Incredible Songs: 1980s, Vol. 4

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Incredible Songs: 1980s, Vol. 4 features music courtesy of The Buggles, Deniece Williams, Michael Jackson, Tracy Chapman, and Whitney Houston.

Ah, the 1980s – what a time, what a time! What better way to reminisce on the decade than to select some of its best songs.  There were plenty of kick a$$ rock, pop, and R&B records that stand the test of time. Honestly, there are far too many awesome musicians to recognize in one musical compendium – at least with blurbs involved. Still, we continue the process with  Incredible Songs: 1980s, Vol. 4, following  Incredible Songs: 1980s, Vol. 1 (2023),  Incredible Songs: 1980s, Vol. 2 (2023), and  Incredible Songs: 1980s, Vol. 3.  Incredible Songs: 1980s, Vol. 4 features some of the 80s finest courtesy of The Buggles, Deniece Williams, Michael Jackson, Tracy Chapman, and Whitney Houston among others. So, get into the spirit of the 1980s and check out these epic musical classics!

1. The Buggles, “Video Killed The Radio Star”  

The Age of Plastic • The Island Def Jam Music Group • 1980 

“Oh-a oh-a.” Sigh, that’s an iconic moment from an iconic song! The song is “Video Killed the Radio Star”, the sole hit by The Buggles in the United States.  Of course, such fun, but silly lyrics aren’t the sole reason this 1979 record earned the English new wave band notoriety.  This record reflects on technological advancements, particularly how such advancements have had a negative impact.  “They took credit for your second symphony,” Trevor Horn sings in the first verse, continuing, “Rewritten by a machine on new technology / And now I understand the problems you could see.” Does a machine really need to rewrite a masterpiece such as a symphony? Food for thought.

Even though “Video Killed the Radio Star” arrived in 1979, eventually appearing on The Buggles’ 1980 album, The Age of Plastic, is what the band sings about dated at this point? No, because technology doesn’t stop, and new technology consistently replaces old.  In a musical context, look at how music is consumed these days. sure, “Video killed the radio star / Pictures came and broke your heart” back in the 80s but look at how music is consumed now. Streaming has surpassed physical sales of music, for example.  Trevor Horn, assisted by Debi Doss and Linda Jardim continues to talk about the changes in the second verse: “And now we meet in an abandoned studio / We hear the playback, and it seems so long ago.” Besides thought-provoking lyrics, tongue-in-cheek vocals, and respectable lead vocals by Horn, the music on this Horn, Bruce Woolery, and Geoff Downes penned track is exuberant – totally rad . One hit The Buggles may have had, but “Video Killed the Radio Star” is an awesome one that never gets old !

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2. Deniece Williams, “It’s Gonna Take a Miracle”  

Niecy • Columbia • 1982   

“Loving you so / I was too blind to see / You letting me go / But now that you’ve set me free,” Grammy-winning R&B singer/songwriter Deniece Williams sings on “It’s Gonna Take a Miracle”, continuing, “It’s gonna take a miracle / Yes, it’s gonna take a miracle / To make me love someone new / ‘Cause I’m crazy for you.” Oh, the plight of love – those matters of the heart !  “It’s Gonna Take a Miracle” has the distinction of being one of three top-10 hits by Williams. “It’s Gonna Take a Miracle,” is the song to beat on her 1982, gold certified album, Niecy, peaked at no. 10 on the Billboard Hot 100. Williams produced this update of the The Royalettes’ 1965 joint alongside the late, great Thom Bell.

All writers and producers on “It’s Gonna Take a Miracle” earn incredibly high marks.  First and foremost, this is a well-written record.  It superbly captures the relatable feeling of struggling to move on from a past relationship – it’s literally gonna take a miracle to get over this person! Williams does a marvelous job of bringing the lyrics to life authentically with her classy and sophisticated lead vocals.  Furthermore, she does some impressive, playful ad-libs that are a must-hear.  Also, she receives fine support from backing vocals, upping the soulful ante. Focusing on the production, it is stunning; utterly sublime.  “It’s Gonna Take a Miracle” benefits from a superb, soulful groove.  Specifically, the ostinato piano lines are lovely, while the vibraphone hits are timely. Additionally, the string orchestration is marvelous – lush and warm.  One other note about the brilliance of this top-10 smash. The bridge provides sizable contrast to other sections of the song with the harmonic adventurousness being a big selling point.  All told, the excellence of “It’s Gonna Take a Miracle” speaks for itself. It’s simply marvelous, darling!   

