20 Memorable Classics from 1986

Reading Time: 29 min read

20 Memorable Classics from 1986 features songs by Cameo, Europe, Janet Jackson, Lionel Richie, Patti LaBelle & Michael McDonald, and The Bangles.

And my 40^th birthday celebration continues 🎉 🎂 🎈! CONTEXT? Well, the first playlist I published in September 2026, 1986 – 2026: 40 Songs for 40 Years, celebrated my big day by selecting 40 of my favorite songs (one per year) from my lifetime. This list, 20 Memorable Classics from 1986, focuses only on songs from my birth year, 1986. I guess I’m an elder millennial, right? Whatever. There were lots of gems from ’86, but I narrowed it down to 20 standouts. Oh, and no bitchin’, moanin’, or groanin’ at me if I missed one you think should be there! Gurl, it’s my playlist, and I can curate what I want to, shoo! No further explanation is necessary, folks. 20 Memorable Classics from 1986 features songs by Cameo, Europe, Janet Jackson, Lionel Richie, Patti LaBelle & Michael McDonald, and The Bangles. So, without further ado, let’s turn back the hands of time to 1986, shall we?!

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1. Bon Jovi, “You Give Love a Bad Name”

2. Patti LaBelle & Michael McDonald, “On My Own”

3. Cameo, “Word Up”

4.Madonna, “Papa Don’t Preach” 

5. Linda Ronstadt & James Ingram, “Somewhere Out There”

6. Janet Jackson, “Nasty”

7. Paul Simon, “You Can Call Me Al”

8. Cyndi Lauper, “True Colors”

9. Lionel Richie, “Say You, Say Me”

10. The Communards, “Don’t Leave Me This Way”

11. Jermaine Stewart, “We Don’t Have To Take Our Clothes Off”

12. The Bangles, “Walk Like an Egyptian”

13. Peter Cetera, “Glory of Love”

14. Kenny Loggins, “Danger Zone”

15. Anita Baker, “Sweet Love”

16. Oran Juice Jones, “The Rain”

17. Berlin, “Take My Breath Away”

18. Pet Shop Boys, “West End Girls”

19. XTC, “Dear God”

20. Europe, “The Final Countdown”

1. Bon Jovi, “You Give Love a Bad Name”

Slippery When Wet » Mercury / UMG Recordings, Inc. » 1986

“Shot through the heart and you’re to blame / Darling, you give love a bad name.”

Ask yourself this question: Is there any need to say more about this Bon Jovi staple? The answer should be a resounding NO. “You Give Love a Bad Name” speaks for itself. The opening lyric, which eventually becomes part of the chorus, is iconic and never grows old. Jon Bon Jovi and company secured one of the most memorable records – rock or any genre – of the 1980s with “You Give Love a Bad Name.” It was written by Jon Bon Jovi, Richie Sambora, and Desmond Child. Bruce Fairbairn produced the number one Billboard Hot 100 hit from their diamond-certified album, Slippery When Wet.

The premise of “You Give Love a Bad Name” is simple. The love, which seemed promising, is toxic. “An angel’s smile is what you sell,” Bon Jovi sings in the first verse, continuing, “You promised me heaven, then put me through hell.” Damn! In the second verse, he describes her as “A school boy’s dream, you act so shy / Your very first kiss was your first kiss goodbye.” My, oh my! Also, worth noting, Jon calls her “a loaded gun” and “there’s nowhere to run.” He sounds terrific, executing the memorable melodies like a – wait for it – rock star! Bon Jovi as a band kills it as well, rocking hard. Among the most noteworthy instrumental moments is the guitar solo by Sambora that precedes the outgoing chorus. “You Give Love a Bad Name” is the sugar-honey iced tea. It is one of the best from the legendary Grammy-winning band.

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2. Patti LaBelle & Michael McDonald, “On My Own”

Winner In You » MCA Records Inc. » 1986

Patti LaBelle (b. 1944) experienced a resurgence of sorts in 1986. She’d had plenty of success before this, with LaBelle (“Lady Marmalade”) and as a solo artist (“If Only You Knew”). Even so, “Own My Own” gave the R&B veteran a number-one hit on the Billboard Hot 100. This gorgeous, lush duet between two awesome, distinct, and powerful voices – Michael McDonald (b. 1952) is the man – propelled her only platinum-certified album, Winner in You, to number one on the Billboard 200. Notably, “On My Own” was certified gold.

Not only does “On My Own” feature two legendary musicians, but it’s also written and produced by a legendary team: Burt Bacharach and Carole Bayer Sager. The form features standard sections (verse, chorus, bridge) but isn’t written ‘predictably’ either. LaBelle sings the first verse expressively while also showing tremendous control. She follows with an abbreviation of the chorus, essentially. As for McDonald, he matches her in the second verse, also singing with great expression, followed by the full-fledged chorus: “On my own / Once again, now / One more time / By myself.” They then sing collaboratively on the bridge, followed by a Patti chorus, another McDonald verse, and the most powerful chorus yet, performed jointly. LaBelle and McDonald let loose in that extended closing chorus, and we wouldn’t have it any other way!

