1986 was another great year for music. That’s just the way it was with 1986 British music. In keeping with the earlier years of the decade, it was a transformative period in the world of popular music which was marked by a diverse array of sounds and styles that captured the spirit of the era.
Artists across genres continued to push creative boundaries. Yet again, they blended pop, rock, new wave, and emerging electronic influences. In so doing they crafted memorable hits that resonated with audiences worldwide. As in previous years, 1986 yielded many iconic tracks that have had a lasting impact on popular culture.
From the infectious energy of dance anthems to the depth of ballads, via some great rock tracks and reimagined classics, there was something for everyone. The music of 1986 reflected the dynamic and eclectic nature of the decade. It offered a soundtrack that was as varied as it was unforgettable.
As we delve into the musical landscape of this pivotal year, we explore the artists and songs that defined the year. They are tracks that captured the essence of a time when music reflected wider society and, sometimes, a catalyst for change. Whether you were spinning Madonna or tearing it up to The Bangles, those singles gave your collection kudos.
The 5 Best-Selling Singles of 1986 in the UK
1986 gave us some top tunes. It also gave us some not-so-top tunes. The top 5 best-selling singles give us a great flavour of this. Like them or not, you could not get away from them.
We heard them on the radio. We taped them off the radio. They were played at every party, and cricket club disco. And, judging by the sales they achieved, they made their way into record collections across the UK.
The top seller was Don’t Leave Me This Way by The Communards with Sarah Jane Morris. This is a high-energy cover of Harold Melvin & The Blue Notes disco classic. With Teddy Prendergast on vocals, the original had made number 5 in the UK singles chart.
Hot on the heels of the original was Thelma Houston’s Motown version which reached number 13. Together they appeared in the UK singles chart in February and March 1977.
The song tells the story of a desperate plea to a lover not to end the relationship, capturing the emotional turmoil and longing for connection. The Communards’ version is infused with a vibrant, upbeat tempo and powerful vocals, creating an infectious dance track. Jimmy Somerville’s falsetto voice is unmistakable, and it dovetails with Morris’s contralto voice. It’s an anthem for many.
It has a vibe is one of urgency and passion. Its driving beat compels listeners to hit the dance floor. The combination of synth-pop elements and soulful delivery gives the song a timeless appeal, making it a staple there. The track’s exuberance and emotional intensity resonate with anyone who has experienced the fear of losing someone they love.
Nick Berry’s Every Loser Wins
I must admit it, but I hated this with every fibre of my being. I don’t know if it was Berry’s character in EastEnders, where it featured on numerous occasions. It may have been the more than a little cheesy smell that pervades it.
Anyway, other people loved it. And that was the thing, you see. Other people were going out to record shops and spending their hard-earned cash on it. The track, so I am led to believe, is a heartfelt ballad. It was somewhat of a surprise hit, but nevertheless a hit it was.
The narrative revolves around themes of hope and redemption, emphasising that even those who face setbacks can ultimately find success and happiness. It says here (checks notes) that Berry’s gentle and sincere vocal delivery adds a layer of authenticity to the song’s message. The vibe is reflective and uplifting, with a soft melody that underscores the emotional lyrics.
The track’s simplicity and earnestness make it relatable, offering comfort to listeners who may be going through difficult times. Its optimistic outlook and soothing sound have made it a memorable anthem for perseverance – no, that was Peter Gabriel and Kate Bush’s Don’t Give Up.
Boris Gardiner’s I Want To Wake Up With You
The third best-selling single of 1986 is a romantic reggae ballad that expresses a deep longing for intimacy and companionship. The song’s lyrics convey a desire to share everyday moments with a loved one, highlighting the comfort and joy found in a close relationship. Gardiner’s smooth and warm vocal performance enhances the song’s tender sentiment.
The vibe is relaxed and soothing, with a gentle reggae rhythm that creates a laid-back atmosphere. Its romantic theme and mellow sound make it perfect for slow dancing or quiet reflection. There is a timeless appeal that lies in its universal message of love and togetherness. Certainly, it was a slower burn compared to some of the flashier hits, but it had staying power.
Cliff Richard and The Young Ones (feat. Hank Marvin) with Living Doll
Fourth in the list was my personal favourite. Released for Comic Relief, Living Doll by Cliff Richard and The Young Ones is a comedic and playful rendition of the classic hit. Fair play to Cliff, because the Young Ones butchered it.
Of course, the original was a rock n roll song. This updated version features humorous interjections and antics from Messrs Mayall, Edmonson, Planer and Ryan. The story revolves around a man’s affection for his “living doll,” blending elements of romance with tongue-in-cheek humour.
The vibe is light-hearted and fun, with a catchy melody and lively performance. The collaboration between Cliff and the comedic group adds a unique twist, making it a novelty hit. The song entertained and amused in equal measure.
I bought this on 7-inch on 22 March. The collaboration was a commercial success, reaching number 1 on the UK singles chart. It spent 3 weeks there, after entering that chart at number 4. It is an important part of 1980s pop culture.
I wonder how many purchasers were Cliff purists…
Diana Ross’s Chain Reaction
This, the fifth top-selling UK single of 1986 is an upbeat pop track with a Motown feel. Even though Ross had left Motown five years earlier, that feeling was in her bones. The track was written and produced by the Bee Gees so obviously, it’s got their stamp too.
The song’s narrative describes the overwhelming feeling of falling in love, likening it to a chain reaction that takes over one’s emotions. Ross’s powerful and dynamic vocal delivery captures the excitement and intensity of newfound love. And there’s the key change too.
The vibe is energetic and infectious, with a driving beat and catchy chorus that invite listeners to sing along. The track blends of pop and soul elements. It has a timeless sound which means the track remains popular on dance floors. This is helped by its exuberance. The song’s energy and romantic theme make it a feel-good anthem for anyone experiencing the thrill of love.
These songs are more than chart-toppers; they’re snapshots of a vibrant musical year. Whether you loved to dance, laugh, or just vibe, 1986 had something for everyone.
