15 Mo’ Surefire Classics from The 1980s

Reading Time: 23 min read

15 Mo’ Surefire Classics from The 1980s features songs by Diana Ross, George Michael, Michael Jackson, Prince, Sade, and The B-52’s.

This playlist, 15 Mo’ Surefire Classics from the 1980s, is for all you ‘80s babies out there! REPRESENT my peeps! I am a proud ‘80s baby, BUT, disclaimer, I was too young to fully embrace the music at the time… The deal is, I was only three by the time the calendar turned to 1990, being born in September 1986. 1990 marked the end of a special decade in music, characterized by boxy drum programming, the rise of keys and synths, and glam rock, among other trends.

15 Mo’ Surefire Classics from The 1980s, which follows up on five previous 1980s-themed lists, including 15 Surefire Classics from the 1980s (2025), only scratches the surface of the awesome music recorded, released, and popularized in the era. It would take a million lists to capture all of the greatness. Rather than try to do the impossible, I’m offering a sampling of that greatness, and hopefully, it’s hearty! 15 Mo’ Surefire Classics from The 1980s features songs by Diana Ross, George Michael, Michael Jackson, Prince, Sade, and The B-52’s. So, without further ado, let’s take it back to the music of 1980 – 1989, shall we?!

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1. INXS, “Need You Tonight”	2. Sade, “Smooth Operator”	3. Vaughan Mason and Crew, “Bounce, Rock, Skate, Roll”	4. Diana Ross, “Upside Down”	5. Michael Jackson & Paul McCartney, “The Girl Is Mine”
6. George Michael, “Father Figure”	7. Grandmaster Flash & the Furious Five, “The Message”	8. The B-52’s, “Love Shack”	9. The Clash, “Should I Stay or Should I Go”	10. Soft Cell, “Tainted Love”
11. George Clinton, “Atomic Dog”	12. Michael Jackson, “Man in the Mirror”	13. Men At Work, “Down Under”	14. The Deele, “Two Occasions”	15. Prince, “1999”

1. INXS, “Need You Tonight”

Kick » Atlantic Recording Corporation » 1987

“I need you tonight / ‘Cause I’m not sleepin’ / There’s something about you, girl / That makes me sweat.” Ow! For Michael Hutchence (1960 – 1997), the late frontman of INXS, the lust is ‘turned up to the nth degree’ on “Need You Tonight”. He wants to ‘get down and dirty’ with her badly! Besides being overtly sexual, the ‘white girl’ Hutchence lusts for that makes him sweat is addictive and deadly. “Need You Tonight” is the fourth track from the Grammy-nominated Australian rock band’s sixth studio album, Kick. Kick was a massive success, earning multiplatinum certification from the RIAA. “Need You Tonight” played a sizable role in those platinum plaques. Among INXS’s seven top-10 hits, “Need You Tonight” was their sole number one on the Billboard Hot 100. Hutchence and Andrew Farriss penned “Need.” Chris Thomas produced it.

From the beginning, you can feel the sweat Hutchence sings about. It’s dripping, baby! In the first verse, he encourages her to ‘live,’ wooing her to do naughty things. “All you got is this moment / Twenty-first century’s yesterday,” he sings. In the second verse and the bridge, he shares his loneliness and inability to think. Despite these issues, he’s “Gonna live my life.” The chorus sums things up, with Hutchence embracing pleasure to atone. “So, slide over here and give me a moment,” he sings, continuing, “Your moves are so raw, I’ve got to let you know.” These moves can be sexual and, from a druggy perspective, devastating. Musically, “Need You Tonight” is the sugar, honey, iced tea. The drum groove and guitar riffs are incredibly infectious. They are a crucial part of the song’s success. There’s a reason why Grammy-winning pop artist Dua Lipa sampled this classic in her Future Nostalgia standout, “Break My Heart”. Hutchence sounds fantastic as he unveils his cravings with plenty of charisma and ample personality. He oscillates between calm, cool, and collected singing and a more dynamic approach. The melodies are tuneful, while the chorus is the crème de la crème. “Need You Tonight” is timeless.