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3. Michael Jackson, “The Way You Make Me Feel”

Bad • MJJ Productions • 1987

In the 1980s, Michael Jackson had TWO juggernaut albums – Thriller in 1982 and Bad in 1987.  Though it was an arduous task for even a prodigious superstar like Jackson to follow up the biggest of the two juggernauts in Thriller, Bad is a masterpiece too. Bad landed five no. 1 hits on the Billboard Hot 100, including its third single, “The Way You Make Me Feel”. “The Way You Make Me Feel” is a vibe from the onset, thanks to a fierce revving sound (for lack of a better description) and the signature 80s drum programming – gotta love that boxy sound! The groove cooks, including a bass line for the ages.  Jackson penned this memorable number and produced it alongside the iconic Quincy Jones.  Even if those drums sound anachronistic in the 2020s, the charm and sheer energy of this joint never loses its freshness or luster.   

“The Way You Make Me Feel” is a prime example of Michael Jackson embracing being The King of Pop.  Yes, the soulful, R&B vibes are still present, particularly those accented horns, as well as the bluesy harmonic structure, but this is a pop record.  Jackson is in great voice, following the groove with his signature “Hee-hee.” The structure is straightforward, which makes “The Way You Make Me Feel” incredibly accessible. Furthermore, the writing is straightforward too – love, love, love.  “You give me fever like I’ve never, ever known,” Jackson asserts in the first verse, adding in the pre-chorus, “I feel your fever from miles around.” In the second verse, he melts because of her – “Just hold me, baby, and I’m in ecstasy.” Oh, the power of a crush and a relationship! Of course, the main attraction – the focal point – is none other than the chorus. It’s repetitive but infectious and relatable, so, we STAN! “The way you make me feel / You really turn me on / You knock me off of my feet / My lonely days are gone.” What more needs to be said about “The Way You Make Me Feel”? This throwback vibe speaks for itself!  

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Michael Jackson, The Way You Make Me Feel: Throwback Vibez ️ No. 104 (2023)

4. Tracy Chapman, “Fast Car”

Tracy Chapman • Elektra • 1988

“You got a fast car / I got a plan to get us outta here / I been working at the convenience store / Managed to save just a little bit of money.” Just those excerpted lyrics from “Fast Car”, the sensational Tracy Chapman masterpiece, which she composed herself, encompass ambition, escaping from an unideal place, and narrativize a couple seeking a better life that feels incredibly authentic and relatable.  In the second verse of her top-10 hit (no. 6 on the Billboard Hot 100), Chapman adds, “You and I can both get jobs / Finally see what it means to be living.” That statement truly hits home, speaking to the plight of the working class. That’s just one excerpt from this Grammy-winning song (Best Pop Vocal Performance, Female). Chapman would also win Grammys at the 31st Annual GRAMMY Awards for Best New Artist and Best Contemporary Folk Recording, while she was nominated for Record, Song, and Album of the Year for Tracy Chapman (1988). “See, my old man’s got a problem / He lives with a bottle, that’s the way it is,” Chapman continues singing, continuing to be authentic to the nth degree.

Vocally, Chapman exemplifies the singer/songwriter sound.  She’s expressive and nuanced, but she never forces things or over-sings. Her tone is pure from the onset.  There’s a sense of poise throughout the courses of the verses, yet, simultaneously, Tracy sounds commanding and firmly in control – it’s hypnotic to a degree.  The chorus provides a welcome change of pace, finding her upping the intensity.  The drums contribute to this temporary dynamic burst, prior to the return of the even-keel verses.   

