Picture the scene. It’s the mid-eighties. The UK music scene is alive with excitement. I’m going to share some of that excitement with you. Here are some highlights from the UK’s 1985 music charts.
Some pretty cool stuff is bursting from radios, record players and tape recorders. There’s such a wide range of music being played – from pop ballads to rock anthems, and every point in between. These songs hold memories, emotions, and a sense of identity.
Make no mistake, 1985 is a golden year in the UK’s music scene. We saw diverse genres and groundbreaking artists come together, giving us some of the most unforgettable hits. The music charts from this year tell a story of creativity, culture, and the rhythm of a generation.
The charts are a snapshot of what we sang along to, danced to, and felt deeply about. They bring back memories of youth, freedom, and the ever-evolving world of music. These hits are the soundtrack of people’s lives back then, reflecting the highs and lows, the joys and the challenges of the mid-eighties.
In this article, I’ll be suggesting highlights from 1985’s music charts, diving into the best-selling singles and my own favourites. Singles that I went out* and spent my paper round earnings on. We’ll explore how these songs made their mark and left an enduring legacy. And, whilst the music from 1985 provides a great nostalgia hit, it’s also a crucial part of understanding the evolution of today’s tunes.
So, buckle up, because here we go. Get ready to travel through time to meet again the songs that defined a year, the artists who grabbed the spotlight, and the tunes that kept everyone dancing.
*Or, more likely, asked my mum to go and buy it for me.
Top 40 Best-Selling Singles of 1985
The music charts of 1985 were filled with hits that feature on today’s playlists on Spotify or Amazon Music or whatever else you choose to listen to your music on. This was the year when I came of age as a record buyer and stumped up for 30 or more singles. Some are classics; others – maybe not.
Anyway, here we go with the top 5 best-selling singles in the UK. First, is Jennifer Rush’s The Power Of Love*. It’s an epic ballad that allows her to show us her pipes backed by sweeping instrumentation. This one became an anthem for many, symbolizing the passionate and grand love stories of the times.
Next up, I Know Him So Well by Barbara Dickson and Elaine Paige. This was a duet from the musical Chess written by Benny Andersson and Björn Ulvaeus with Tim Rice – remember Murray Head’s One Night In Bangkok from last year? It captured hearts with its emotional depth and harmonies. A beautiful narrative about love and understanding, it surely chimes with anyone who’s experienced complex relationships.
Madonna’s Into The Groove was another massive hit. It crashed into the top ten on the last chart of July 1985, leapfrogging her previous release Crazy For You.
As a dance track, it’s infectious, no carbon-based life form could resist it. Madonna’s energetic performance and catchy lyrics made it a favourite on dance floors, radios, record players, and mix tapes recorded from the radio alike. Her first UK number 1, it marked the moment in her career that she could say she’d arrived. Her status as an 80s icon was now set in stone.
19 by Paul Hardcastle broke new ground with its electronic sound and serious message about the Vietnam War. The title refers to the average age of U.S. soldiers, which was 19. It stood out for its innovative use of sampling including news reports and interviews, created a documentary-like feel. At the same time, it cast light on important social issues, including the psychological effects of war. It was both a dance hit and a conversation starter.
The fifth best-selling UK single of 1985 was Frankie by Sister Sledge. It brought a cheerful vibe to the charts. This upbeat song with its catchy chorus was one for all to sing along. Epitomising the fun, carefree spirit of the 80s, it’s a beloved track that still gets people moving.
These top five tracks not only led the sales charts but also captured the essence of 1985, reflecting the era’s diverse music styles and cultural themes. Dive into this list here and you’ll find a soundtrack that defined a year, blending emotion, innovation, and sheer fun.
*Not to be confused with Huey Lewis and The News’ song of the same name, or Frankie Goes To Hollywood’s song of the same name either.
The 36 Singles That I Bought
I’ve said it once already, but 1985 was the year when I came of age as a fully-fledged record buyer. Responsible for building my own collection. And it’s a collection that reveals the musical heartbeat of 1985. From rock to pop, and everything in between, these tracks highlight the versatility of the music scene.