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2. Sade, “Smooth Operator”

Diamond Life » Sony Music Entertainment (UK) Limited » 1984

“He’s loved in seven languages /… High in the sky / Heaven help him when he falls.” Ooh-wee – that man is special! Grammy-winning English band Sade, led by Sade Adu, exploded onto the scene with their 1984 multiplatinum debut album, Diamond Life. The best song on the project is the opener, “Smooth Operator”. Adu and Raymond St. John composed the song. Robin Millar produced it. “Smooth Operator” was one of two top 10 hits by the collective, reaching number five on the Billboard Hot 100. “Coast-to-coast, L.A. to Chicago, western male / Across the North and South, to Key Largo, love for sale.” Word. He’s hot, hot, hot!

As the excerpted lyrics suggest, “Smooth Operator” features impeccable, poetic, and thought-provoking songwriting. “Diamond life lover boy / He moves in space with minimum waste and maximum joy,” Sade sings in the first verse, adding in the second, “We shadowbox and double-cross / Yet need the chase.” Ultimately, “Smooth Operator” masterfully conveys a tale of a desirable man who is stellar in bed, but not ideal for a meaningful relationship. In the pre-chorus, Adu describes him as having “eyes like angels,” while “his heart is cold.” The chorus keeps things simple and unforgettable: “No need to ask, he’s a smooth operator.” Beyond the epic songwriting, the musical accompaniment is exquisite: an infectious percussive groove, gorgeous saxophone playing, and jazzy/soulful vibes. Tuneful melodies accompany those top-rate lyrics, led by the celestial, rich vocals of Adu. She sings with incredible ease and never breaks a sweat. Ultimately, you could say that “Smooth Operator” is hella smooth!

Appears in:

Sade, Smooth Operator: Throwback Vibez 🕶️🎶 No. 5 (2025)

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3. Vaughan Mason and Crew, “Bounce, Rock, Skate, Roll”

Bounce, Rock, Skate, Roll » Brunswick » 1980

Vaughan Mason and Crew are best known for one song: “Bounce, Rock, Skate, Roll”. The funk collective was led by the late Vaughan Mason (1950 – 2020). The irresistible “Bounce, Rock, Skate, Roll” was released as a single in 1979 when disco was still disco-ing. The album, Bounce, Rock, Skate, Roll, arrived in 1980. Mason, Gregory Bufford, and Jerome Bell composed it. “Bounce” was a one-hit wonder for Vaughan Mason and Crew, though it only modestly impacted the pop charts (number 81 on the Billboard Hot 100). It thrives on an infectious groove. The fat yet active and athletic bass line is potent. You can hear the similarities to the bass line of the bigger 1979 cut, “Good Times” by Chic. Beyond the drums and bass, the rhythm guitar packs a mean punch, too. The section to beat is the title-led chorus. Still, Vaughan Mason throws in some ‘rolling’ lyrics in the verses. “Roller skaters celebrate the disco way / Give your feet the freedom / Let’s bounce today,” Mason sings, continuing, “Roller skaters one in front / And one behind / Bounce left, bounce right / It’s disco time.” The second and third verses are patterned similarly. “Sexy ladies strutting their stuff so well / Laid out in the latest styles casting a spell,” Mason sings regarding the ladies in the second verse. In the third, he comments about the music: “This funky kinda music / Oh, it makes you wanna move / Roller skaters one in front and one behind / Bounce left.” A novel song, “Bounce, Rock, Skate, Roll” embraces roller disco, which was popular in the 1970s. The classic is a popular source of sampling.

Appears in:

Vaughan Mason and Crew, Bounce, Rock, Skate, Roll: Throwback Vibez 🕶️🎶 No. 51 (2025)

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4. Diana Ross, “Upside Down”

Diana » Motown » 1980

“Upside down / Boy, you turn me inside out / And ‘round and ‘round.” Word, Diana Ross (1944 – )! “Upside Down” is the opening track from her 1980 platinum-certified album, Diana. The Grammy-nominated icon landed a big hit with this hella danceable, infectious joint. “Upside Down” was written and produced by Songwriting Hall of Fame inductees Bernard Edwards and Nile Rodgers of Chic fame. One of six number-one hits by Ross, “Upside Down” spent four weeks at number one on the Billboard Hot 100. It was certified gold by the RIAA.

