lead singer Steve Overland possesses a soaring voice that drives home the money chorus of “That Girl.” Meanwhile, the insanely polished production only adds to how the song’s arrangements feel both hooky and smooth. “That Girl” was even semi-covered and adapted by metal legends Iron Maiden for a B-side. If that isn’t a stamp of songwriting approval, then we don’t know what is!

Echo & the Bunnymen


Perhaps we can thank 2001’s “Donnie Darko’ for raising the public profile of “The Killing Moon” by Echo & the Bunnymen. It was the inclusion of this fantastic tune on that film’s soundtrack that helped remind fans just how great this English rock band was back in their day. It’s difficult to pigeonhole “The Killing Moon,” and this is a very good thing. The song’s mood feels dark, like the best goth. The prominent bass and cavernous production lends “The Killing Moon” an atmosphere all its own, yet Echo & the Bunnymen never sound like they’re following any tread path. Instead, this song blazes a unique trail, and we absolutely LOVE it for this fact.

Bon Jovi


Bon Jovi may be a multi platinum-selling rock act, but that doesn’t mean they don’t possess some serious deep cuts in their back catalog. “Only Lonely” is taken from the band’s sophomore effort, “7800° Fahrenheit,” which was a more experimental and artistic take on Bon Jovi’s melodic rock. Here, the anthemic hooks of Bon Jovi’s self-titled debut are tempered with a sleek ‘n synthesized sound, while the accompanying music video feels like a mini-movie. The chorus is to die for, as well, a desperate-sounding and emotionally charged performance from Jon Bon Jovi that ranks among his very best. We’re saying it right here and now: don’t sleep on “Only Lonely.”

Laura Branigan


The original version of “Self Control” was an Italo-Disco song released by singer Raf in 1984, but it’s Laura Branigan’s cover of the tune from that same year that’s arguably endured to the modern day. The song is steeped in a massive-sounding, 1980s production, yet Branigan’s vocals never get lost in the mix. Instead, her powerful delivery shines through, as booming synths and hot guitar licks complement the song’s danceable beat. “Self Control” is hooky as hell, from that infectious chorus to each groovy verse. Oh, and that music video? Pure eighties excellence, ya’ll.

Oingo Boingo


Danny Elfman may be best known today for his wonderful film scores, but old school eighties kids know full well how dope Oingo Boingo was back in the day. “Dead Man’s Party” is perhaps one of the group’s catchiest tunes, and appeared on the soundtrack for the Rodney Dangerfield film “Back to School” back in 1986. The song possesses a vibe all its own, with throbbing bass, cool lyrics and Elfman’s soaring, enchanting vocals. “Dead Man’s Party” may be finally getting its due these days on some Halloween mixes from the cooler kids you know, but we’ll always cop to being fans of this one-of-a-kind group.

The Pretenders


Is there any pop act more representative of the 1980s than The Pretenders? Maybe, but we highly doubt they have a front person as terminally cool as Chrissie freakin’ Hynde. “Message of Love” possesses a vibe that’s simultaneously current and retro, a fifties throwback visually but a New Wave classic back in its day. Hynde’s vocals are intentionally minimalistic and disinterested, almost as a precursor to some of the things Sheryl Crow would do on her debut album in the nineties. “Message of Love” is melodic and deceptively well-written, incorporating multiple moods that feel ahead of their time in terms of structure and efficiency.

Lisa Lougheed


If you were a kid living in Canada during the 1980s, then it’s highly likely that you loved watching “The Raccoons” on T.V. It’s also likely that you loved its theme song, “Run With Us,” by Lisa Lougheed…and we’re right there with you. There’s something emotionally resonant about the song that we can’t quite explain. Lougheed’s vocals are powerful, but also possess a palpable energy that just drives home that million dollar chorus. “Run With Us” boasts a compelling synth beat, some high-energy guitar licks and some gothic backing atmosphere that are unlike anything else from the time. It takes us back to youthful innocence every time we hear it.

Stan Ridgway


You may not know the name Stan Ridgway, but fans with their ears to the ground back in the 1980s can probably recall his old band, Wall of Voodoo. That group possessed its own, quirky ‘80s history with their hit, “Mexican Radio,” but this solo cut from Ridgway is comparatively more confessional and down-to-earth. The vibe feels more Billy Joel than New Wave weirdness, but that isn’t a bad thing. The backing instrumentation is particularly evocative, and showcases Ridgway’s unique vocals in a wonderful way. The production is also thick and layered, in that way only ‘80s records could be. It’s a deep cut that we highly recommend.