My 1986 Purchases
You don’t have to take my word for it. But 1986 had so many brilliant tracks so that just being in the record shop and picking something, anything from the rack would have resulted in a great choice. Well, apart from Nick Berry.
So, here we go. These are my vinyl selections from 1986. They’re mostly on 7-inch, with a sizeable minority of 12-inch singles too.
Manic Monday by The Bangles
The Bangles’ debut UK single was written by Prince under the pseudonym “Christopher.” The lyrics are self-explanatory, telling the story of a woman who is reluctantly starting her workweek.
They capture that universal feeling of wishing for more weekend time. She’s snoozing on Monday morning, debating whether to get up. Trouble is if she’s late she won’t get paid. But Sunday was so wonderful, and now it’s Monday.
The song’s vibe is upbeat and catchy, with jangly guitars and harmonious vocals that reflect the 1980s pop-rock sound. Its relatable theme and infectious melody make it a timeless anthem for anyone who has ever dreaded the start of the workweek. So, most people ? This was reflected in its reaching number 2 in the UK singles chart.
Walk Like An Egyptian by The Bangles
As Summer pushed on into Autumn, we had another smash from The Bangles. Their fourth UK single was a return to form. Singles 2 and 3 – If She Knew What She Wants and Going Down To Liverpool – had not quite cut it with the British record-buying public. The track is known for its quirky and playful vibe, characterized by its distinctive beat and catchy chorus.
Walk Like An Egyptian describes people from various walks of life adopting the titular pose, inspired by ancient Egyptian art. The song’s story is more about capturing a fun, carefree attitude rather than conveying a deep narrative. Its upbeat tempo, combined with a mix of rock and new wave influences, creates an energetic and danceable track.
Look Away by Big Country
Stuart Adamson (1958-2001) had first come to the prominence in the late seventies with his band The Skids. Adamson wrote the music to accompany frontman Richard Jobson’s lyrics. The Skids’ biggest hit was 1979’s number ten effort, Into The Valley.
After leaving The Skids in 1981, Adamson formed Big Country with Bruce Watson. Bass guitarist Tony Butler and drummer Mark Brzezicki provided the rhythm and completed the quartet. Their first single was 1983’s Fields Of Fire which made it to number 10 in the UK singles chart.
Subsequent singles built on this success, with four top twenty hits including two which made it into the top ten. Look Away is the band’s best-performing single. It reached number 7 in the chart in the Spring.
The lyrics tell the story of a fugitive on the run, reflecting themes of escape and longing. The song’s vibe is powerful and dramatic, with driving guitar riffs and a strong rhythm section that creates a sense of urgency and movement. Even without the band’s trademark bagpipe-sounding guitar, the track has an epic, cinematic feel.
If I Ruled The World by Kurtis Blow
Although my collection errs on the eclectic side, this is a proper outlier. I bought this from the bargain bin at Woolworths on 19 April 1986. I had been to watch Shrewsbury Town play out a (most likely) dismal 1-1 at home to Wimbledon.
If I Ruled The World is a track by hip-hop pioneer Kurtis Blow, a pioneering American rapper and producer. He is known for being one of the first commercially successful hip-hop artists. In 1979, his first single Christmas Rappin was a hugely successful debut and paved the way for The Breaks which sold over 800,000 copies worldwide. He has been influential in shaping the genre’s development and mainstream acceptance.
In this track, he imagines a world where the artist has the power to make positive changes. His lyrics express a vision of peace, equality, and prosperity, reflecting the social consciousness of early hip-hop.
The song has an optimistic and empowering feel to it. Of course, there is the classic 1980s rap sound characterized by rhythmic beats and catchy hooks. If I Ruled The World stands out as an anthem of hope and ambition, demonstrating Kurtis Blow’s influence.
Experiment IV by Kate Bush
This is not one of Kate Bush’s standout tracks, only reaching number 23 in the UK singles chart. Experiment IV is, nevertheless, a haunting and imaginative track. Known for her unique storylines, the song’s narrative revolves around a secret military experiment to create a sound that can kill. The lyrics are dark and mysterious, exploring themes of science and morality.
Musically, the track features Bush’s signature ethereal blend of art rock and avant-garde pop. Atmospheric synths and her dramatic vocals create a sense of tension and intrigue. The song’s eerie vibe and thought-provoking story make it a standout piece in Bush’s discography. Its video features, amongst others, Dawn French and Hugh Lawrie.
Cameo – Word Up
Cameo’s Word Up is the 1980s funk anthem. The track exudes confidence and swagger. It is characterized by its catchy hook, infectious beat, and the distinctive vocal style of lead singer Larry Blackmon. Oh, and his red codpiece and coiffed flattop.
The song’s story revolves around a universal call to action, urging listeners to express themselves and embrace their individuality. With its bold, brassy sound and energetic vibe, Word Up became a dance floor staple and remains a timeless classic that continues to inspire and energise audiences.
It certainly got me going. I bought it on 16 October 1986 on a lunchtime foray into town from the citadel of Shrewsbury Sixth Form College. It had been as high as number 3 but was not slowly dropping down the chart.
Curiosity Killed The Cat – Down To Earth
Curiosity Killed The Cat’s Down To Earth is a smooth, soulful track that captures the essence of late 1980s pop with a touch of jazz and funk. In the context of my wider record collection, it is closely related to anything I bought by Level 42.
The song is a story of staying grounded and true to oneself amidst life’s challenges and temptations. Lead singer Ben Volpeliere-Pierrot’s distinctive vocals create a relaxed yet engaging vibe. Calling it laid back doesn’t do it justice on that score.
Down To Earth is a reflection on authenticity and humility, wrapped in a catchy melody that invites listeners to reflect and groove along. Reaching number 3 in the chart, it was the most successful of the singles released by the original four-piece group.
Erasure – Sometimes
As far as I was aware, this was Erasure’s debut. In fact, Who Needs Love Like That? holds the honour. But it passed me by when it was released in October 1985. I’m sure many others missed it too, as it only reached number 55.