Going alphabetically, we kick off with Absolute Reality by The Alarm. Mike Peters and the boys’ energetic rock sound captured the concerns of the youth and got people thinking. People called them a poor man’s U2, I said, bollocks to that. I loved The Alarm.
In contrast, Drive by The Cars offered a more contemplative vibe, showing the emotional depths that music could explore. This was heightened by the Canadian broadcaster CBC’s use of the track to back one if its films of the Ethiopian famine. This film afforded the track the bounce of bounces. It had already reached number 5 in the UK singles chart in September 1984 but would now go on to reach number 4 in August 1985.
China Crisis brought a unique mix of synth-pop with Black Man Ray, a track that stands out for its haunting melodies. Writer Gary Daly states that the song has no specific meaning, but that it’s a bit of a stream of consciousness. He does acknowledge that the title is a play on the names Ray Charles and Man Ray.
Black Man Ray is one of the group’s better performing singles. Whilst not reaching the top ten like 1984’s Wishful Thinking, the track reached a respectable number 14 in the UK chart. Par for the course for this woefully underappreciated group.
Meanwhile, Lloyd Cole and The Commotions’ Brand New Friend gave listeners a cool, indie vibe that was perfect for mellow moments. I totally adored this track. Like China Crisis, Lloyd Cole and The Commotions did not engender the popular support that their great songs should have.
Brand New Friend was the groups’ second best performing single in the UK singles chart, reaching… wait for it… number 19. Their highest placing was for the follow up single Lost Weekend which pushed the envelope to number 17.
Phil Collins was a performer well used to finding himself in the upper reaches of the UK singles chart. One More Night reached number 4. In the US, the track was number 1 on the Billboard Hot 100 for two weeks in February 1985.
It’s a tender ballad in which our Phil displays his knack for emotional storytelling. The message conveyed is something along the lines of when you truly like someone, you do your utmost to be their partner, but seeing them with someone else can make you think that you could have done more to show you’re the right choice.
Next up is The Commentators’ N-n-nineteen Not Out. Comedian and impressionist Rory Bremner performed all The Commentators on the parody of Paul Hardcastle’s 19.
Reaching number 13 in the UK singles chart, Bremner’s took the Vietnam references of the original and replaced them with references to the England cricket team’s disastrous 1984 home series against the West Indies as he impersonated cricket commentators, including Richie Benaud, John Arlott, and Brian Johnston.
Conveniently, in that series, England captain David Gower had averaged 19 and the link had been struck. The track was written by Bremner along with John Langdon and Paul Hardcastle himself. An uncredited Hardcastle himself even played all the instruments.
The Cure
Oh my. The Cure were pop and goth royalty. In 1985, they gave us two unforgettable tracks. Having knocked around since 1980, the group’s highest position in the UK singles chart had been number 7 for 1983’s Love Cats. Nothing else they had released had broken into the top ten.
That was not about to change with either of 1985’s offerings. The first release was In Between Days which, despite making a spirited effort, could only make it as far as number 15. This was followed by Close To Me which wouldn’t even break into the top twenty as it stalled at number 24.
So those are the numbers. But these two tracks are so much more than their respective chart positions. Taken from the album The Head on The Door, both songs encapsulate the Cure’s distinctive new wave sound that appealed to a generation eager for something different.
In Between Days has an upbeat tempo and catchy melody, contrasting with its more pensive and somewhat melancholic lyrics. They are lyrics exploring themes such as change, regret, and longing. Smith sings of a relationship that has shifted, expressing feelings of loss and the passage of time. He’s caught between the past and the present, dealing with the consequences of his actions, and the desire to return to a happier time.
As noted, the message is delivered on top of jangly guitars with a fast-paced rhythm. The upbeat sound and the wistfulness and nostalgia of the lyrics yield a fabulous bittersweet juxtaposition.
9.9/10 – Love it / smiley face.
Close to Me was the second single from their album The Head on the Door. In keeping with the mood of the album, the track has a distinctive sound and reflective lyrics.