The music is nothing short of electrifying on “Upside Down.” It is a prime catalyst for body movement. The songwriting is sexy without crossing any lines. “Instinctively, you give to me the love that I need,” Ross sings in the memorable first verse, continuing, “I cherish the moments with you.” But, to quote Linda Ronstadt, “Baby, you’re no good”: “I’m aware that you’re cheating / When no one makes me feel like you do.” Hmm! The cheating, allegedly, continues in the second verse, where Ross asserts, “You always play the field / I’m crazy to think you’re all mine.” The section to beat is the rhythmic, unforgettable chorus excerpted above, which matches the song title – it sounds upside down. “Upside Down” marked one of 13 instances where Diana Ross missed out on a Grammy. That is a bummer, but a song this iconic does not require validation by a statuette. It is timeless, and Ross sounds exceptional.

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5. Michael Jackson & Paul McCartney, “The Girl Is Mine”

Thriller » MJJ Productions, Inc. » 1982

“The girl is mine / The doggone girl is mine,” Michael Jackson (1958 – 2009), the King of Pop, sings in the chorus of one of his greatest songs, “The Girl Is Mine”. He continues, singing to his legendary duet partner, Paul McCartney (1942 – ), “I know she’s mine / Because the doggone girl is mine.” “The Girl Is Mine” is the third track from Jackson’s 1982, diamond-certified, blockbuster, Grammy-winning, tour de force, Thriller. Jackson wrote the gem while the legendary Quincy Jones (1933 – 2024) produced it. “Girl” peaked at number two on the Billboard Hot 100. It was certified platinum by the Recording Industry Association of America in 2022. The sound of the record is nothing short of celestial. The smooth, sophisticated production work and arrangement exemplify the 1980s R&B and Pop sound. Some of the highlights of the instrumentation and ear-catching sounds include cool, rhythmic guitars, colorful keys, and soaring strings. This is the perfect blend of acoustic and electronic instruments/programming.

The stars of “The Girl Is Mine” are Michael Jackson and Paul McCartney. Jackson brings the heat with his expressive, nuanced vocals. His tone is heaven-sent – angelic – as he stakes his claim to this girl: “Every night, she walks right in my dreams / Since I met her from the start / I’m so proud I am the only one / Who is special in her heart.” McCartney complements Jackson perfectly. Their vocal contrast is part of the charm. Like Jackson, McCartney sings buttery smooth: “I don’t understand the way you think / Saying that she’s yours, not mine…” McCartney sings the chorus following his verse. On the bridge, they trade lines, as well as together in select moments. Jackson hits the biggest, most high-powered moment, flaunting his upper register: “But we both cannot have her / So, it’s one or the other / And one day, you’ll discover / That she’s my girl forever and ever.” Paul McCartney and Jackson then split the final verse, with Jackson singing the tuneful chorus alone. A key change arrives near the end of the song. There is a cute, unforgettable spoken word interlude/skit between Jackson and McCartney before the outro. In the outro of “The Girl Is Mine”, one of the sweetest ballads of the 1980s, both superstars continue to assert their claim to this girl. This duet NEVER grows old, and the musicianship is top-notch.

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6. George Michael, “Father Figure”

Faith » Sony Music Entertainment UK Limited » 1987

“Sometimes I think that you’ll never / Understand me (Understand me) / But somethin’ tells me together / We’d be happy.” Noted, George Michael! The late, great pop singer, songwriter, and producer concocted a gem for the ages with “Father Figure”. “Father Figure” is the second track from his 1987 diamond-certified, Grammy-winning pop masterpiece, Faith. Michael wrote and produced it. Unsurprisingly, “Father Figure” spent two weeks at number one on the Billboard Hot 100. It was the only song from Faith nominated for a Grammy at the 31^st Annual Grammy Awards.