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3. Cameo, “Word Up”

Word Up » PolyGram Records Inc. / UMG Recordings, Inc. » 1986

“Do your dance, do your dance / Do your dance quick, mama / Come on baby, tell me, what’s the word? / WORD UP!”

Cameo delivered a surefire bop in the 1980s with the infectious, funk song, “Word Up”. “Word Up” served as one of two top 10 hits by the collective led by Larry Blackmon. Specifically, “Word Up” peaked at number 6 on the Billboard Hot 100, marking the highest charting single attributed solely to the band. “Word Up” was nominated for their sole Grammy at the 29^th Annual GRAMMY Awards for Best R&B Performance by a Duo or Group with Vocal.

“Word Up” was written by Larry Blackmon and Thomas Michael Jenkins. Additionally, Blackmon produced the track. The sound encompasses signature, box, 1980s drums, and bright, colorful synths. Blackmon delivers funky, playful lead vocals. The lyrics are highly entertaining. “‘Cause we’re about to throw down / And you’ll know just what to do / Wave your hands in the air / Like you don’t care,” he sings in the first verse. In the second, he sings, “Give us music, we can use it / We need to dance / We don’t have the time / For psychological romance.” Word… UP! Of course, the most epic section of “Word Up” is the chorus:

“Oh, word up!

Everybody say when you hear their call

You’ve got to get it underway

Word up! It’s the code word

No matter where you say it

You’ll know that you’ll be heard.”

And for good measure, the outro is a blast too, to the tune of “W-O-R-D- up, W-O-R-D up.” “Word Up” is the stuff! FYI, Korn memorably covered it on their Greatest Hits Vol. 1 compilation 🤘.

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4.Madonna, “Papa Don’t Preach” 

True Blue » Warner » 1986

Last time I checked, Madonna was a democrat, or, at least, she’s supported democratic politicians for years.  We are well aware that the controversial pop icon wasn’t a fan of 45.   Why do I mention Madge’s political affiliation? Well, her 1986 hit, “Papa Don’t Preach”, played better with the GOP than democrats, at least at the time. Why? Pro-Life, baby!

“Papa, don’t preach, I’m in trouble, deep

Papa, don’t preach, I’ve been losing sleep

But I made up my mind, I’m

Keeping my baby, ooh

I’m gonna keep my baby.”

We have a teenage girl who’s become pregnant with her boyfriend.  Rather than have an abortion, she decides she’ll keep the child against the judgment of many folks in her life.  Does her father advise her to abort the child? That’s not clear, but what is clear is that Madonna doesn’t want her father to give her a sermon – she’s taking matters into her own hands.  Furthermore, her boyfriend is going to step up, or so Madonna sings in the second verse: “He says that he’s going to marry me / And we can raise a little family / Maybe we’ll be all right / It’s a sacrifice.” Teenage pregnancy is rarely without controversy. Furthermore, the decision to keep the baby is polarizing. Abortion advocates loathe it.  Pro-life peeps embrace it. Madonna, ultimately, didn’t take a stance.  Controversy sells, so it’s no surprise this True Blue  gem reached number one on the Billboard Hot 100.

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5. Linda Ronstadt & James Ingram, “Somewhere Out There”

An American Tail » Geffen » 1986

What happens when Grammy-winning musicians Linda Ronstadt (b. 1946) and James Ingram (1952 – 2019) join forces? Magic, plain and simple. Ronstadt and Ingram make a formidable pairing on “Somewhere Out There”, the end title from the 1986 children’s film, An American Tail. Cynthia Weil (1940 – 2023), her husband, Barry Mann (b. 1939), and James Horner (1953 – 2015) wrote this unforgettable gem. Notably, within the animated feature, former actor and producer Phillip Glasser (b. 1978), as Fievel Mousekewitz, and Betsy Cathcart, as the singing voice of Tanya Mousekewitz, perform the duet. A huge hit on the pop charts, “Somewhere Out There” reached number two on the Billboard Hot 100 in 1987. The performance was nominated for a Grammy for Best Pop Performance by a Duo or Group with Vocals at the 30^th Annual Grammy Awards. The song WON the highly coveted Grammy for Song of the Year, deservedly.

“Somewhere Out There” commences with a lovely, tender keyboard that outlines the iconic children’s soundtrack melody. To quote Al Green, it’s “Simply Beautiful”. Linda Ronstadt draws first blood, performing the first verse. She sings expressively, yet easily and tenderly, never forcing things. “Somewhere out there / Beneath the pale moonlight,” she sings, and continues, “Someone’s thinking of me / And loving me tonight.” Aww! James Ingram sings the second verse, contrasting with his deeper, rich baritone. He continues singing during the first half bridge: “And even though I know how far apart we are / It helps to think we might be wishing on the same bright star.” Ronstadt sings the second half of the bridge, raising the bar at the end (“…sleeping underneath the same big sky”), increasing the intensity leading into the chorus where they sing together. Here, they show incredible chemistry, bringing things down by the end of the section.