I bought the 12-inch version a couple of days into 1987. Sometimes was released in October 1986 and achieved its highest chart position of number 2 in the middle of December 1986.
It’s a vibrant synth-pop track that encapsulates the emotional highs and lows of romantic relationships. The lyrics explore the complexities of love, acknowledging that while relationships can be challenging, they are also rewarding.
Sometimes features Andy Bell’s powerful vocals with Vince Clarke’s signature electronic sound. An upbeat tempo and catchy chorus help the song convey a sense of optimism and resilience. Instantly lovable, it’s a danceable anthem for anyone navigating the ups and downs of love.
Three 7-inch Offerings From Eurythmics
It’s Alright (Baby’s Coming Back)
It’s Alright (Baby’s Coming Back) is a comforting and reassuring track that highlights the anticipation and relief of a loved one’s return. Released in late, late1985, I bought it on the day of days – Saturday 11 January. This was the day I went to watch Back To The Future at the cinema.
But let’s get back to the song. With Annie Lennox’s soulful vocals and Dave Stewart’s melodic instrumentation, the narrative is centred on the joy and security that comes with the reunion of lovers.
Consequently, it has a warm and hopeful atmosphere. Its gentle rhythm and heartfelt lyrics give the track a soothing vibe. It’s perfect for anyone who has experienced the longing and joy of being reunited with someone special.
The Miracle Of Love
The Miracle Of Love is a poignant ballad. It explores the transformative power of love. It’s another track that highlights the perfection of the combination of Annie Lennox and Dave Stewart.
The lyrics convey a message of hope and healing, suggesting that love can overcome adversity and bring about profound change. There is a serene and uplifting vibe that marks it as a timeless anthem for those seeking solace and inspiration in the enduring strength of love.
Thorn In My Side
Thorn In My Side stands in contrast to both my other Eurythmics purchases. A cry of resilience, it is a spirited pop-rock track which addresses Annie’s sense of betrayal at her recently divorced husband’s behaviour. The song features a catchy melody and Annie’s powerful vocals, which convey a sense of defiance and strength.
The narrative revolves around overcoming the pain caused by a deceitful partner, with the protagonist emerging stronger and more determined. The upbeat tempo, set in part by Clem Burke’s drumming, and assertive lyrics create an empowering vibe. It’s an anthem for anyone who has faced and overcome personal challenges.
The song is no grower. It’s more like it smashes you over the head and demands you listen. In my case, I was standing in John Menzies’ record department on the afternoon of 29 August, and it came on over the speakers. I bought it on the spot.
Rock Me Amadeus by Falco
In the UK at least, Johann “Hans” Holzel, or Falco, was a short-lived pop sensation. His first single, released in the UK in March 1986 soon entered the top ten, spending 8 weeks there from 4 April. For sales in the week 4 – 10 May it was the UK’s number 1 single. Thus, it became the first UK number 1 hit for an Austrian.
As the name suggests, Rock Me Amadeus is a tribute to the legendary composer Wolfgang Amadeus Mozart, Falco’s fellow Austrian. The track blends pop and rock with classical influences. Falco’s unique style is characterized by his rapid-fire (mostly) German lyrics and catchy hooks
The track’s success was bolstered by its innovative music video, which juxtaposed 18th-century imagery with modern pop culture. Rock Me Amadeus is celebrated for its bold fusion of genres and its role in bringing international attention to Falco.
Both Rock Me Amadeus and the man himself have had a great impact on popular music. There is no escaping that pop music is heavily Anglo-centric. This is most evident in the language used and the countries of origin of much popular music. Although not in direct response to this, Falco contributed greatly towards European acts finding their feet.
Ultimately, Falco blended diverse musical styles and extended musical boundaries. His influence is wider than just empowering Europop acts. For example, the video for Rock Me Amadeus gives me Lady Gaga vibes.
Vienna Calling by Falco
This was released hot on the heels of Rock Me Amadeus. I bought it on 6 June, just after it had broken into the UK singles chart. It reached number ten in the chart.
Featured on his third album, Falco 3, Vienna Calling further cemented Falco’s status as an international pop sensation. Capturing the city’s vibrant culture and cosmopolitan allure, it’s an energetic tribute to his hometown. Imbued with a lively spirit and Falco’s charismatic delivery, it’s a memorable anthem celebrating the essence of Vienna and her global cultural influence.
The track has a catchy chorus and a dynamic blend of pop and rock elements. It gives free rein to Falco’s distinctive, charismatic style and flair for storytelling. It makes you want to get up and dance along to its upbeat tempo and infectious melody. Much credit is due to the renowned Dutch production duo Bolland & Bolland, who both wrote with Falco and produced the track.
It seemed that Falco was ready to go on and achieve global megastardom. However, this did not happen. In the UK only two other tracks, Jeanny and The Sound Of Musik, entered the chart. Neither of them was able to break into the top 60. In the US, nothing else charted in the Hot 100 after Vienna Calling.
Suspicious Minds by Fine Young Cannibals
This fresh take on Elvis Presley’s classic hit made number 8 in the first week of February. They infused Mark James’s song with their distinctive blend of pop, rock, and soul, characterised by Roland Gift’s unique vocal delivery. Their version maintained the emotional intensity of the original while adding a contemporary edge that resonated with 1980s audiences. Backing vocals from Jimmy Summerville help greatly in this endeavour.
The cover was generally well-received, although it failed to chart in the US. Whatever. Fine Young Cannibals had a knack of reinterpreting classic tracks with a modern twist. It contributed to the band’s growing popularity. This set the stage for their subsequent success with hits like She Drives Me Crazy and Good Thing.
For me, the band’s rendition of Suspicious Minds pays respectful homage to Elvis while demonstrating the band’s innovative approach to music, helping to bridge the gap between classic rock n roll and modern pop.
Rain Or Shine by Five Star
Is this the definition of a guilty pleasure? It certainly highlights the eclectic nature of my collection. And I bought it on 12-inch.