This time Smith’s lyrics delve into feelings of anxiety and vulnerability. He’s longing for some connection. He expresses a sense of being overwhelmed by emotions and the fear of being alone. At the same time, he yearns for closeness and reassurance from another. The song perfectly captures the tension between desire and insecurity. It’s a reflection of the eternal struggle of wanting to be close to someone while fearing rejection or inadequacy.
Musically, Close to Me is bouncy and playful. It gets this sense from the use of syncopated rhythms, a prominent bassline, and a variety of percussive elements. The single mix of the song includes a mix of quirky sounds that are not on the album version.
Right at the start we hear the creaking of a door, possibly a wardrobe door.* Then there are hand claps and brass instruments, all of which contribute to its distinctive and somewhat whimsical feel. In particular, the trumpet solo as the song plays out is evocative of lambs gambolling in a field. Despite the underlying anxiety in the lyrics, the music maintains an upbeat and catchy quality, creating a contrast that is both engaging and thought-provoking.
Much like In Between Days, Close to Me exemplifies The Cure’s ability to blend introspective themes with innovative and memorable music. It’s a standout track that has just so much going on. It’s three and a half minutes of finely crafted perfection.
9.8/10 – streamers and champagne
*Well, check out the video.
The Damned
The Damned were one of punk-rock’s early pioneers, though you wouldn’t know that from listening to the two 1985 releases I bought. Both Grimly Fiendish and The Shadow of Love contributed to the 80s goth rock scene, bringing darker, theatrical elements into mainstream consciousness. They were a heavier version of The Cure, if you like.
Along with Is It A Dream?, both tracks were taken from the album Phantasmagoria. This album marked a dramatic change in the band’s demeanour. Gone was the thrash of punk-rock and newly arrived was their new, gothic style.
With themes of rebellion and mischief, Grimly Fiendish tells the story of a mischievous, trouble-making character, drawing inspiration from British comic book writer Leo Baxendale’s character Grimly Feendish. Its catchy, upbeat rhythm with a dark, theatrical twist, reflecting the gothic rock and post-punk influences of the time. Its playful melodies are underscored with a slightly sinister undertone.
The Shadow of Love explores themes of love and longing, with a focus on the darker, more obsessive side of romantic relationships. It delves into the emotional shadows that love can cast. Its haunting and atmospheric feel is characterised by moody instrumentation and Dave Vanian’s evocative vocals. The vibe is one of melancholy and introspection.
Dire Straits to Harold Faltermeyer
Next up is the (now) painfully uncool air-guitar classic Money for Nothing by Dire Straits and Sting. With the use of the word “faggot”, Knopfler does his ZZ Top inspired guitar riff and Sting falsettos his “I want my MTV.” This track is unforgettable, though perhaps not for the reason you (I?) first thought.
More cool now, with Echo & The Bunnymen’s Bring On The Dancing Horses. The Bunnymen combined poetic lyrics with dreamy melodies, creating an otherworldly experience. Now, music shouldn’t be categorised. But the presence of this track in my collection, along with The Cure’s offerings and Lloyd Cole and the newly gothic Damned surely forms a vaguely cohesive clump.
More hits from the Eurythmics. The beauty of their summer single, There Must Be An Angel (Playing With My Heart) cannot be overstated. With its heavenly vocals and harmonica from none other than Stevie Wonder this was, at last, a number 1 record.
Taken from their 1985 album Be Yourself Tonight it’s a song has an upbeat and joyful vibe. It’s all about that overwhelming feeling of being in love. It’s likened to a divine experience. As Annie Lennox sings, we feel like an angel is playing with her heart; her emotions are heavenly and transcendent. It’s a timeless anthem for those experiencing the joys of love.
Earlier we had Would I Lie To You? which I bought on red vinyl. Although it didn’t have the commercial success of its successor, reaching only number 17, it had a raw energy. This was lent by the track’s gritty guitar riffs and the rock edge they added. The Eurythmics were moving away from their synth-based origins.