“Somewhere out there

If love can see us through

Then we’ll be together

Somewhere out there

Out where dreams come true.”

Following the first chorus, the musical accompaniment grows more colorful, including a ripe electric guitar solo. Rock on – in a children’s soundtrack cut, that is! Notably, there is also a key modulation that ups the ante. As before, Ingram returns to perform the first half of the bridge section. Ronstadt caps it off, once more raising the bar. They duet splendidly again, with select solo lines between them to conclude “Somewhere Out There.” The ending is breathtaking as Ronstadt and Ingram bring things down, with the musical accompaniment keeping the same energy. “Somewhere Out There” is a 40-year-old duet 🤯. Even so, revisiting it, it doesn’t sound as if it’s aged a bit. Linda Ronstadt and the late James Ingram did their big one with this one!

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Linda Ronstadt & James Ingram, Somewhere Out There: Dazzling Duets No. 8 (2026)

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6. Janet Jackson, “Nasty”

Control » A&M » 1986

“Gimme a beat!”

One of the nastiest ‘nasty’ songs of them all is “Nasty” by Janet Jackson. Cue up the iconic lyrics from the chorus: “Nasty, nasty boys don’t mean a thing / Oh, you nasty boys.” Agreed, Janet! “Nasty” is the second track on her 1986 album, Control. The Grammy-winning R&B/pop artist wrote it with legendary songwriting and production team, Jimmy Jam and Terry Lewis. Besides the personality-filled lyrics and playful vocals, the keyboard riff is one of the most distinct in pop music. The percussion and drum programming featured on “Nasty” is quintessential ‘80s. A platinum-certified single, “Nasty” peaked at number three on the Billboard Hot 100, one of 27 top-10 hits.

“Nasty,” fittingly, is filled with nastiness. In the first verse, Jackson judges him hard. “Sittin’ in the movie show, thinkin’ nasty thoughts, ha / Better be a gentleman or you’ll turn me off.” Yeah, you nasty boy! In the second verse, filth doesn’t appeal to her: “I don’t like no nasty car, I don’t like no nasty food /… The only nasty thing I like is a nasty groove.” If there was concern Jackson was being high maintenance and stuck up, she dispels it in the bridge, which features one of the most famous lyrics of the song:

“I’m not a prude (no)

I just want some respect (that’s right)

So close the door if you want me to respond (ooh, ooh yeah)

‘Cause privacy is my middle name

My last name is control

No, my first name ain’t baby

It’s Janet, Miss Jackson if you’re nasty.”

Can you say ICONIC?! There is a nasty breakdown section that only ups the ante and sheer excellence of “Nasty”.

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7. Paul Simon, “You Can Call Me Al”

Paul Simon » Graceland » Paul Simon » 1986

“A man walks down the street, he says, ‘Why am I soft in the middle now? / Why am I soft in the middle? The rest of my life is so hard.’”

What more can be said but WORD. Well, actually, plenty more can be said when it comes to the prolific, profound songwriting of the iconic Paul Simon (b. 1941). “You Can Call Me Al” is the sixth track from his important, critically acclaimed, controversial, Grammy-winning 1986 album, Graceland. “Al” is a prime example of the 16-time Grammy winner at his finest. It reached its respectable peak of number 23 on the Billboard Hot 100 in May 1987. This marked Simon’s highest charting hit on the pop charts since 1980. He penned and produced the track, considered to be among the best of his career.

Simply put, “You Can Call Me Al” has a lot going on. It features South African music and black South African musicians. The music, which fuses Simon’s musical genius and the traditional music of South Africa, is breathtaking, delightful. Simon’s vocal performance is marvelous, bringing tuneful melodies and his gift of lyricism to life. However, Simon’s union with South Africa was controversial for several reasons. His trip to South Africa, collaborating with black South African musicians, broke the cultural boycott on South Africa – Apartheid. Also, while Simon brought attention to South Africa and their music, he earned criticism for cultural appropriation and was involved in “the eye of a political storm that would result in violence and assassination threats”. Musically speaking, the risk was worth the reward, hence the masterpiece that is Graceland and the unforgettable “You Can Call Me Al.”

Beyond the top-notch musicianship exhibited by the instrumental (the arrangement and production are a chef’s kiss), the lyrics are ear-catching. Beginning with the centerpiece, the chorus, Simon sings, “I can call you Betty / And Betty, when you call me, you can call me Al.” Where did the names Al and Betty come from? French composer extraordinaire, Pierre Boulez (1925 – 2016), misunderstood Paul and his then-wife, Peggy Harper’s names. Each of the song’s three verses and pre-choruses is intriguing, too. In the first verse and pre-chorus, excerpted earlier, he seems to reflect on middle age and worries about irrelevance. In the second verse, one of Simon’s role models has become entrenched in scandal (“Who’ll be my role model now that my role model is gone, gone?”). He adds in the second pre-chorus, “All along, along, there were incidents and accidents / There were hints and allegations.” The third verse may be my favorite, and most relevant to Simon’s inspirational trip to South Africa:

“A man walks down the street

It’s a street in a strange world

Maybe it’s the third world

Maybe it’s his first time around

Doesn’t speak the language

He holds no currency

He is a foreign man

He is surrounded by the sound, the sound.”