Whitesnake


You’d be forgiven for ignoring “Wings of the Storm” by Whitesnake, since it was conveniently tucked away at the end of their 1989 album, “Slip of the Tongue.” If you did do that, however, then you’d be missing out on what’s perhaps the glam metal band’s fastest and most aggressive moment. Whitesnake’s bluesy history from the 1970s is all but forgotten, as “Wings of the Storm” rips out of the gate with a startling amount of speed. It never lets up on the gas, either, as Steve Vai’s fretboard is practically set alight, as the guitarist lets it rip with fiery licks. David Coverdale, for his part, stretches his vocal chords to the heavens, proving Whitesnake’s metallic might without a shadow of doubt.

Killing Joke


We realize that having a song simply titled “Eighties” on this list may seem lazy, but this English group was anything but complacent. Killing Joke was a remarkably prescient and forward-thinking band for their time, serving as influences for many other groups in their wake. Nirvana was absolutely one of those bands, to the point where the latter’s “Come As You Are” has been accused of stealing the main riff from “Eighties.” Do you hear it? We admit that it’s close, but we also admire Killing Joke’s cutting, almost industrial guitar tone and martial approach to delivering their rhythms. Is it post-punk? Alternative? New Wave? We’re not sure, but what we do know is that “Eighties” is KILLER.

Depeche Mode


The discography of Depeche Mode is chock full of bangers, but 1986’s “Black Celebration” just has to count among the band’s best. “But Not Tonight” is perhaps a lesser-known track from that album, however, because it possesses a more upbeat feeling to its melodies. “Black Celebration” is fairly dark, on the whole, and “But Not Tonight” breaks things up nicely with a sound that hearkens back to Depeche Mode’s earlier, more minimalistic work. The electronic framework is cold, but Dave Gahan’s vocals are red hot, and “But Not Tonight” is made all the better for that fact.

Chris de Burgh


What’s the first song you think of when the name “Chris de Burgh” comes up in conversation? Most of us would probably list his hit 1986 ballad, “Lady in Red,” for obvious reasons. “Don’t Pay the Ferryman” from 1982 couldn’t sound any more removed from that hit, however, an energetic art rock song for the ages. The production is polished to a silvery sheen, and “Don’t Pay the Ferryman” is written with electricity to spare. De Burgh’s vocals are evocative and in control, detailing the song’s mythological and Shakespearean origins with a palpable power. As a result, “Don’t Pay the Ferryman” practically begs for repeated spins.

Albert Hammond


A double-edged sword about professional songwriting is how one can remain almost completely anonymous, while also having a profound effect upon millions of music fans. Albert Hammond was one of those people, a prolific composer who wrote hits for others but seemed to eschew personal fame when it came to his own career. “When I’m Gone” practically begs for the listener to do some deep digging into Hammond’s career, however, thanks to this song’s confessional nature and emotional viability. The song feels tailor made to connect with its audience, a beautifully melancholic song that boasts a fantastic production, one that perfectly highlights Hammond’s voice. “When I’m Gone” is a hidden gem that deserves all the flowers.

Robert Tepper


You just know it when you hear it. Call it “montage music” or “training music,” it’s those songs that show up in movies when times are tough, and demand that the hero step up their game. For Sylvester Stallone in “Rocky IV,” that song was “No Easy Way Out” by Robert Tepper, and it’s an absolute master class. Tepper is without a shred of irony as his vocal performance goes for broke with a sincere amount of power and passion. It’s such a barnburner, that the accompanying instrumentation almost feels like an afterthought, but pay attention: there are some amazing melodic choices here. “No Easy Way Out” makes us feel like world champions, EVERY day.

New Order


New Order rose from the ashes of Joy Division, a trailblazing voice in the burgeoning post-punk and early alternative rock movement. That band’s purposefully minimalistic style was opened up and brightened a bit with New Order, however, influencing an entire generation of goth rock fans in the process. “Age of Consent” is taken from New Order’s sophomore effort, “Power, Corruption & Lies,” and immediately strikes as something special. The reverberating guitar chords and echoed production are evocative as hell, while Bernard Sumner’s vocals float atop it all with personality and style. Trust us: if you dig The Cure, The Smiths or Depeche Mode, then check this one out.