“Father Figure” shines in every facet. Instrumentally, it dons gorgeous keyboards, pads, and synths. The riffs are distinct and utterly sweet. The groove is a 10 out of 10, easily. Of course, it’s the handsome and talented George Michael that everybody came for. He doesn’t disappoint, delivering terrific vocals. His breathy tone, particularly in the first verse, is to die for. “That’s all I wanted, something special / Something sacred in your eyes,” he sings, continuing, “For just one moment to be bold and naked / At your side.” Oh, snap, George! The melodies are tuneful throughout, with the centerpiece, the chorus, taking the cake. Following the first and second verses, there is a refrain that is varied, not to be confused with the chorus (excepted earlier). With the arrival of the chorus, George, the background vocalists (Chris Cameron and Shirley Lewis), and the musical backdrop, ‘kick things up a notch.’ Cameron and Lewis carry the melody, while Michael ad-libs and riffs.

“I will be your father figure
Put your tiny hand in mine (My baby)
I will be your preacher, teacher
Anything you have in mind (Hee)
I will be your father figure
I have had enough of crime
I will be the one who loves you
‘Til the end of time.”

The third verse is a vibe, like the first and second. Love (and sex) continues to be the modus operandi. Following the third refrain and second chorus, we get an extended bridge. Bridges aren’t typically this long, but it works out well for GM. “Greet me with the eyes of a child / My love is always tellin’ me so,” he sings, continuing, “Heaven is a kiss and a smile /Just hold on, hold on, and I won’t let you go, my baby.” Although he was short-lived, dying at 53 years young, George Michael left an iconic musical catalog. “Father Figure” easily ranks near the top.

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7. Grandmaster Flash & the Furious Five, “The Message”

The Message » Sugar Hill » 1982

“Don’t push me ‘cause I’m close to the edge / I’m trying not to lose my head,” Melle Mel (1961 – ) raps in the memorable chorus of “The Message”. He adds, “It’s like a jungle sometimes / It makes me wonder how I keep from going under.” Word. The cadence and flow during the chorus, also performed by Duke Bootee (1951 – 2001), are epic. “The Message” is the seventh and penultimate track from The Message, released in 1982 by Grandmaster Flash & the Furious Five. Grandmaster Flash & the Furious Five was formed in the Bronx, New York 1978. Leading the charge on “The Message” were Barbadian American musician/DJ Grandmaster Flash (1958 – ), Melle Mel, and Duke Bootee. “The Message” modestly impacted the pop charts, peaking at number 62 on the Billboard Hot 100.

“The Message” features colorful music production that fuels Melle and Bootee. The groove is awesome. The synths are sleek and characteristic of 1980s music. Both Melle Mel and Duke Bootee came to rap, delivering superb rhymes. These rhymes are socially conscious, encompassing the hard-knock life in New York. “Rats in the front room, roaches in the back / Junkies in the alley with a baseball bat,” Melle spits in the first verse, continuing, “I tried to get away, but I couldn’t get far / ‘Cause a man with a tow truck repossessed my car.” In the second verse, he mentions “A crazy lady livin’ in a bag / Eating out of garbage pails, used to be a fag hag.” Sad. Duke Bootee takes the reins in the third verse, continuing the turbulent times: “Got a bum education, double-digit inflation / Can’t take the train to the job, there’s a strike at the station.” In the fourth verse, he memorably references musician Renee Katz: “They pushed that girl in front of the train / Took her to the doctor, sewed her arm on again.” Melle Mel drops the fifth and final verse on the seven-minute-plus number, concluding the powerful verse with the lyrics, “But now your eyes sing the sad, sad song / Of how you lived so fast and died so young, so.” “The Message”, one of the most important rap songs ever, has an enduring message.

Appears in:

Grandmaster Flash & the Furious Five, The Message: Throwback Vibez 🕶️🎶 No. 41 (2025)

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8. The B-52’s, “Love Shack”

Cosmic Thing » Reprise » 1989

“The Love Shack is a little old place where we can get together.” Get together, huh? 😈 Is there ever a dull moment with The B-52’s? Fred Schneider, Kate Pierson, Cindy Wilson, Keith Strickland, and, formerly, Ricky Wilson (1953 – 1985) comprised an innovative, spirited dance-rock, new wave band. One of the biggest hits of their career is “Love Shack”, the fourth track from their 1989 album, Cosmic Thing. The B-52’s wrote “Love Shack” while Don Was produced it. A huge hit, it peaked at number three on the Billboard Hot 100. In 2024, the Recording Industry Association of America certified it as triple platinum. Notably, Fred, Kate, and Cindy sing throughout “Love Shack.”