“You Can Call Me Al” is a crowd-pleasing song. But it is also so much more than that. This is a pop success that goes deeper. This rock/pop classic is jam-packed with social, political, and musical connections. Risky, Paul Simon truly delivered a surefire masterpiece.

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8. Cyndi Lauper, “True Colors”

True Colors » Epic » 1986

“In a world full of people / You can lose sight of it all,”

Grammy-winning pop/rock musician Cyndi Lauper sings in the first verse of her classic, “True Colors”. She continues singing, “And the darkness inside you / Can make you feel small.” Of course, there’s good news despite darkness and smallness: the visibility of true colors. “True Colors” is the fourth track from Lauper’s double platinum, 1986 album, True Colors. It spent two weeks at number one on the Billboard Hot 100 in 1986. Furthermore, it was certified platinum by the RIAA in 2021. That is what you call a rousing success! “True Colors” was nominated for Best Pop Vocal Performance, Female at the 29^th Annual GRAMMY Awards, deservingly. Billy Steinberg and Tom Kelly penned it, while Lauper and Lennie Petze produced it.

“If this world makes you crazy / And you’ve taken all you can bear,” Lauper sings in the second verse, continuing, “You can call me up / Because you know I’ll be there.” What Lauper sees in this individual that others miss is summed up brilliantly in the chorus, the centerpiece:

“But I see your true colors

Shining through

I see your true colors

And that’s why I love you

So don’t be afraid to let them show

Your true colors

True colors

Are beautiful like a rainbow.”

Yes, yes, yes! The inspirational, uplifting nature of “True Colors” is one of the reasons it is such a special song. When performing this song, Lauper had a friend who’d died of AIDS in mind. “True Colors” is an important song to the LGBTQ+ community – a beloved gay anthem. Musically, it begins with a distinct percussion groove at the beginning. Following the percussion groove, rhythmic guitar and synth (keys) take over. Gradually, percussion returns, first with conga drums and then a fuller, more developed groove. Over the backdrop, Cyndi Lauper delivers lovely, sincere vocals. She is an ally, despite what others see or might think. The magnificence of “True Colors” speaks for itself. Many musicians have covered this classic, including The Weeknd, Anna Kendrick, and Justin Timberlake.

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9. Lionel Richie, “Say You, Say Me”

Dancing on the Ceiling » Motown » 1986

“Say you, say me / Say it for always, that’s the way it should be,”

Lionel Richie sings on his 1985 hit single, “Say You, Say Me”. He continues singing, in the centerpiece, the chorus, “Say you say me / Say it together, naturally.” “Say You, Say Me,” penned by Richie, marks one of 13 top-10 hits. Making the song even more elite is the fact that it is one of five no. 1 hits by the Grammy-winning musician. Specifically, “Say You, Say Me” spent four weeks at no. 1 on the Billboard Hot 100, reaching its peak position in late 1985. Ultimately, it was certified gold by the RIAA. Meanwhile, the parent album, Dancing on the Ceiling, has been certified quadruple platinum. One more accolade regarding “Say You, Say Me” – it won Best Original Song at the 1986 Oscars.

The chorus is simple, but a big reason for the success of “Say You, Say Me.” That said, the songwriting in the verses is sweet too. “As we go down life’s lonesome highway / Seems the hardest thing to do is to find a friend or two,” Richie sings in the second verse. In the bridge, he asserts, “I’m telling you / It’s time to start believing, oh yes / Believing who you are, you are a shining star.” Lionel sounds fabulous, singing authentically and expressively. The melodies are sweet, playing a key role in the catchiness of this classic. Furthermore, the music – the instrumental – shines as well. It is idiomatic of the 1980s sound with it use of keys/synths, guitar, and punchy drums. He produced this four-minute juggernaut alongside James Anthony Carmichael. “Say You, Say Me” sits at or near the top of Richie’s illustrious song catalog.

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10. The Communards, “Don’t Leave Me This Way”

Communards » London Records Ltd » 1986

“Don’t leave me this way / I can’t exist / I will surely miss your tender kiss / So don’t leave me this way.”

In 1986, the British synth-pop duo, The Communards (singer Jimmy Somerville 🏴󠁧󠁢󠁳󠁣󠁴󠁿, b. 1961, and multi-instrumentalist Richard Coles 🏴󠁧󠁢󠁥󠁮󠁧󠁿, b. 1962) would cover the Thelma Houston juggernaut, “Don’t Leave Me This Way”. Sara Jane Morris assists Somerville with this elephantine and herculean task. How do you follow up a Grammy-winning, number one hit that is beloved worldwide? “Don’t Leave Me This Way” is the opener from their 1986 album, Communards.