Five Star were slow growers on the British record-buying public. In the summer of 1985, their first charting single, debut, All Fall Down, reached number 15 in the UK singles chart. This was followed by 3 more minor hits. All were taken from their debut album, Luxury Of Life.
Then, in February 1986, the final single from that album, System Addict, made landfall in the top ten as it reached number 3. After the briefest of brief hiatuses, they started promoting the follow-up to Luxury Of Life, called Silk & Steel. The first releases from this album, Can’t Wait Another Minute and Find The Time both reached number 7.
Then, Rain Or Shine was released in September. I bought my copy on 2 October in the week in which it reached its highest chart position of number 2. It was prevented from making number 1, first by The Communards with Don’t Leave Me This Way and a week later, Madonna’s True Blue was just too strong.
The track has an upbeat tempo and catchy melody. Please excuse the pun, but the group’s polished vocal harmonies and dance-pop sensibilities shine through. Optimistic lyrics and infectious rhythm made it a favourite and a staple of 1980s pop playlists. This feel-good vibe and the group’s charismatic performance, make it a memorable hit from the era.
Their ability to blend R&B, pop, and dance music elements is evident in this single. Unsurprisingly, they had a reputation as the “British Jacksons.” There is no doubt that this pleased their father and manager Buster Pearson. Pearson was no stranger to the pop scene, having played guitar for soul and reggae artists such as Otis Redding, Wilson Picket, Jimmy Cliff, and Desmond Dekker on UK tours.
Peter Gabriel’s Sledgehammer
Peter Gabriel’s back catalogue is as fine a body of work as any. Sledgehammer, released in April 1986, is one of his most iconic songs. And if the music did not stand out enough on its own, the accompanying video is truly a video amongst videos.
The song features a blend of rock, funk, and soul, with Gabriel’s powerful vocals and a prominent horn section. Inspired by the soul sound of Stax and Atlantic Records, there is no let-up from start to finish. It has an infectious groove, from which there is no escape.
Its innovative video, directed by Stephen R. Johnson, utilised stop-motion animation from the Brothers Quay and Claymation from Aardman. Sledgehammer earned numerous awards, including nine at the 1987 MTV Video Music Awards. The video’s creativity and visual effects set a new standard for music videos, influencing the medium for years to come.
Worldwide, this was Gabriel’s biggest hit. It reached number 1 on the Billboard Hot 100 – incidentally knocking his former band, Genesis from the top position. In the UK, it reached number 4, tying with Games Without Frontiers in respect of chart performance. Sledgehammer remains a testament to Gabriel’s artistic vision and status as groundbreaker extraordinaire.
This Is The World Calling by Bob Geldof
This is a slightly odd one. By now, Geldof had, superficially at least, moved away from being a musician. It is often overlooked that he had been a charismatic frontman before his higher calling. Late-seventies tracks like Rat Trap and I Don’t Like Mondays had quite the impact on the pre-teen version of me.
I think that part of me wanted to have a slice of that vibe, that energy, when I bought this. I must admit that I had to listen to it just now. It’s alright. It is a little bit plodding, with Bob’s rather earnest warbling and despite the efforts of Annie Lennox, Alison Moyet and Maria McKee.
Taken from Bob Geldof’s debut solo album, Deep in the Heart of Nowhere, the song reflects Geldof’s humanitarian efforts and his commitment to raising awareness about global issues. It’s not as commercially successful as some of Geldof’s other projects, This Is The World Calling. However, it is significant for its earnest appeal and its connection to Geldof’s activism. The Boomtown Rats, though, it is not.
Gregory Abbott – Shake You Down
Gregory Abbott is a former Berkely professor of English. Yes, professor of English. At Berkley. More than that, he had been married to Freda Payne, she of Band Of Gold fame. Yes really. Enough context. Shake You Down is known for its smooth, soulful production and Abbott’s silky vocal delivery.
The song’s lyrics and catchy melody made it a favourite as it explored themes of longing and romance. Its easy-going rhythm and soothing sound made it a staple on radio playlists, appealing to a wide audience. This wide audience made an emotional connection – me included. That said, I didn’t get around to buying it until 6 February 1987. It reached its highest position of number 6 in the chart in December 1986.
As far as the UK singles chart was concerned, Gregory Abbott had only one other release, I Got The Feeling (It’s Over). Its arc was less than stellar, rising to a peak position of number 76 before sinking without trace.
Bruce Hornsby and the Range – The Way It Is
Both the sixteen-year-old me and the considerably older me love(d) this track. I bought the 12-inch version on 5 September 1986. This was a Friday – and in fact, was the last day of my first week at sixth form college. I had double A level maths on Fridays in that first year, so it would have been a lunchtime purchase.
There is no way I would have walked past the bus stop, even to the Aladdin’s caves that were Shrewsbury’s record shops on a Friday afternoon. God, we finished later than every single other student in the God-forsaken place anyway.
Anyway, enough teen angst, there was enough angst in the track. Albeit melodic angst with that killer piano riff. It is a political document. A rant against 1980s America. Hornsby, the progressive Democrat, was less than happy about the situation in the US with Reagan as President.
Analysis of the three verses reveals that the first refers to people standing in line for their welfare checks (cheques). A man, wearing a silk suit, walks past and insinuates that they are not trying hard enough to find work. The second verse goes on to refer to race – always a topic of conversation in US internal politics.
Finally, the third verse delivers the punch line – reiterating that yes there was a change in 1964 with the passing of the Civil Rights Act, but more is required to see true equality, both in terms of colour and in terms of the redistribution of wealth.
The Way It Is is a twin to The Valentine Brothers’ Money’s Too Tight To Mention. This was covered to great effect by Simply Red. Without referring to the race issue, Money’s Too Tight To Mention is perhaps a less subtle attack on the Monetarist policies followed by Reagan in the US and of course Thatcher here in the UK.
As for chart performance, it made number one in the US, Canada and the Netherlands. In the UK it made the rather less impressive number 15.