In the unforgettable “Love Shack,” it sounds like the band is having an absolute ball. It is anchored by a fabulous, percussive groove. There is a strong presence of guitar (Strickland) and bass. Besides the rhythm section, the ears are blessed with bright, articulated horns (Uptown Horns). Playful, tongue-in-cheek vocals from the beginning set the tone: “If you see a faded sign at the side of the road that says / ‘15 miles to the / Love Shack’ /… Looking for a love getaway.” Some of the lyrics are silly but always entertaining. The gist of the situation is a place where they can dance, have fun, and, unsurprisingly, get it on. In the Love Shack, “Everybody’s moving, everybody’s grooving, baby” because it is a “Funky little shack.” Woo! The chorus, excerpted earlier, is the cat’s meow – the crème de la crème. Another sensational part of “Love Shack” is the epic “bang, bang” section:

“Bang, bang, bang on the door, baby

Knock a little louder, baby

Bang, bang, bang on the door, baby

I can’t hear you.”

One of the best lyrics from the song, other than the repeated love shack, or the bang, bang section, is, “Your what? / Tin roof, rusted.” What does it mean? It is subject to interpretation. Fun fact: the real ‘Love Shack’ was Pierson’s cabin in Athens, Georgia, which sadly, burned down in 2004. Ultimately, “Love Shack” is a surefire classic from the late 1980s. It is an enduring oldie that never gets old 🤘!

Appears in:

The B-52’s, Love Shack: Throwback Vibez 🕶️🎶 No. 108 (2025)

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9. The Clash, “Should I Stay or Should I Go”

Combat Rock » Sony Music Entertainment UK Limited » 1982

“Should I stay, or should I go now?” That is a key question for The Clash, an English rock band comprised of the late Joe Strummer (1952 – 2002), Mick Jones (1955 – ), Paul Simonon (1955 – ), and Topper Headon (1955 – ). Among the band’s most beloved songs is “Should I Stay or Should I Go”, the third track on their 1982 multiplatinum, fifth studio album, Combat Rock. In the chorus, Jones, who sings lead on this particular track, continues, “If I go, there will be trouble / And if I stay, it will be double / So come on and let me know.” “Should I Stay or Should I Go” was written by Jones and Strummer. Notably, it peaked at number 45 on the Billboard Hot 100.

So, what makes “Should I Stay or Should I Go” kick ass and take names? It begins with heavy, hard-rocking guitar and bass riffs. The spirit of rock and roll is written all over it 🤘! It is anchored by a superb groove carried by Topper’s mean drumming. Headon provides a signature groove contrast with the double time feel during the chorus. The songwriting is infectious, with Jones bringing the memorable lyrics and tuneful melodies to life. Matters of the heart drive the narrative. “Darling, you got to let me know / Should I stay, or should I go?” Jones asks, continuing in the first verse, “If you say that you are mine / I’ll be here till the end of time.” In the second verse, he asserts, “It’s always tease, tease, tease / You’re happy when I’m on my knees.” The third includes Spanish! “This indecision’s bugging me (Esta indecisión me molesta) / If you don’t want me, set me free (Si no me quieres, librarme).” A rock classic, the brilliance and timelessness of “Should I Stay or Should I Go” speaks for itself.

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10. Soft Cell, “Tainted Love”

Non-Stop Erotic Cabaret » Mercury » 1981

“Sometimes I feel I’ve got to / Run away I’ve got to / Get away / From the pain you drive into the heart of me.” English synth-pop duo Soft Cell, comprised of Marc Almond (1957 – ) and David Ball (1959 – ), scored a megahit with “Tainted Love”. It peaked at number eight on the Billboard Hot 100. The second track from their 1981 album, Non-Stop Erotic Cabaret, is their only song that charted on the pop charts. A one-hit wonder, notably, that one hit was a cover. It was originally released by Gloria Jones in 1965 🤯. However, Soft Cell’s version is the definitive take. Ed Cobb penned this gem while Mike Thorne produced it.