With a tough act to follow, The Communards put in serious work on their rendition of “Don’t Leave Me This Way.” It begins with a quicker tempo compared to Houston’s take. The groove at the beginning is everything – it establishes dance vibes. Those dance vibes are distinctly different than the disco of Houston, too. The intro is marvelous with chilling, striking choral-style vocals. Somerville eats, serving beautiful lead vocals throughout. He refreshes our memories of how tuneful the melodies of this gem are, as well as the memorable, thoughtful lyrics.

“Don’t leave me this way

I can’t exist

I will surely miss your tender kiss

So don’t leave me this way.”

In Communards’ hands, there are more electronic vibes: keyboards and synths, which are characteristic of the ‘80s sound palette. It doesn’t totally shy away from disco, however. Horns appear during the unforgettable chorus, blending seamlessly with the keys and synths. The energetic chorus remains intact, only at a faster pace (“Aww, baby, my heart is full of love and desire for you / So come on down and do what you’ve got to do / You started this fire down in my soul”). A few additional notes. There are glorious vocal harmonies between Somerville and Morris between the 2:10 and 2:25 mark. The piano sounds epic at the 2:25 mark. The vocal layers and arrangements show off tremendous musicianship. Also, there is an awesome key modulation near the three-and-a-half-minute mark. A fabulous remake, it should come as no surprise that The Communards took “Don’t Leave Me This Way” to number one in the UK, among other countries. It is another epic recording of a meaningful and timeless song.

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11. Jermaine Stewart, “We Don’t Have To Take Our Clothes Off”

Frantic Romantic » Virgin » 1986

“A quick hit, that’s your game / But I’m not a piece of meat, stimulate my brain.”

Sigh, if only more people ascribed to those lyrics, Jermaine Stewart (1957 – 1997). Stewart is best remembered for “We Don’t Have To Take Our Clothes Off”, which peaked at number five on the Billboard Hot 100. The opening track from his 1986 album, Frantic Romantic, Stewart lets him know that he’s not easy, and he’s going to have to put in work to get him in bed. Stewart wants to build something more than a hook-up: “Shake your body to the music, maybe then you’ll score.”

Even if this man scores on Jermaine, he makes it clear in the catchy, innocent chorus, “We don’t have to take our clothes off / To have a good time, oh no / We could dance and party, all night / And drink some cherry wine, uh-huh.” Maybe the partying part is not innocent, but clearly, a sexual encounter is not on Stewart’s mind right at this moment. In the second verse, he tells this boy, “Just slow down if you want me / A man wants to be approached cool and romantically.” Whether a homosexual man, like Stewart, or a heterosexual man, this sense of romance and opting against hooking up is refreshing. The 1980s aesthetic is written all over this cut. Even if it sounds a bit dated by 2020s standards, the groove and backdrop still slaps. Stewart was a ripe tenor with a pure upper register, something he flaunts sensationally on this gem from the 1980s. It’s sad that he only to be 39 years old, dying from AIDS-related liver cancer. His legacy lives on with the incredibly fun “We Don’t Have To Take Our Clothes Off”.

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12. The Bangles, “Walk Like an Egyptian”

Different Light » Sony Music Entertainment, Inc. » 1986

Four words: “Walk Like an Egyptian”. The Bangles had quite a lucrative run in the 1980s. With multiple top five pop hits, none was more popular than “Walk Like an Egyptian,” the fourth track from their 1986 multi-platinum album, Different Light. The first of two number-one hits by the American all-female band, this pop gem is simply irresistible and unforgettable. Unsurprisingly, it was certified gold by the Recording Industry Association of America. Liam Sternberg composed it, while David Kahne produced it.

“Walk Like an Egyptian” is infectious from the get-go. All three lead vocalists bring well-rounded performances infused with personality. Vicki Peterson takes the reins in the first verse, getting the most bang for the buck from the Egyptian references. “All the old paintings on the tomb / They do the sand dance, don’t you know?” she sings, and continues, “If they move too quick / They’re falling down like a domino.” Noted! Michael Steele leads the charge in the second verse, where “All the school kids so sick of books / They like the punk and the metal band / When the buzzer rings / They’re walking like an Egyptian.” Rock on 🤘?! Prefaced with a guitar solo, Susanna Hoffs takes the third and final verse where “All the Japanese with their yen / The party boys call the Kremlin / And the Chinese know…” You can guess what lyric follows… The Bangles all sing together in select moments on all three verses, to the tune of “Oh-way-oh.” Each singer performs a pre-chorus following their verse, with assistance from the group. For Vicki, it’s “Foreign types with hookah pipes.” Michael speaks on “All the kids in the marketplace.” Susanna opts for “All the cops in the donut shop.” After each respective verse, the lead singer performs the chorus: “Walk like an Egyptian.” Supported by an up-tempo, rhythmic backdrop, The Bangles were locked in and loaded on their once-in-a-lifetime smash, “Walk Like an Egyptian”.