The Housemartins – Happy Hour
Oh, my. I loved this. It’s one of those songs that from the very first time you hear it; you know it’s going to be a classic. It’s 2 minutes 20 of pop perfection. It’s an upbeat number, with lively energy and a humorous take on social situations.
As with a lot of Paul Heaton’s lyrics, it sails close to the wind in terms of the potential accusations of misogyny which could be levelled at it. But that’s the point, isn’t it? Like Alf Garnet, make ‘em think you agree with them when in fact you’re taking aim…
Happy Hour was the third of The Housemartins’ nine singles before they went their separate ways. Taken from their debut album, London 0 Hull 4, it was released in June 1986 with The Mighty ‘Ship as its b-side.
I bought it on 4 July. It soon reached its peak position of number 3 and then stuck around the top ten for a month before finally exiting the chart after a 13-week run.
It Bites with Calling All The Heroes
Hailing from Egremont in Cumbria, It Bites should have been a huge success. That they didn’t and that Spooky Tooth are the most successful band from Cumbria is a travesty*.
Calling All The Heroes has an anthemic quality, with a powerful chorus that you can’t help singing along with. Overall, the lyrics tell a story of thieves and bandits who steal from an encampment of women while their menfolk are away. Then upon their return, the stolen good are repatriated. It’s an uplifting message with a dynamic arrangement. I wonder it there isn’t a slight nod to Iron Maiden’s Run To The Hills, both have ideas about bullies taking what isn’t theirs.
Incorporating elements of progressive rock into their music, It Bites wrote material with musical complexity which appealed to listeners who appreciate intricate compositions. I just loved the sound it made, so I bought it; on 30 July to be precise.
*It’s not. It’s just that It Bites really should have been bigger. Cumbria could have fitted both. There’s room enough.
Oran ‘Juice’ Jones – Curiosity/The Rain
Like Calling All The Heroes, The Rain, is particularly noted for its narrative style, with a spoken-word section that tells a story of love and betrayal. This unique approach captured listeners’ attention and set the song apart from typical R&B tracks.
Jones’s dramatic and emotional delivery combined well with its relatable themes of heartbreak and confrontation. This struck a chord with listeners who connected with its raw and honest portrayal of relationships. Or it could be that it’s a little misogynistic, what with his cancelling her credit cards and kicking her out of the apartment. “Yanno, I own you, girl.”
I’m not sure of my motivation for buying this. It sits with stuff like Kurtis Blow’s If I Ruled The World and Gregory Abbott’s Shake You Down, or even Level 42 or Curiosity. I didn’t know it when I bought this but roll forward a couple of years to starting university, and I would have made no mention that I owned stuff like this. I’d want my new university mates to think I was more into The Housemartins, The Jesus and Mary Chain or The Cure and so forth.
But buy it I did, probably in December 1986. It was a top ten hit in the UK singles chart, peaking at number 4 and spending a total of 5 weeks in the top ten around the change of year 1986-87.
Kim Wilde – You Keep Me Hangin’ On
Oh my God, I loved Kim Wilde. She was, and you need to go with me on this, almost like an eighties version of Cliff Richard. The primary aspect of her person in this regard is that she’s British. If Cliff was our version of Elvis (yeah, right) then she would have been our version of Debbie Harry or Madonna* or other similar American blonde bombshell singer of the late seventies/early eighties.
My copy of You Keep Me Hangin’ On is the 12-inch one. It is a cover of the Motown classic originally performed by The Supremes in 1966. Kim’s version brought a fresh pop-rock interpretation to the Motown hit.
We loved it, sending it to number 2 – only Berlin’s Take My Breath Away preventing it from reaching number 1. They loved it over the pond too, where it reached number 1 on the Billboard Hot 100.
*Yes, I know Kim was around well before Madonna hit the scene, but you catch my drift.
Level 42 – Lessons In Love
I bought this on 7-inch on Saturday 3 May just as it broke into the top ten. On the same day, I watched Shrewsbury Town as they defeated Middlesbrough in their final second-division fixture of the season.
Once I had arrived at sixth form college, this track would have been on the battle line between rock and funk. One of my new acquaintances adored Level 42 and anything remotely in the same ballpark. A lad who I’d been at secondary school with was a massive U2 fan and he hated Level 42 with a passion. As you can see from my collection, I was a little less dogmatic*. If I liked it, and I had the cash, I bought it.
The band considered the song as a bit of a stopgap. Their label Polydor had wanted something to keep the band in the public consciousness following the success of 1985’s World Machine album and its two singles Something About You and Leaving Me Now.
Consequently, Lessons In Love was released a year ahead of its parent album, Running In The Family. It’s probably quite unusual in that the album was built around the single, rather than the single being chosen to support sales of the album.
Musically, there is the influence of Vera Lynn’s wartime morale booster, We’ll Meet Again. Mark King is quoted as saying that the verse melody is based on that of the wartime classic. There is much of King’s trademark bass slapping. The song oozes class: these are proper musicians at work.
It exemplifies the band’s jazz-funk style and commitment to punchy, insightful lyrics. Its themes of love and relationships, combined with a polished sound, made it a standout track in their discography.
It’s Level 42’s most successful single, peaking at number 3 in the UK singles chart. It was a great success around the world, reaching number one in number 1 in a handful of countries. Although not the group’s first worldwide release, the track was their first to find international success.
*Though I had my moments of dismissing stuff that others liked. And I could be a bit of a tit about it.
Huey Lewis & The News
Starting with The Power Of Love, I bought a total of three 7-inch singles from Huey Lewis & The News. Of course, The Power Of Love was associated closely with the film Back To The Future. It was initially released in the Summer of 1985 back with Bad Is Bad, tying it in with the film’s US release of 3 July.
The single reached number 1 on the Billboard Hot 100 in August and although it did reasonably well in the UK, it did not at this time, break into the top 10. Number 11 was its highest position.