So, what makes “Tainted Love” the cat’s meow? The sound of the record is a big deal. The electronic sound palette sounds like the 1980s through and through. At the same time, listening to “Tainted Love” in the 2020s, the aesthetic and vibe remain lit. The synths have their way with the riffs shining. Also, the groove ‘grooves hard.’ Yes, it is quintessential 80s but the charm is… charming! Also, charming are the smooth vocals by Marc Almond. The man eats in all of his androgynous glory! The love is tainted to the nth degree as Almond tries to run away from it. In the second verse, he sings, “And you think love is to pray / But I’m sorry, I don’t pray that way.” That is a mic-drop moment! Of course, the biggest mic-drop moment is the chorus where the love is tainted, tainted, tainted!

“Once I ran to you (I ran)

Now, I’ll run from you

This tainted love you’ve given

I give you all a boy could give you

Take my tears and that’s not nearly all

Oh, tainted love

Tainted love.”

Ooh-wee, Marc! A brief synth-pop, New Wave joint, “Tainted Love” in the hands of Soft Cell remains C-L-A-S-S-I-C. Yes, the duo was a one-hit wonder stateside, but, who wouldn’t want a hit the caliber of this one?! Notably, Rihanna sampled this classic on her 2005 pop hit, “SOS.”.

Appears in:

Soft Cell, Tainted Love: 1 Hit WONDERful No. 14 (2025)

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11. George Clinton, “Atomic Dog”

Computer Games » Capitol » 1982

If you were unsure, funk legend George Clinton (1941 – ) clarifies that he “Ain’t your average Huckleberry Hound.” Huckleberry Hound is a famous fictional cartoon dog who is blue and speaks with a North Carolina southern drawl. Clinton mentions him on “Atomic Dog”, the fifth track from his 1982 solo album, Computer Games. “Dog” was written by Clinton, Garry Shider, and David Spradley. Clinton and Ted Currier produced it. The song reached number one on the R&B charts but failed to chart on the pop charts.

While Huckleberry Hound’s mention is notable, the dog references are abundant. There are barking sounds and panting sounds, which are part of the charm. The lyrics are simultaneously fun, infectious, and ridiculous. Highlights include “Yeah, life on all fours / When they’re out there walkin’ the streets / May compete, oh, the dog in ya,” “Bow-wow-wow, yippie-yo, yippie-yay,” and, “Do the dogcatcher, dogcatcher.” Clinton sings one of his best vocal moments in the first verse: “Why must I feel like that / Ah, why must I chase the cat?” When the lyric reappears, he responds, “[It’s] Just the dog in me / Nothin’ but the dog in me.” Beyond a high-flying, oddly satisfying vocal performance by George Clinton, the music is electrifying. The synth riffs are sickening – funky to the nth degree. The groove is epic. The ad-libbed, 80s futuristic “Atomic Dog” deserved more love at the time. Since, it has been hailed a classic with many musicians sampling it.

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12. Michael Jackson, “Man in the Mirror”

Bad » MJJ Productions Inc. » 1987

“I’m gonna make a change for once in my life / It’s gonna feel real good / Gonna make a difference, gonna make it right.” Those iconic lyrics hail from one of Michael Jackson’s best and most beloved songs, “Man in the Mirror”. “Man in the Mirror” is the seventh track from Jackson’s second iconic ‘80s album, Bad, released in 1987. One of the reasons it stands out is that Michael Jackson did not write or co-write it. This was a rare MJ song written by others. Glen Ballard and Siedah Garrett composed it. Jackson and Quincy Jones (1933 – 2024) produced it. “Man in the Mirror” spent two weeks at number one on the Billboard Hot 100. It was certified triple platinum by the Recording Industry Association of America. Adding to the accolades, “Man” was nominated for the Grammy for Record of the Year at the 31^st Annual GRAMMY Awards (Bobby McFerrin won for “Don’t Worry Be Happy”).