“So, I remember when we were driving, driving in your car  

Speed so fast, I felt like I was drunk  

City lights lay out before us  

And your arm felt nice wrapped ’round my shoulder  

And I-I, had a feeling that I belonged  

I-I had a feeling I could be someone, be someone, be someone.”    

It’s not just the lyrics, narrative, theme, or vocals that make “Fast Car” a surefire classic.  The production ( David Kershenbaum) and instrumental, although relatively simple, is perfect for this folk, soft rock gem.  Guitars, bass, drums, and percussion are more than enough to fuel the fire. “Fast Car” is a truly a once in a lifetime song, one that remains beloved more than three decades later.    

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5. Queen, “Radio Ga Ga”  

The Works • Hollywood • 1984

“I’d sit alone and watch your light / My only friend through teenage nights,” Freddie Mercury asserts in the first verse of “Radio Ga Ga”.  He continues singing on the highlight from The Works, the 1984 album by Queen: “And everything I had to know / I heard it on the radio.” Ooh wee! Back in the day, radio was a big, big deal. However, as time goes on, even in the 1980s, the way music is experienced shifted. Drummer Roger Taylor wrote “Radio Gaga,” asserting, It deals with how important radio used to be , historically speaking before television, and how important it was to me as a kid.[1] Given the significance of radio, it makes perfect sense why Mercury goes on to sing, telling radio, “So don’t become some background noise.”    

There are more lyrics that stand out in “Radio Gaga.” In the pre-chorus, Mercury touts “the power” of radio, adding, “You’ve yet to have your finest hour.” The chorus is tongue in cheek yet emphasizes the star of the show – RADIO! In the second verse, we get some of Taylor’s disdain for television in place of radio, specifically when Mercury sings, “So stick around ‘cause we might miss you / When we grow tired of all this visual.” With the songwriting conveying a respectable message, the music proves epic as always – the expectation from Queen.  By this time, we hear more synthesizers, idiomatic of the 80s, as well as drum programming. No worries though – we still get sweet guitar courtesy of Brian May ! Vocally, Freddie Mercury remains beastly, marvelously bringing Taylor’s lyrics and melody to life.  Another classic, “Radio Ga Ga” earned Queen another top-20 hit, peaking at no. 16 on the Billboard Hot 100.  

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[1] Clerc, B., Burrows, S., Higgitt, C., & Ratcliffe, P. (2020). Radio Ga Ga. In Queen: All the songs: The story behind every track (pp. 338–338). essay, Black Dog & Leventhal Publishers. 

6. Joe Cocker & Jennifer Warnes, “Up Where We Belong” 

Ultimate Collection • UMG Recordings, Inc. • 2004  

“Love lift us up where we belong / Where the eagles cry, on a mountain high.” Ah, “Up Where We Belong”, one of the great pop classics from the 1980s.  “Up Where We Belong” enlisted the talents of the late, great English singer Joe Cocker (1944 – 2014) and Jennifer Warnes (1947 – ).  The chorus continues, in all its glory, “Love lift us up where we belong / Far from the world below, up where the clear winds blow.” Who penned this highlight from the An Office and a Gentleman Soundtrack (1982)? That would be Bernard Nitzsche and Buffy Sainte-Marie.  Kudos to them!   

It should come as no surprise that “Up Where We Belong” is a decorated classic.  First of all, it peaked at no. 1 hit on the Billboard Hot 100. Secondly, it won the Grammy for Best Pop Performance By A Duo or Group With Vocals, the sole Grammy win by Cocker (Warnes would win a second Grammy).  Songwriters Nitzsche and Sainte-Marie would be awarded the highly coveted Academy Award for Best Original Song in 1983. “Up Where We Belong” was THAT song.  Besides the catchy chorus, where the chemistry between Cocker and Warnes is incredible, the other sections of the song, and the respective solo vocals are sweet too.  Jennifer starts things off, setting the tone: “Who knows what tomorrow brings / In a world few hearts survive.” Sigh.  Of course, the always distinct and expressive Cocker puts his stamp on the song, singing the second half of the first verse, as well as the following refrain (or pre-chorus if you will). In the second verse, Cocker sings first, followed by Warnes. Beyond the love-driven songwriting, elite vocal performance, and tuneful melodies, the production shines with its palette of keys shining particularly bright. “Up Where We Belong” is a timeless classic that speaks for itself. 