Back To The Future was not released until 5 December 1985 in the UK. This gave the track a minor boost. However, it was only when it was re-released with 1982’s Do You Believe In Love as a double a-side that it broke into the top ten. I saw the film on 11 January 1986, and I bought the double a-side version of the single on 22 February 1986.
Stuck With You
This made number 12 in the UK singles chart. I liked it for its light-hearted theme and infectious melody. I bought it on 29 August 1986 towards the end of my long summer holiday. It had entered the chart on 23 August and was a slow burner, never quite igniting.
It is a pleasant enough journey through four minutes and 20s of radio time. It doesn’t exactly challenge the listener. But it does merit its place in my collection because it serves as a reminder of those lazy summer days of 1986 when all was well with the world.
Hip To Be Square
This song is recognized for its upbeat tempo and satirical lyrics about conforming to societal norms. It could be said that it means that it’s hip to be not hip. It’s pop fluff, but that doesn’t make it any less thought-provoking.
It was a big hit in the US but didn’t quite set the UK singles chart alight. It was a top ten hit on the Billboard Hot 100. It reached only number 41 in the UK singles chart. I bought it on 17 December 1986.
Hip To Be Square is featured in the novel American Psycho. At one point, the main character Patrick Bateman gives a lengthy critique of the band’s career. In the film adaptation, Bateman, played by Christian Bale, gives a shortened version of this critique to a work colleague Paul Allen (Jared Lato). He then kills him with an axe. So that’s nice.
Madonna – Live To Tell
After buying 5 Madonna singles in 1985, Live To Tell was my only purchase of hers in 1986. It represents a departure from her earlier dance-pop hits. Was this the first time she reinvented herself?
The ballad was praised for its mature themes and emotional depth. We were seeing the blossoming of Madonna as a performer and songwriter. Its haunting melody and introspective lyrics resonated with audiences, adding a new dimension to her musical repertoire.
It reached number 2 in the UK singles chart, prevented from reaching number 1 by the monster hit Rock Me Amadeus by Falco.
Mel & Kim – Showing Out (Get Fresh At The Weekend)
Guilty pleasure alert. Showing Out was the debut hit for the British pop duo Mel & Kim. Overseen by those cheeky scamps, Stock, Aitken and Waterman, the song introduced us to the duo’s energetic dance-pop style – this one is based loosely around the vibe of the Chicago House sound. The catchy hooks and vibrant production bear the hallmarks of SAW.
It first charted at the end of September and bought it on 12-inch on 19 November. It was a success, reaching number 3 in the UK singles chart. This led to the establishment of Mel & Kim as notable figures in the pop music scene and paved the way for future hits.
Robert Palmer
Let’s face it, Robert Palmer was the epitome of cool. Apart from Bowie or Prince, I don’t think there was a rock star quite as cool in the 80s.
I bought two singles by Robert Palmer. According to the release date, the first was Riptide from the album of the same name. It’s a smooth, jazz-inflected ballad. The album, produced by Bernard Edwards of Chic, features a range of rock, pop, and soul influences.
Riptide was originally written by Gus Kahn and Walter Donaldson, one of the most prolific composer and lyricist duos from New York’s Tin Pan Alley. Wrapped in a lush arrangement that highlights Palmer’s emotive vocal style The song describes the singer’s angst at having to make a choice between two loves. The old love is steady and devoted. The new love offers something altogether more exciting. That said, does the singer fear that the grass might not be greener on the other side?
After the hit singles that Palmer had with the Power Station, this was the second single from his 1985 album of the same name. The first, Discipline of Love, released in late 1985, bombed, reaching only number 95 in the UK singles chart.
This one didn’t really fare much better, making only number 85 in the chart in the middle of January 1986. The album itself was a commercial success, solidifying Palmer’s status as a major figure in the 1980s music scene.
Riptide is a testament to Palmer’s ability to blend different musical styles into a cohesive and engaging listening experience. My copy is a gatefold double issue with Palmer’s 1980 single Johnny and Mary. It’s just possible that I bought this for that track.
Later releases from the album were the smash that was Addicted to Love, followed by Hyperactive and I Didn’t Mean to Turn You On.
I Didn’t Mean To Turn You On
Written by later Janet Jackson collaborators Jimmy Jam and Terry Lewis, this was originally a minor US hit for Cherrelle in 1984.
Released in 1986, this was the fifth single from Palmer’s album Riptide. It features his signature blend of rock, pop, and blue-eyed soul. Lyrically, it’s a song about themes of unintended attraction and the complexities of romantic misunderstandings.
It’s notable for its slick production and Palmer’s charismatic vocal delivery, which helped it become a hit on both sides of the Atlantic – number 2 on the Billboard Hot 100 and number 9 in the UK singles chart.
And of course, there is the stylish music video that featured Palmer’s iconic, cool persona. Also featured, and getting this 16-year-old in quite a lather, were those dancing and guitar-playing girls.
This single contributed to Palmer’s reputation as a versatile artist capable of crossing genre boundaries, and it remains a memorable part of his discography, illustrating his ability to reinterpret and popularise existing material with his unique flair.
The Police – Don’t Stand So Close To Me ’86
This is a re-recorded version of The Police’s 1980 hit, originally from their album Zenyatta Mondatta. As far as I can tell, it’s a bit of a lash-up to promote their greatest hit album, Every Breath You Take: The Singles.
It’s not a patch on the original but it’s a case of once heard, you can never unhear it. The story that the song tells, which doesn’t change, deals with the controversial theme of a teacher-student relationship. It’s not something that ever happened to him, but Sting suggests that it is something that could very easily happen. Being an ex-teacher of English, he uses a reference to the novel Lolita by Vladimir Nabokov.
The 1986 version features a more polished production and a slower tempo, reflecting the band’s evolution and Sting’s growing influence as a solo artist. The trouble is the original is so much more alive.
I remember arriving back into sixth form after buying it at lunchtime. Two lads in my form who were a year older looked at it and scoffed. “It’s the same song 4 times,” and, “It’s crap, the original’s much better.” God, that extra year of experience of life. The pair were massive T-Rex fans, so they knew their stuff.