Please don’t think too badly of me. And don’t allow yourself to think that I bought Harold Faltermeyer’s Axel F because of some flaming frog. That was later anyway. The subject of the track is of course Eddie Murphy’s character Axel Foley from the smash hit film Beverly Hills Cop.
The track is an instrumental that became a pop culture phenomenon. Brought to LA in 1978 by Giorgio Moroder, the German Faltermeyer was soon earning himself a huge reputation. Beverly Hills Cop was one of his earlier film scores. Faltermeyer worked on Top Gun, The Running Man and Tango & Cash.
His meticulous approach and trailblazing use of synth-technology brought him into contact with Donna Summer, Blondie, Glenn Frey, Barbra Streisand, the Pet Shop Boys and many others.
Fine Young Cannibals
The Fine Young Cannibals produced some great tracks in the mid-to-late-eighties. I bought 4 of their releases. This year, saw their debut, Johnny Come Home and its follow up, Blue. Johnny Come Home made number 8 in the chart whilst Blue fared less well, failing to break the top 40.
Johnny Come Home tells a gritty realistic story of a runaway youth who upon arriving in the big city has not found the streets pave with gold. The chorus then approaches the subject from his parents’ point of view with their plaintive wail pleading for him to come home, but also promising to change their drinking habit or habits which may have led to his running away in the first place.
Blue may well be a literal title. That is, in reference to the UK’s then government of Margaret Thatcher’s Conservatives. The lyrics express frustration and dissatisfaction, reflecting public discontent with her economic policies and social division.
Of course, the colour blue is used to express feelings of sadness. So, the song’s emotional tone captures the despair felt by those affected by Thatcher’s policies. This applies particularly to the working classes facing economic hardship and societal changes.
Paul Hardcastle to Billy Idol
We have seen Paul Hardcastle’s 19 already. It was the year’s fourth best-selling single. I bought it on 11 May which was the day of the dreadful fire at Bradford City’s Valley Parade ground. I had been to watch Shrewsbury Town suffer a 2-0 defeat versus Middlesbrough. Though suffer is perhaps not the appropriate verb in the context of the day.
Whitney Houston’s Saving All My Love For You was a feel good Christmas time purchase – I bought it on 19 December. I had been shopping with a friend from school. We went a little off the beaten track by visiting Durrant Records at 84 Wyle Cop in Shrewsbury. I could have bought it in Woolworths or John Menzies, but today Durrant’s had my custom.
As for the track, this was Ms Houston’s third single release in the UK. Her previous efforts, Hold Me and You Give Good Love, had only limited chart success, reaching 44 and 93 respectively. Saving All My Love For You was different gravy.
It was released in the UK at the start of September. It took a while to get going. It did not enter the chart until mid-November. By 14 December it was number 1 where it spent two weeks. Shakin’ Stevens Christmas classic Merry Christmas Everyone took the top spot to be crowned the UK’s Christmas number 1.
It is smooth and soulful performance, an early hint of her legendary career. A song about a woman in love with a man who is married to another. Despite the complications and the emotional turmoil, she is committed to waiting for him and saving all her love for him.
The lyrics convey themes of longing, desire, and the complexities of love. The protagonist is aware of the challenges and the potential heartbreak involved in loving someone who is unavailable, yet she chooses to hold onto the hope that they will eventually be together; or at least sharing their “few stolen moments”.
Musically, we are treated to Houston’s powerful and emotive vocal delivery over laid on a smooth, soulful vibe, characterised by its soft, romantic melody. The arrangement, with its gentle instrumentation, complements the intimate and heartfelt nature of the lyrics. It has a mood which alternates between melancholic and hopeful.
Billy Idol brought the rebellious spirit with Rebel Yell. As legend has it, Idol saw Mick Jagger, Keith Richards and Ronnie Wood sharing a bottle of the Kentucky bourbon of the same name. This was all the invitation he needed to get together with Steve Stevens to write the song.