Kim Wilde


If you only know the career of Kim Wilde from her early hit, “Kids in America,” then might we suggest the singer’s more experimental sophomore effort, “Select?” This 1982 album was marked by a pronounced atmosphere of experimentation and even slight menace, as evidenced by this single, “Cambodia.” The song is dark and mysterious, a layered synth-pop song that feels delivered from outer space, yet anchored by Wilde’s gorgeous, otherworldly voice. “View from a Bridge” is another great song from “Select,” but there’s only one “Cambodia,” and once you hear it, we doubt you’ll forget it.

Pet Shop Boys


Isn’t it funny how songs tend to take on lives of their own? The Pet Shop Boys’ Neil Tennant told “The Daily Dish” in 2019 how he originally wrote “It’s a Sin” without much thought as to how seriously it would be taken by the group’s fans. The song was initially conceived during Tennant’s reflection about his Catholic school upbringing, but many fans today have internalized the songs’ themes of repression and shame and frequently interpret them as cathartic. Tennant also interestingly compared “It’s a Sin” and the Pet Shop Boys’ hi-NRG music to heavy metal. And you know what? We totally hear it. “It’s a Sin” ROCKS, plain and simple.

Ultravox


That title may sound extravagant (because it is), but that’s just part-and-parcel for Ultravox’s deeply romantic, New Wave sound. The British group formed in the ‘70s, but saw their greatest success in the ‘80s, thanks to gems like “Hymn” and “The Voice.” “Dancing with Tears in My Eyes” highlights how Midge Ure’s lead vocals truly take Ultravox to another level, as he soars above the song’s synthesized, ‘80s beat with a stately grandeur. This is ‘80s pop at its most melodramatic, but also some of its most melodically satisfying. The songwriting is impeccable, the chorus wonderful and the execution note-perfect. Check out Ultravox: you won’t be disappointed.

Christopher Cross


Christopher Cross’ debut album may have dropped for Christmas of 1979, but this first single thankfully fits our criteria, having been released in February of the following year. If we’re being honest, though, any time is a great time to rock “Ride Like the Wind.” This isn’t only due to the spectacular songwriting displayed by Cross, but also those amazing backing vocals from Michael McDonald. The former Doobie Brother assists Cross in a way only he can, smoothing over “Ride Like the Wind” with his velvety voice, and creating pure musical heaven in the process.

The Escape Club


The story of The Escape Club is a funny one since this British export actually didn’t do too well in their homeland. “Wild, Wild West” was a hit in the U.S., however, and we totally see why, because the song feels like a movie montage scene come to life. This isn’t a slight whatsoever, mind you, because we admire The Escape Club’s dedication to unabashed, sugar-coated pop. “Wild, Wild West” is an earworm that sounds indebted to Duran Duran, with an approach that’s weird and nearly impossible to categorize. It’s funky, with a little rock for good measure, and catchy as hell.

Marillion


It may seem improbable that a 1980s prog rock band could go on to influence the proliferation of an actual forename in their native U.K., but truth is indeed stranger than fiction. The early career of Marillion was largely indebted to the sound of 70s Genesis, but “Kayleigh” was an unadulterated pop hit from a group known for crafting ten-minute-plus epics. Lead singer Fish emotes with abandon, while the chorus-and-delay-drenched guitar of Steve Rothery creates that insanely catchy opening lick. It’s beautiful and bittersweet, a true gem deserving of discovery by anyone who assumed prog simply died in the ‘70s.

a-ha


Norway’s a-ha will probably always be best known for their smash international single, “Take On Me.” However, there’s also a lot of other musical gold to be mined for fans seeking out more great music. The band’s theme to the James Bond film “The Living Daylights” was a franchise highlight, but “The Sun Always Shines on T.V.” may just be a-ha’s secret weapon. Morten Harket delivers a vocal performance that rivals even his watershed moments on “Take On Me,” while also proving that a-ha was no one hit wonder. “The Sun Always Shines on T.V.” is expertly composed and magnificently executed, a slice of absolute pop/rock perfection.


What’s your favorite deep cut or album track from a favorite band? Let us know in the comments!