After hearing a demo of the song, it was no surprise that Michael Jackson had to approve “Man in the Mirror.” This is the ultimate deep, introspective, socially conscious, and thought-provoking record. In the first verse, Jackson continues, “I see the kids in the street with not enough to eat / Who am I to be blind, pretending not to see their needs.” In the second verse, he asserts, “I’ve been a victim of a selfish kinda love / It’s time to realize / There are some with no home / Not a nickel to loan.” Given all these happenings, Jackson decides, “That’s why I’m starting with me.” What does he do? He delivers one of the greatest choruses of all time – the crème de la crème:

“I’m starting with the man in the mirror

I’m asking him to change his ways

And no message could have been any clearer

If you wanna make the world a better place

Take a look at yourself and then make a change

Na-na-na, na-na-na, na-na, na-na.”

Throughout “Man in the Mirror,” Jackson offers up prodigious vocals. He shows incredible control during the verses, while delivering sensational expression and nuance. He ups the ante during the chorus, where he sings more dynamically. Beyond his compelling lead vocals, Jackson is supported by an anointed choir, arranged by the late, great Andraé Crouch (1942 – 2015). Among the background vocalists are Crouch, Sandra Crouch (1942 – 2024), Garrett, and the Winans. Beyond epic songwriting and top-notch vocals, the sound, arrangement, and production are flawless. “Man in the Mirror” is a masterclass in a crossover sound, seamlessly fitting somewhere between pop, rock, and R&B, while bringing big-time, inspirational vibes (“I’ve gotta get that man, that man (Man in the mirror) / You’ve got to, you got to move, shamone, shamone”). #Classic!

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13. Men At Work, “Down Under”

Business As Usual » CBS Inc. » 1981

“‘Do you come from a land down under? / Where women glow and men plunder,’” Colin Hay sings in the chorus of “Down Under” from the perspective of a ‘strange lady.’ He continues singing, “Can’t you hear, can’t you hear the thunder? / You better run, you better take cover.” Hay is part of the Grammy-winning Australian band Men At Work. Men At Work struck gold, rather, platinum in 1981 with the release of their multiplatinum 1981 debut album, Business As Usual. “Down Under” is the third track from the LP. Hay and Ron Strykert composed the song while Peter McIan produced it. “Down Under” ended up being one of four top 10 hits by the band. It was the second of two number-one hits, topping the Billboard Hot 100 for four weeks in 1983. Besides its success on the pop charts, “Down Under” was certified platinum by the RIAA in 2001.

The chorus is one of the biggest selling points of “Down Under.” That’s not the only ear-catching section. The verses are intriguing too. The Australian slang keeps things engaging, finding Colin Hay, and his playful lead vocals, mentioning hippies, a Volkswagen Bus, and weed in the first verse. The second verse is as entertaining if not more than the first:

“Buyin’ bread from a man in Brussels

He was six-foot-four and full of muscle

I said, ‘Do you speak-a my language?’

He just smiled and gave me a Vegemite sandwich

And he said.”

The chorus is slightly different, coming from the Brussels man’s perspective, but still alluring. An instrumental break precedes the third and final verse (“Are you trying to tempt me / Because I come from the land of plenty”). The chorus follows, repeated multiple times. Beyond the lyrics, the musical accompaniment is sweet. “Down Under” features an infectious groove. The flute part is ‘distinctive.’ Notably, the flute riff earned the band a copyright infringement lawsuit, which they lost. Simply put, you can’t mess around or lift from a classic children’s song (“Kookaburra Sits in the Old Gum Tree”). Ultimately, “Down Under” is a rocking, surefire, and timeless winner from Men At Work, and the 1980s rock catalog.

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14. The Deele, “Two Occasions”

Eyes of a Stranger » Unidisc Music Inc. » 1987

“‘Cause every time I close my eyes / I think of you / And no matter what the season is / I still love you.” Ah, The Deele have ‘matters of the heart’ in their minds on “Two Occasions”, the opener from their 1987 album, Eyes of a Stranger. “Two Occasions” marked the R&B collective’s only top 40 hit on the pop charts. It peaked at number 10 on the Billboard Hot 100. Darnell Bristol, Babyface (Kenny Edmonds), and Carlos “Satin” Green sing lead vocals on the beloved single from the R&B group that originated in the Midwest: 📍 Cincinnati, Ohio. “Two Occasions” was written by Babyface, Sidney DeWayne, and Darnell Bristol. Babyface and L.A. Reid produced it.