Originally released the previous year, Rebel Yell disappointed as it reached only number 62 in the UK singles chart. Its performance on the Billboard Hot 100 was similarly unedifying. It received a UK re-release in 1985 following the success of White Wedding. Given the momentum from that track, Rebel Yell matched its chart performance in making it to number 6.
An Eclectic Collection Writ Large
Another single liberated from the brother (link to Ghost Town), Iron Maiden’s live version of Run To The Hills gave us a taste of the band’s electrifying stage presence. The studio version, released in 1982, reached number 7 in the UK singles chart.
This live version was released in support of the band’s live album Live After Death. The album captures the energy and intensity of their live performances during the World Slavery Tour. The live version of Run To The Hills was well-received and reached number 26 on the UK singles chart.
The track gives a glimpse of the historical conflict between Native Americans and European settlers, alternating between viewpoints.
‘White man came across the sea / He brought us pain and misery.’
Then,
‘Riding through dust clouds and barren wastes / Galloping hard on the plains’ and
‘Hunting and killing’s a game.’
Then the chorus, ‘Run to the hills / Run for your lives,’ is a haunting reminder of the consequences of these conflicts.
Hip and happening Howard Jones lightened things up with Life In One Day. This was his eighth UK single release, and it reached number 14. I had enjoyed all of them, but limited funds meant that I had not bitten the bullet and bought any of them.
Like his previous releases, Life In One Day is a paean to positivity and optimism. His body of work can be characterised by his thoughtful lyrics and catchy synth-pop sound. Themes include personal growth, love, and self-discovery. It’s a wholesome catalogue delivered with an optimistic and engaging musical style.
Talking of which, next we have Walking On Sunshine by Katrina & The Waves. This is a proper feel-good track that is perfect whenever a burst of happiness is required. At least that’s the line of thought that I was probably following at the point of purchase.
Does that mean it’s poor or embarrassing choice? No, but it is more than a little cheesy. Heck, the group went on to win the Eurovision Song Contest in 1997 with Love Shine A Light. Since both songs were written by band member Kimberley Rew, I’ll leave you to make your own judgement on fermented dairy products. And never mind those jumpers…
It was released in May 1985. It reached number 8 in June. I presume that I bought it in May or June, but I can’t be certain – I was usually so good at noting the date on the sleeve.
Madonna Louise Ciccone
Last year, I had loved and bought Like A Virgin. Now in 1985, I had a paper round and lots of cash for records. Having bought 5 of the 7 singles she released, it’s safe to say that she dominated my record collection.
First was Material Girl, cut from the same cloth as and the follow up to Like A Virgin. Already, people underestimated Madonna. The track is a discussion on materialism and the pursuit of wealth. As such it is often interpreted as a critique of consumer culture. The deep meaning of the track is belied by its catchy pop melody. It remains one of Madonna’s most iconic songs.
No pun intended, but I was crazy for the next track. Crazy For You was part of the soundtrack to the film released in the US as Vision Quest. On the strength of this single it was released as Crazy For You in the UK and Australia. It’s a coming-of-age romantic drama starring Matthew Modine and Linda Fiorentino, which became a cult classic. It follows a high school wrestler who falls for an older aspiring artist.
The film features Madonna’s first major movie appearance, performing Crazy For You and another track that I didn’t buy, Gambler. Crazy For You is a ballad that showcases Madonna’s softer vocal style. Lyrically, it’s about the intense emotions and longing associated with falling in love.
With Into The Groove, Madonna scored her first UK number 1. It was another track to come from the soundtrack to the film Desperately Seeking Susan. Madonna’s first starring role, I think the film is underrated.
Anyway, back to the track. Into The Groove is a dance-pop anthem that became one of Madonna’s signature hits. The lyrics emphasize the joy of losing oneself in music and the freedom that comes with it. Energetic and infectious, listeners are encouraged cast aside their inhibitions and enjoy the moment. The song’s catchy beat and upbeat melody means that it is a timeless party favourite.
Angel was another track taken from the Like a Virgin album. It’s a straight up pop track with a light, upbeat melody. Singing it, Madonna expresses the feelings of being saved by a lover who is like an angel.