Appears in 🔻:

The Bangles, Walk Like an Egyptian: Throwback Vibez No. 77 (2026)

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13. Peter Cetera, “Glory of Love”

Solitude / Solitaire » Warner » 1986

“I am a man who will fight for your honor / I’ll be the hero you’re dreaming of.”

1986 – what a year! Peter Cetera (b. 1944), the former lead vocalist and bassist for Chicago, unveiled “Glory of Love”. “Glory of Love” is one of the ‘it’ soft rock/pop classics of the 1980s. A number one hit on the Billboard Hot 100, “Glory of Love,” which appeared in the film The Karate Kid Part II, was nominated for multiple awards, including the Academy Award for Best Original Song and the Grammy Award for Best Pop Vocal Performance by a Male Artist. Maybe you can argue that the sound of the record is dated by 2020s standards (it’s 80s soft-rock/pop-rock through and through), but honestly, there’s something utterly delightful about the nostalgia of this gem.

Besides appearing in The Karate Kid Part II, “Glory of Love” graces Cetera’s 1986 album, Solitude / Solitaire. Eventually, Solitude/Solitaire would be certified platinum by the RIAA. Cetera sings about dedication – being an upstanding man who wants to do right and truly exemplify the glory of love. He compliments his lady, asserting in the third verse, “You keep me standing tall / You help me through it all / I’m always strong when you’re beside me.” Oh, the feels! In the chorus, excerpted above, he continues singing, “We’ll live forever / Knowing together / That we did it all for the glory of love.” We can’t neglect the bridge, where he sings, “It’s like a knight in shining armor / From a long time ago / Just in time, I will save the day / Take you to my castle far away.” Okay, maybe it’s a bit cheesy and schmaltzy, but it comes from a good, chivalrous place. “Glory of Love” reminisces about simpler times when things seemed far less complicated. So much of today’s music is far less chivalrous and dedicated. We should truly appreciate the glory of this Peter Cetera gem.

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14. Kenny Loggins, “Danger Zone”

Yesterday, Today, Tomorrow – The Greatest Hits of Kenny Loggins » Sony Music Entertainment » 1997

Five words: “Highway to the Danger Zone.” The 80s are alive and well on “Danger Zone”, among the biggest hits by Kenny Loggins. “Danger Zone,” which appears in the 1986 box office smash Top Gun, peaked at number two on the Billboard Hot 100, one of five top-10 hits by the rock/pop artist. The legendary Giorgio Moroder and Thomas Whitlock penned the record, with Moroder producing.

Regarding sound, the 80s aesthetic – the vibe – is constructed by pummeling drums, ripe guitar riffs, and keys. “Danger Zone” is a groove-fest from the onset. While the sound is a bright spot, even brighter is the amazing Kenny Loggins. His voice is on-point, PERIOD. Furthermore, Loggins delivers plenty of tuneful melodies throughout. Additionally, the lyrics are fun, whether it’s “Revvin’ up your engine / Listen to her howlin’ roar” (verse one) or “She got you jumpin’ off the deck / And shovin’ into overdrive.” Woo! Of course, no moment is more tuneful than the chorus (excerpted above), which continues with lyrics like “Gonna take it right into the Danger Zone” and “Ride into the Danger Zone.” The ‘Danger Zone’ is dangerous to the nth degree on “Danger Zone” one of the epic 80s gems.

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15. Anita Baker, “Sweet Love”

Rapture » Elektra » 1986

Although infamous for being a diva, Grammy-winning R&B singer/songwriter Anita Baker is an incredible musician. Her voice is distinct – truly, one of a kind. Throughout her career, Baker had a successful run, including her 1986 multiplatinum masterpiece, Rapture. The song to beat on Rapture is the opening gem, “Sweet Love”, which was composed by Baker, Gary Bias, and Louis Johnson. “Sweet Love” marks one of two top-ten hits on the Billboard Hot 100. It peaked at number eight on the pop charts, which is impressive for an adult contemporary R&B song. “Sweet Love” kicks off with a bang thanks to a lush introduction: lovely keys and animated ‘live’ drums, which set up a refined, classy R&B experience. In addition to being idiomatic of R&B, the harmonic scheme and approach have some jazz sensibilities. Of course, the biggest draw is the diva herself, Baker. Baker blesses our ears with ultra-sophisticated vocals, serenading us about L-O-V-E (“Your heart has called me closer to you / I will be all that you need”). She masterfully brings the melodies to life. Additionally, her ad-libs are celestial as well. The chorus, in all its tuneful glory, serves as the centerpiece:

“I’m in love, sweet love (sweet love)

Hear me calling out your name, I feel no shame

I’m in love, sweet love (Sweet love)

Don’t you ever go away; it’ll always be this way.”