The Pretenders
Released in the Autumn, Don’t Get Me Wrong is one of The Pretenders’ most recognizable hits. It features on their album Get Close. Written by Chrissie Hynde, the song combines elements of pop and rock with a catchy melody and upbeat tempo.
Her lyrics express the complexities of romantic relationships, capturing the excitement and uncertainty of new love. The song’s success was amplified by its music video, which paid homage to the classic British TV series The Avengers. Hynde was inserted into original footage, playing the part of Emma Peel opposite Patrick Macnee as John Steed.
Don’t Get Me Wrong reached number 10 in the UK singles chart and on the Billboard Hot 100. The Pretenders seemed always to have greater success in the UK rather than the States. In 1986 they were in the midst of regrouping following the deaths of James Honeyman-Scott and Pete Farndon. They, along with Hynde and drummer Martin Chambers, had been original members of the group back in the seventies.
Hymn To Her
The second song from Get Close, Hymn To Her, was released in November 1986. Written by Meg Keene, a friend of lead singer Chrissie Hynde, it is a poignant ballad by The Pretenders. It is often interpreted as a tribute to the feminine spirit and the bond between women.
Its lyrics evoke themes of reverence and admiration, set against a backdrop of gentle instrumentation that augments Hynde’s emotive vocal delivery. It is introspective and heartfelt – certainly one of the group’s calmer tracks.
Its message had a great effect on audiences. Together with Don’t Get Me Wrong, it is perhaps the standout track on the album. Fittingly, Hymn To Her achieved commercial success, reaching number 8 in the UK singles chart.
The Rolling Stones – Harlem Shuffle
Let’s get this right. I bought and still own an actual Rolling Stones single. That it is a cover and is from their later years should not detract from that fact. They originally were a covers band, so that base is sorted. They have produced a stack of new material in the years since 1986 so that one is too. They were only forty-something scamps in 1986 too, so not the wrinkly old… (that’s enough, Ed.)
Anyway, this track was originally recorded in 1963 by its writers Bob & Earl. It was a minor US hit, reaching number 44 on the Billboard Hot 100. It fared better in the UK singles chart where it got to number 7.
The Stones recorded it for their album Dirty Work. Featuring energetic vocals by Mick Jagger and a dynamic arrangement, it infuses the original with their signature rock and roll style. The lyrics describe a dance called the Harlem shuffle, capturing the vibrant spirit of the 1960s dance scene.
Released in March 1986, it became a top 5 hit, reaching the top 5 in the US. It managed to reach number 13 in the UK singles chart. Animation legend Ralph Bakshi directed the track’s video, which combined live-action and animation.
As I’ve said, Harlem Shuffle saw the group return to their roots; it demonstrated their ability to reinterpret classic R&B tracks.
Run DMC/Aerosmith – Walk This Way
I think that the impact of this track, both on me and on the music scene in general cannot be overstated. It is a groundbreaking collaboration between the hip-hop group Run DMC and the rock band Aerosmith.
Released in July 1986, it is a cover of Aerosmith’s 1975 hit, reimagined with a fusion of rock and hip-hop elements. This collaboration is credited with bridging the gap between the two genres, introducing rap to a wider audience and revitalising Aerosmith’s career. Rap and hip-hop’s widened audience included the UK where it had not been a particularly popular genre.
The track features the iconic guitar riff by Joe Perry and dynamic “Walk this way” chorus refrains by Steven Tyler, alongside Run DMC’s rap verses. It was mooted at one point by Run and DMC that they might mimic Tyler’s delivery but were convinced by Jam Master Jay to give it the full rap treatment.
The music video, depicting a symbolic breaking down of walls between the two musical worlds, became a staple on MTV and contributed to the song’s massive success. Walk This Way reached number 4 on the Billboard Hot 100 and number 8 in the UK singles chart.
It is a genuinely pivotal moment in music history. As far as I am aware, it was the first cross-genre collaboration. It opened so many doors, not just for Run DMC and Aerosmith, but also for those who followed their lead in making mashup music.
Sandie Shaw – Frederick
Much in the way that I bought the Stone’s cover of Harlem Shuffle, with Frederick, I was looking for another slice of the sixties. In this case, Frederick, a cover by Sandie Shaw of Patti Smith’s original track from her 1979 album Wave.
Shaw is perhaps best remembered (by me) for her 1967 UK number 1 hit Puppet On A String. That is not the whole story though, as that track was her third UK number 1, following her 1964 cover of Bacharach and David’s (There’s) Always Something There To Remind Me, and Long Live Love from 1965.
Shaw’s version of Frederick retains the romantic and poetic essence of the original, with lyrics that express deep affection and admiration for a loved one. Known for her distinctive voice and style, Shaw brings a unique interpretation to the song, blending elements of pop and rock.
Her version of Frederick followed a cover of the Smiths’ Hand In Glove and Lloyd Cole and The Commotions’ majestic album track Are You Ready To Be Heartbroken? They marked a return to the music scene for Shaw, who had effectively retired during the seventies.
Her rendition of the song was well-received critically. However, it failed to make much headway in the UK singles chart, reaching only as far as number 93. In common with the other two covers, this track highlighted her ability to adapt contemporary material while maintaining her artistic identity.
All Fall Down by Ultravox
All Fall Down represents quite the departure from what we understood by Ultravox at the time. Always melodic, but heavily synth-based, All Fall Down is to quote Midge Ure, “[like a] Jacques Brel Celtic protest song.”
The band was in freefall during the making of the track’s mess of a parent album U-Vox. All Fall Down doesn’t use electronic instruments to the same extent that Ultravox usually do. It’s a collaboration with Irish band The Chieftains. As such, it’s a blend of electronic and acoustic instruments, creating a rich and layered sound. Drum work is by Big Country’s Mark Brzezicki.