The fifth Madonna single that I bought was yet another Like A Virgin track, Dress You Up. It too has a catchy chorus and dance-pop sound with a playful and flirtatious vibe. Lyrically, it uses fashion and clothing metaphors to express love and affection, suggesting the idea of “dressing” someone in love and care.
Ultimately, it’s a typical 1980s dance track, celebrating the excitement and joy of romance, wrapped in a stylish and vibrant package.
That’s about it for Madonna. It is sufficient to say that these singles contributed significantly to her rise as a pop icon in the 1980s. Perhaps her versatility and ability to blend different musical styles were not as obvious as they would later become, but she certainly laid a great foundation in 1985.
Marillion, Moore And Lynott
Marillion were originally monikered Silmarillion after Tolkien’s book which was posthumously published work in 1977. They dropped the Sil-bit to avoid any issues with the great man’s estate.
The group was formed in Aylesbury, Buckinghamshire, in 1979. Emerging from the post-punk music scene in Britain, they existed as a link between the styles of punk rock and classic progressive rock. With the presumed attitude of true punk rockers towards any dilution of the creed with twiddly bits that was quite a feat.
This single, taken from their third studio album Misplaced Childhood was easily the band’s most successful one. It reached number 2 in the UK singles chart and was only thwarted from reaching number 1 by the charity single in support of the victims of the Bradford City fire.
The lyrical content of most of the album is sort of autobiographical on the part of Fish and this track is by way of an apology to all the girls whose hearts he had broken in pursuit of his career as a rock star. The melody was written by the rest of the band.
It is a wondrous piece of work, and properly evocative of the eighties. It showed great staying power by remaining in the top ten of the UK singles chart for 7 weeks.
Gary Moore, erstwhile member of Thin Lizzy and the band’s leader Phil Lynott got together for their out-and-out rocker Out in the Fields. This single was the last one featuring Lynott before his death on 4 January 1986.
It’s a powerful comment on the religious and political climate in Northern Ireland at the time. With Moore’s protestant upbringing in Belfast and Lynott’s upbringing in a strictly catholic household in Dublin, they probably felt that their influence was as good as anyone’s in pursuit of making some sense to the grim of the time. 1985 was almost as bad as it got in Northern Ireland.
It reached number 5 in the UK singles chart and number 3 in the Irish chart.
TV Cross Over And Heart Strings Tugging
Given his role as Oz Osborne in the smash hit comedy-drama Auf Wiedersehen, Pet, it probably came as quite a shock to see and hear Jimmy Nail’s other talents. This cover of Rose Royce’s 1978 number 2 hit Love Don’t Live Here Anymore was delivered with a raw emotional punch.
Now we come to perhaps my favourite song of the decade. I was a little too young to properly grasp the significance of The Undertones, Feargal Sharkey’s first incarnation.
However, what came next, was right in my orbit. After two middling hits with 1984’s Listen To Your Father and 1985’s Loving You, we were served A Good Heart. Written by Maria McKee this blend of expert songwriting and catchy melodies coupled with Sharkey’s emotive, passionate, and heartfelt rendition created an epic.
The song explores the challenges and emotional turmoil of finding genuine love. The lyrics convey a sense of longing and vulnerability, with the protagonist reflecting on past relationships and the difficulty of trusting again.
The upbeat tempo and catchy melody contrast with the sometimes-melancholic theme, creating a vibe that is hopeful tinged with sadness. The song captures the universal quest for a sincere and lasting connection, resonating with anyone who has experienced the complexities of love and heartbreak.
Simple Minds
Before 1985, Simple Minds had been prolific in their output and had built up a devoted following. Three singles, Promised You A Miracle, Glittering Prize and Waterfront had broken into the top 20, but nothing had grabbed the wider general public. Then came along the invitation to perform a song for the soundtrack of 1985’s film The Breakfast Club.
Initially reluctant to perform a track they hadn’t written themselves, not to mention enjoying success with their album Sparkle In The Rain, the band said no. After much persuasion and cajoling, including from Jim Kerr’s then wife, Chrissie Hynde, the band said yes.