It’s not just the chorus that stands out. Those verses are tuneful too, not to mention the sheer elegance. Furthermore, what about the bridge? It brings a welcome contrast, separating itself from the verses and chorus. “Sweet Love” is nothing short of sweet.

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16. Oran Juice Jones, “The Rain”

Juice » The Island Def Jam Group » 1986

“I saw you (And him, and him) walking in the rain / You were holding hands, and I’ll never be the same.”

Oh, snap! Infidelity alert! R&B singer Oran Juice Jones has one claim to fame – his one-hit-wonder, “The Rain”. It was the only song by Jones to appear on the pop charts. It peaked at number nine on the Billboard Hot 100. “The Rain” also earned more accolades. It was certified gold by the RIAA. It was also nominated for a Grammy for Best R&B Vocal Performance, Male at the 29^th Annual Grammy Awards. Vincent Bell wrote “The Rain.” Bell, Jones, and Russell Simmons produced it.

In “The Rain,” Jones is upset about her unfaithfulness. The rain is literal and metaphorical: “Tossing and turning, another sleepless night / The rain crashes against my windowpane /… The moment I knew I would never be the same.” Perturbed to the nth degree, in the second verse, he professes his love but tells her, “Right now, I’ve got to say goodbye.” That is understandable, considering she was cheating on him. Interestingly, “The Rain” features an extended outro that surpasses the length of the verses or chorus. He confronts her, asserting, “And my first impulse was to run up on you and do a Rambo / Whip out the jammy and flat-blast both of you / But I ain’t wanna mess up this 3700 dollar lynx coat.” Ooh-wee! Another memorable moment from the outro involves Trix:

“‘Cause you dismissed! That’s right, silly rabbit

Trix are made for kids, don’t you know that?

You without me: like cornflake without the milk

It’s my world, you just a squirrel, tryin’ to get a nut

Now get on outta here! Ah! Don’t touch that coat!”

The five-minute-long “The Rain” is a compelling listen from start to finish. What a way to open his 1986 album, Juice. Jones sings beautifully, bringing the tuneful melodies to life. He also brings ample personality to the outro. The production is 80s to the core, with the boxy drum programming and bright, colorful keys and synths. Jones may be a one-hit-wonder, but he’s a wonderful one!

Appears in 🔻:

Oran Juice Jones, The Rain: 1 Hit WONDERful No. 3 (2025)

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17. Berlin, “Take My Breath Away”

Count Three & Pray » UMG Recordings, Inc. » 1986

“Watching every motion in my foolish lover’s game / On this endless ocean, finally lovers know no shame…”

American new wave collective Berlin is most renowned for one song: “Take My Breath Away.” “Take My Breath Away” is the quintessential 80s record, and I dare you to argue against that! Recognizable from the opening tip thanks to those warm, colorful synths, Berlin never needed to record another song. Of course, they had other hits, but the former number one hit is their most beloved, most requested song. “Take My Breath Away” famously appears on the Top Gun soundtrack. Notably, the song won an Oscar, rightfully so. In addition to being the signature song from Top Gun, it also appears on the band’s 1986 album, Count Three & Pray. The theme is an always relatable one: LOVE. “Take my breath away / My love, take my breath away,” Terri Nunn sings elegantly on the simple yet unforgettable chorus. “Take My Breath Away” was famously produced by Giorgio Moroder.

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18. Pet Shop Boys, “West End Girls”

Please » Parlophone Records Limited » 1986

“Sometimes, you’re better off dead.”

Well now, that’s morbid… “There’s a gun in your hand, and it’s pointing at your head.” We’re batting a thousand so far, Pet Shop Boys. Continue, I suppose: “You think you’re mad, too unstable / Kicking in chairs and knocking down tables / In a restaurant in a West End town.” Noted. The English synthpop duo, composed of Chris Lowe (keyboards, songwriting, b. 1959) and Neil Tennant (vocals, songwriting, b. 1954), cemented itself in music history with its big-time hit, “West End Girls”. “West End Girls” is the second track on their 1986 platinum-certified album, Please. “Girls” spent one week at number one on the Billboard Hot 100, giving the duo their sole number one hit and one of five top 10s. Written by Lowe and Tennant, it was produced by Stephen Hague.

Before the morbid, suicidal references in the opening verse, “West End Girls” commences with the sounds of the city. This is appropriate given the song title and the city-related lyrics. The musical accompaniment and production are everything: colorful keyboards, a scintillating, rhythmic groove, and a big-time synth bass line. “West End Girls” never rushes, taking its time to percolate before Neil Tennant sings one note. Over the course of three verses, Tennant impresses with his rhythmic, talk-singing; it’s rap-adjacent, if you will. While those opening lines catch the ear because of their shocking, negative connotation, “West End Girls” is a song about clubbing and sex. The first verse goes on to mention an underground dive bar. In the second, Tennant seems to be singing about money, but also about how much sex. In the third and final verse, there seems little doubt about his intentions: “Just you wait ‘til I get you home / We’ve got no future, we’ve got no past / Here today, built to last.” Word. Tennant sings the chorus, which features a longer, more legato, and pitched melody.