“Two Occasions” features a smooth, easygoing musical backdrop. The song exemplifies the chill but potent quiet storm prominent in R&B in the 1980s. The vocals by the three leads and the collective as a whole are cool and refined. The harmonies, which spring up during the chorus, are delightful. The falsetto is incredibly ripe and ear-catching. Bristol sings the first verse, mentioning the perks of summer and winter love. Regardless, he desires “To have a love that endures.” Green sings the second verse, touting autumnal love, adding, “But when the leaves are gone / Does that love disappear?” Babyface sings one of the song’s most memorable sections, the pre-chorus:

“‘Cause every time I close my eyes
I think of you
And no matter what the season is
I still love you
With all my heart
And I wanna be with you
Wherever you are.”

Beyond the terrific pre-chorus, the chorus, sung by The Deele, is the section to beat: “I only think of you on two occasions / That’s day and night / I’d go for broke if I could be with you /Only you can make it right.” The Deele dropped a sensational ballad with “Two Occasions”. Although it is a one-hit wonder by pop standards, it’s a memorable winner through and through.

Appears in:

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15. Prince, “1999”

1999 » NPG Records Inc. / Legacy » 1982

“‘Cause they say / 2000, zero-zero, party over, oops, out of time / So tonight, I’m gonna party like it’s 1999.” Ooh-wee! The late, great Prince delivered one of his best, most infectious records with “1999”. Notably, “1999” long preceded the year 1999. Did the prediction about 1999 (more on that later). It began the Purple One’s 1982 multiplatinum album, 1999. “1999” was composed and produced by Prince. A big hit on the pop charts, this six-minute-plus juggernaut peaked at number 12 on the Billboard Hot 100 in 1983.

“1999” begins with distinct, low pitch-shifted vocals: “Don’t worry, I won’t hurt you / I only want you to have fun.” Word. PAR-TAY! The sound is quintessential 1980s and quintessential Prince. It features boxy, rhythmic drums, bright synths, and funky guitar riffs. Prince isn’t the only vocalist who appears in the track. He gets assists from Lisa Coleman and Dez Dickerson. Coleman and Dickerson are the first voices heard in the first two verses. Prince enters the mix in the first verse, fittingly asserting, “The sky was all purple / There were people runnin’ everywhere.” Uh-oh! In the third verse, he asserts, “I got a lion in my pocket / And, baby, he’s ready to roar.” Oh, snap 😈! As always, Prince’s pipes are distinct and nuanced. His performance is colorful and filled with personality, particularly the lion lyric! The chorus, the centerpiece, is infectious, enjoying a good time before the purported doom! The doom came from a documentary The Purple One had watched about French astrologer Nostradamus (1503 – 1566), who incorrectly predicted that a great king of terror would descend in the world in the seventh month of 1999. Given the impending doom, Prince and company are “gonna party like it’s 1999.” “1999” is one helluva party – one we’ll never forget!

Appears in:

Prince, 1999: Throwback Vibez 🕶️🎶 No. 1 (2025)

Check out my past 1980s-themed playlists

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15 Mo’ Surefire Classics from The 1980s (2025) [📷: Brent Faulkner / The Musical Hype; Atlantic Recording Corporation, Brunswick, Capitol, CBS Inc., Mercury, Legacy MJJ Productions, Inc., Motown, NPG Records Inc., Reprise, Sony Music Entertainment (UK) Limited, Sugar Hill, Unidisc Music Inc.; Gabrielle Durant, Ron Lach from Pexels; AcatXIo, Artapixel, Patrick Schwarz, Victoria from Pixabay]

15 Mo’ Surefire Classics from The 1980s | Playlist 🎧

Published by the musical hype on August 25, 2025August 25, 2025