Conveying themes of societal and political commentary, I think it’s hauntingly beautiful. Others disagree – the track received mixed reviews. It remains an interesting part of Ultravox’s discography, illustrating their willingness to tackle complex themes and evolve their musical approach.
I bought the 12-inch version of the single on 29 November. It spent only 5 weeks in the UK singles chart, reaching a high of number 30. It was Ultravox’s last single of note until 1993’s remix of Vienna.
Van Halen – Not Jump, but Why Can’t This Be Love
This was the lead track from the band’s album 5150. Named after Section 5150 of the California Welfare and Institutions Code, this album was the first with Sammy Hagar as the band’s lead vocalist, following David Lee Roth’s departure.
The track features a blend of rock and pop elements. The whole album is a departure from Van Halen’s previous sound, with synths playing a much more prominent role. The lyrics explore themes of longing and unrequited love, set against an energetic musical backdrop. It has that eighties vibe in spades.
Why Can’t This Be Love sold well on both sides of the Atlantic. It reached number 8 in the UK singles chart and number 3 on the Billboard Hot 100. I bought it on 17 May 1986 – a Saturday when I should have been at home, revising for my upcoming O Levels.
There we are then. A commentary on all the singles that I bought in 1986. I’ve counted ‘em, and there’s 39. Thirty-nine. Each of them is a unique document, and the musical styles represented is wide-ranging.
Unforgettable Collaborations and Moments
1986 was full of unexpected yet mind-blowing collaborations and moments that left lasting impressions. Perhaps the most groundbreaking was Run DMC and Aerosmith with Walk This Way. This brought together rap and hip-hop with rock. For many people, it would have been an eye-opener. Rick Rubin deserves great credit.
Then we had a traditionally British piece of nonsense. Think Peter Seller and Sophia Loren. It was quirky, it was perhaps even a little bit cringe, but I loved it. Yes, this was Living Doll by Cliff Richard and The Young Ones (feat. Hank Marvin). It fused a classic 1959 rock n roll track with new wave, anarchic comedy.
The Rolling Stones gave us Harlem Shuffle, the rejuvenation of a beloved song with that unmistakable Stones flair. And it was the Stones doing what they had been brought up doing.
Sandie Shaw gave us Frederick. Her return to the music scene was like welcoming back an old friend. Her version was a faithful cover, but it carried her signature charm and reminded everyone why she was a star in the first place.
Van Halen scored big with Why Can’t This Be Love. Sure, they had lost David Lee Roth, but Sammy Hagar was another big character with a voice to match. This track proved they hadn’t lost their touch. It had, literally, all the electric energy and catchy riffs fans had come to love. Van Halen was going nowhere.
Defining Music Videos
In 1986, MTV was at its peak, and music videos were as essential as the music itself. A great video could launch a single to new heights, and boy, did we see some groundbreaking ones that year.
Peter Gabriel’s Sledgehammer set a new standard. This video was a visual feast, combining Claymation, stop-motion, and innovative effects. Aside from being a memorable piece of work, it was a revolution in music video production. There’s a reason it’s still talked about today.
Madonna, the queen of reinvention, gave us Live To Tell. This wasn’t your typical Madonna video. Gone were the energetic dance routines. Here we had a cinematic experience, a story, with Madonna modelling herself on the likes of Grace Kelly. Moody and poignant storytelling helped us to see her in a new light. It gave us a peek at her versatility as an artist. She made every second count.
Huey Lewis & The News had a knack for fun, upbeat videos, and Hip To Be Square was no exception. On the one hand, a straight-up performance video, it was quirky, energetic, in your face. Or, in Lewis’s face – in short, it had all the elements that made MTV viewers keep coming back for more. Videos were beginning to be part of the package – single + video = massive success.
Eurythmics didn’t hold back either. Their video for It’s Alright (Baby’s Coming Back) embraced surrealism and bold visuals. Combined with the creative concept, Annie Lennox’s striking look made it a standout on the video charts.
Cameo brought swagger and edge with Word Up. The video features LeVar Burton as a detective trying, unsuccessfully, to arrest the band. It was all attitude – oozing with the band’s signature style and memorable costumes. Yes, including that codpiece.
It wasn’t just about the music; it was about making a statement, loud and clear. We also saw the codpiece on Top Of The Pops. Such performances cannot be unseen.
Music videos in 1986 were becoming more and more important. They were art forms; cultural touchstones that gave depth and dimension to the singles they represented. Each one provided a new way to experience and connect with the music, turning artists into visual as well as auditory icons.
1986’s Musical Legacy
The music of 1986 left an indelible mark on pop culture and continues to influence today’s music scene. Many of these singles set trends and created new standards for future generations of artists to follow, build upon and branch out in their own direction.
From the vinyl records spinning on turntables to the mesmerizing music videos that defined MTV’s golden age, the sounds and visuals of 1986 are not going away. Nostalgic playlists, contemporary covers, or even samples. The sounds of 1986 find a way into our lives.
Madonna, Peter Gabriel, Run DMC, Falco, the Eurythmics and so many others have cemented their places as legends, largely because of 1986’s groundbreaking work. Young musicians often cite these icons as inspirations, recognising how they pushed boundaries and dared to be different.
Meanwhile, tracks like Sledgehammer and Walk This Way serve to remind us of a time when the industry was experimenting and evolving rapidly. The legacy of these tracks lies in their ability to be timeless yet instantly transportive to that vibrant era.
1986’s music goes beyond just the charts. It influenced fashion, language, and even social movements. It may have been cheesy AOR, but Bruce Hornsby and The Range’s The Way It Is was a pithy comment on human rights in the UK.
The Smiths’ Panic was Morrissey’s take on the juxtaposition of the disaster at Chernobyl with Steve Wright In The Afternoon. The infectious energy, innovative sound, and rebellious spirit of those singles captured the essence of a transformative period.
In the end, the music of 1986, like other 1980s music, is a testament to the power of creativity and the impact it can have on culture. These songs continue to resonate, reminding us that great music transcends time and remains an integral part of our collective memory.