Life was never quite the same again for Simple Minds after that. Don’t You (Forget About Me) was a monumental worldwide hit, breaking into the top ten in many countries including, for the first time, the UK.
There’s no escaping the fact, the track is an iconic 1980s anthem. With lyrics that express a plea not to be forgotten, it captures the essence of youthful uncertainty and the desire for lasting connection. With a driving beat and soaring melody, those lyrics create an uplifting yet introspective vibe, blending a sense of nostalgia with hope.
The chorus emphasises that desire for recognition and remembrance, striking a chord with listeners who have experienced the transient nature of relationships. Overall, it’s teenage angst and the quest for identity and belonging etched on a 7-inch plastic disc.
With the dam broken, the band’s own composition Alive And Kicking was released later in the year. Again, the top ten was breached. It was no surprise. With Alive And Kicking, Simple Minds had an energetic and uplifting song which celebrates resilience and the enduring power of love.
The lyrics convey a sense of optimism and determination, emphasizing the importance of staying strong and committed in relationships. With Kerr’s vocals and dynamic instrumentation – the band were a tight unit – the song creates a vibrant and invigorating vibe. The chorus, with its repeated affirmation of being “alive and kicking,” reinforces the twin themes of vitality and perseverance. Overall, it’s a message of hope and renewal. Listeners are encouraged to embrace life’s challenges with confidence and enthusiasm.
Sublime Story Tellers
With a loyal and devoted fanbase, Squeeze had been penning stories set to music for eight years between 1974 and 1982. By the time 1985 had arrived, they had emerged from a 3-year hiatus with a new album Cossi Fan Tutti Frutti.
The first track lifted from the album was Last Time Forever. It’s dark, brooding track. A tale of jealousy and rage we hear the story from the point of view of a man who has unintentionally caused the death of a loved one. However unintentional, the act is irreversible and the emotional turmoil which follows bears a heavy burden on the perpetrator.
Remember that so called clump of tracks that I referred to earlier? The ones by China Crisis, The Cure, Echo & The Bunnymen and Lloyd Cole and The Commotions? Well, here’s another one to add to the list. And an American one too, albeit that David Byrne was born in Dunfermline.
Told from Byrne’s perspective as a guy in love, it tells the story of a woman he’s in love with. She’s experiencing an out-of-body, euphoric journey. It’s not stated, but this is possibly through a psychedelic or dream-like state. She floats above the houses and trees, suggesting a sense of freedom and transcendence. It’s inspired by a real-life person known to Byrne who had had such experiences with acid.
The vibe of the song is cheery and playful. It’s characterised by its catchy melody and lively rhythm. It combines elements of pop and rock with a unique, quirky, surreal twist, typical of Talking Heads’. The music complements the lyrics by creating an atmosphere of lightness and wonder, inviting listeners to share in the woman’s joyful escape from reality.
Overall, And She Was captures a sense of liberation and the joy of seeing the world from a new, elevated perspective. Make no mistake, Talking Heads’ And She Was completely hooked this 15 year old.
There we go, the 1985 chapter of my record collection of songs. I keep coming back to this point, there are only two types of music. That is, music you like and music you don’t like. There are only a couple of these that do not get anywhere near my ears nowadays. But I obviously liked them enough at the time. I would love to find out what you were into in 1985 or if you weren’t around then, which songs make your ears prick up?
The Evolution of Music Styles in 1985
1985 was a great year for music. With a source of money to buy records, I had a great selection to choose from. You can say this about any year, but 1985 saw the blending of genres and the rise of new sounds that would go on to shape the future of music. Let’s break down some of the most influential styles that left their mark on this pivotal year.
I’m a little wary of categorising music. I refer you, yet again, to my adage re two types of music. However, the eighties was a transformative decade for music, characterised by the blending and evolution of various styles:
In the case of rock and pop the eighties saw rock music diversifying into sub-genres like punk rock, goth rock, and indie pop. Bands like The Cure and The Damned introduced darker, more introspective themes, while acts like Dire Straits and Billy Idol maintained traditional rock’s energetic and rebellious spirit. In 1985, Simple Minds were almost in a cocoon as passionate, nay reluctant, pop contenders on their journey from art-rock and electro futurism into stadium filling giants.