“In a West End town, a dead world

The East End boys and West End girls

A West End town, a dead end world

East End Boys, West End girls

West End girls

West End girls.”

A brief interlude appears between the second and third choruses. Helena Springs sings, “How much do you need?” Following one final chorus, the outro does its job – closing out the captivating “West End Girls” like the ‘80s gem that it is! “East End boys / The West End girls…

Appears in 🔻:

Pet Shop Boys, West End Girls: Throwback Vibez No. 74 (2026)

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19. XTC, “Dear God”

Skylarking » Virgin Records Limited » 1986

“Dear God, hope you got the letter and… / I pray you can make it better down / Here,”

eight-year-old Jasmine Veillette sings in the first verse of “Dear God”. She goes on to criticize God, singing, “But all the people that you made in your image, see them / Starving on their feet / ‘Cause they don’t get enough to eat / From God / Can’t believe in / You.” You know, it’s hard to make a child understand faith and believing in a God that they cannot see nor hear, so, that’s not particularly controversial. Still, ask Christians about being skeptical of religion, let alone God, and you have ample controversy. Jasmine only sings the first verse of this 1986 classic, relinquishing the reins to XTC frontman Andy Partridge.

Andy Partridge questions the existence of God. At this point, the eventual atheist is agnostic, so he has lots of questions and again, plenty of ‘bones to pick’ with ‘The Most High.’ “We all need a big reduction in the amount / Of tears,” he sings in the second verse, while he’s skeptical of The Bible in the third (“Your name is on a lot of quotes in / This book / And us crazy humans wrote it, you should take a look”). Of course, one of Partridge’s most atheistic moments comes in the bridge:

“Did you make

Disease

And the diamond blue?

Did you know man-

Kind

After we made you?

And the devil

Too!”

Musically, “Dear God” is a brilliant record with its dramatic, gorgeous strings. Furthermore, tapping a child for that first verse? Phenomenal!

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20. Europe, “The Final Countdown”

The Final Countdown » Sony Music Entertainment, Inc. » 1986

“We’re leaving ground (Leaving ground) / Will things ever be the same again? / It’s the final countdown.”

Word. Swedish 🇸🇪 rock band Europe, named after the continent, did its big one in 1986. That’s the year – my birth year, btw – that “The Final Countdown” was born 🤘! “The Final Countdown” is the opener from their third studio album, entitled – wait for it – The Final Countdown! Of course, the multi-platinum smash HAD to be named that! “The Final Countdown” is the band’s most renowned song, though “Carrie” from the same album charted five spots higher on the Billboard Hot 100 (number three versus number eight) 🤯. Joey Tempest (b. 1963), the lead vocalist, composed the classic, while Kevin Elson produced it.

“The Final Countdown” is a banger from the get-go – that goes without saying! After an enigmatic, nebulous start, the record takes form with the signature, mean, striking, and unforgettable synth riff. Without listening to it, I can hear it in my head – it’s that distinct and memorable. It sets the tone for a once-in-a-lifetime arena-/glam-rock/metal cut. Beyond being gassed up by the killer, brassy keys (Mic Michaeli, b. 1962), the band is locked in. The jagged, rhythmic guitars cook (John Norum, b. 1964), the bass (John Levén, b. 1963) holds down the low end, while the drums (Ian Haugland, b. 1964) pummel. That, of course, fuels the writer and head honcho, Joey Tempest. He brings the heat with his powerful, pure tenor. Even with such a rhythmic machine accompanying him, he eats, tearing it up on those high notes while bringing plenty of melodic care and nuance. Thematically, Europe embraces outer space and science fiction. Leaving Earth, Tempest asserts in the first verse, “And maybe we’ll come back / To Earth, who can tell?” Where is their destination, exactly? “We’re heading for Venus (Venus) / And still, we stand tall,” he proclaims in the second verse, and adds, “With so many light years to go / And things to be found (To be found) / I’m sure that we’ll all miss her so.” Notably, the Geniuses point out the scientific inaccuracy. Of course, the crème de la crème, aside from that synth riff, is the chorus:

“It’s the final countdown

The final countdown

The final countdown (The final countdown, oh).”

What more needs to be said? “The Final Countdown” is a certified classic. Take one listen, one time, and you’ll hear its enduring magic.

Appears in 🔻:

Europe, The Final Countdown: Throwback Vibez No. 78 (2026)

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20 Memorable Classics from 1986 (2026) [📷: Brent Faulkner / The Musical Hype; A&M, Elektra, Epic, Geffen, London Records Ltd, MCA Records Inc., Mercury, Motown, Parlophone Records Limited, Paul Simon, PolyGram Records Inc., Sony Music Entertainment, Inc., The Island Def Jam Group, UMG Recordings, Inc., Warner; Canva AI; Gordon Johnson from Pixabay]

20 Memorable Classics from 1986 | Playlist

Published by the musical hype on September 4, 2026September 4, 2026