Synth-pop and new wave was perhaps the sound of the eighties. Bizarrely, in my collection, there are no tracks by Depeche Mode or Soft Cell, the kings of eighties synth-pop. Paul Hardcastle was completely synth-based and, as we saw, was innovative in his use of samples.
Bands like Eurythmics and China Crisis used electronic instruments to create catchy, futuristic sounds. Although, in 1985 the Eurythmics were moving away from synth-pop. New wave, represented by The Cure, Talking Heads, Echo & The Bunnymen, combined punk’s edge with pop’s accessibility. This led to innovative and eclectic music.
Artists like Phil Collins and Whitney Houston brought emotional depth to pop music with their powerful ballads, showcasing the era’s emphasis on vocal prowess and storytelling. The pair came to their ballads from vastly differing starting points. Collins was the drummer and then lead singer for Genesis, prog rock icons of the seventies. Houston came from a soul dynasty.
1985’s Musical Legacy
The legacy of 1985’s music runs deep, influencing countless artists and shaping the soundscape of modern music. Many of today’s popular tracks draw inspiration from the styles and trends that emerged during this vibrant year.
In the case of The Cure and The Damned, their exploration of goth and new wave has influenced modern indie and alternative bands. The Killers and Interpol, for example, incorporate similar themes of inwardly focussed, sometimes melancholic lyrics. And I’ve jumped straight into the twenty-first century without a second glance to the shoe gazers of the early nineties.
Madonna, for instance, set the stage for today’s pop stars with her bold fashion choices and genre-defying music. Artists like Lady Gaga, Beyoncé and Taylor Swift continue to push creative boundaries, echoing Madonna’s fearless approach to artistry and performance.
Phil Collins’ emotive storytelling has inspired contemporary singer-songwriters to infuse their lyrics with personal experiences. Ed Sheeran, Sam Smith and Adele, for example, carry on this tradition, crafting heartfelt songs that resonate deeply with listeners.
Synth-pop made a significant comeback in recent years. Bands like Depeche Mode, Soft Cell and Eurythmics serve as a blueprint for current acts such as Lady Gaga, The Weeknd, The 1975 and CHVRCHES. Electronic elements mixed with authentic emotion create a nostalgic sound. And it’s a sound that’s captivating a new generation.
Talking Heads’ art rock and quirky style are an inspiration for bands like The Killers, Arcade Fire and Vampire Weekend. All three continue to push the boundaries of pop and rock music in the vein of Talking Heads.
The impact of rock bands like Dire Straits and Simple Minds can be seen in the work of modern rock artists like The Killers and Imagine Dragons. These bands draw on the anthemic quality and powerful instrumentation that defined 1985’s rock scene.
Electronic dance music started to gain momentum in 1985. Hits like Harold Faltermeyer’s Axel F have exploded in popularity. Producers like Calvin Harris and David Guetta owe a lot to the pioneering electronic sounds of the mid-80s. This begs a question. What would Faltermeyer or Vince Clarke give to have had access to the tech available nowadays?
Talking Heads’ art rock and quirky style are an inspiration for bands like The Killers, Arcade Fire and Vampire Weekend. All three continue to push the boundaries of pop and rock music in the vein of Talking Heads.
I hope you have enjoyed this exploration of 1985’s musical legacy, and the eighties in general. See how these foundational tracks and artists set the stage for today’s music trends. No doubt, the decade had a rich and varied musical landscape. Artists experimented across genres and pushing the boundaries of what music could express.
The era’s innovation laid the groundwork for many of today’s musical trends. We have the resurgence of synth-pop. Then there’s the enduring appeal of self-exploratory and emotive songwriting. The acts whose records I bought, or taped from the radio, not only defined the sound of their time but also paved the way for future generations. No doubt, they left an indelible mark on the evolution of music.