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7. DeBarge, “Rhythm of The Night” 

Rhythm of The Night • Motown • 1985 

“When it feels like the world is on your shoulders / And all of the madness has got you going crazy,” El DeBarge sings in the first verse of the huge DeBarge classic, “Rhythm Of The Night”, written by a then young Diane Warren. He continues singing, with his signature, high tenor, “It’s time to get out, step out into the street / Where all of the action is right there at your feet.” So basically, El DeBarge, and the rest of the DeBarge siblings are telling us to get moving – hit the dance floor! Rather than let life sink us, have some fun – seize the night! “Rhythm of The Night” is a fitting closing track on the R&B collective’s 1985 album, also titled Closing track from Rhythm of The Night.  With its epic, undeniably danceable groove, and those easygoing, fun lyrics, it’s no surprise “Rhythm of The Night” peaked at no. 3 on the Billboard Hot 100.   

In addition to the enjoyable lyrics, “Rhythm” features terrific production work – refined, slick and funky.  As often was the case in the 1980s, the sound is constructed with percussion, programming, and keys/synths. The record embraces the chill, quiet storm R&B vibe that dominated the era.  To reiterate, El DeBarge sounds incredible singing lead with his instrument sounding clear, cool, and easy on the ears.  While the first verse, as well as the second verse are terrific, it is the chorus, which is catchy and feel-good as albeit, that is the centerpiece.     

“To the beat of the rhythm of the night  

Dance until the morning light 

Forget about the worries on your mind 

You can leave them all behind 

To the beat of the rhythm of the night 

Oh, the rhythm of the night.”     

Later, the “la-la-la(s)” featured in the outro only accentuates the vibe.  All told, “Rhythm Of The Night” is a must-hear 80s classic.  Throwback gold, baby!  

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8. The Pointer Sisters, “Slow Hand” 

Black & White • Sony Music Entertainment • 1981 

“I want a man with a slow hand / I want a man with an easy touch / I want somebody who will spend some time with,” The Pointer Sisters on their 1981 hit, “Slow Hand”. Love (and sex), of course, always fuels the fire for a pop hit! The Grammy-winning sister collective continues singing in the memorable chorus of the no. 2 Billboard Hot 100 hit, “Not come and go in a heated rush / I want somebody who will understand / When it comes to love, I want a slow hand.” Woo! “Slow Hand” appears on the album, Black & White.  It was penned by John Bettis and Michael Clark, while Richard Perry and Trevor Lawrence produce.  

“Slow Hand” shows the versatility of the Anita Pointer and company.  It’s a chill R&B joint, idiomatic of changing sound of the genre in the 1980s.  Added wrinkles include both pop and country () vibes.  Hearing this as a child (long after it was released ), I was always impressed by how different it sounded compared to other ‘R&B’ records.  The contrasting sound is part of the charm, not to mention those utterly sublime lead vocals by Anita.  Thematically, “Slow Hand” is about taking love slowly , no rush when it comes to getting it done in the bedroom .  A prime example preceding the chorus:   

“Darlin’, don’t say a word, ‘cause I already heard 

What your body’s sayin’ to mine 

I’m tired of fast moves, I’ve got a slow groove 

On my mind.” 

The Pointer Sisters excel at pleasure, unafraid to embrace sensuality on this surefire classic.

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9. Michael McDonald, “I Keep Forgettin’ (Every Time You’re Near)” 

If That’s What It Takes • Warner • 1982

“I keep forgettin’ we’re not in love anymore / I keep forgettin’ things will never be the same again.” Michael McDonald had a successful run as a member of Doobie Brothers, an iconic, soft-rock, pop-soul collective. He also experienced a successful run as a solo artist beginning with his first and best studio album, If That’s What It Takes.  The crown jewel of his 1982, gold-certified LP is “I Keep Forgettin’ (Every Time You’re Near)”. “I Keep Forgettin’” was a pop hit, peaking at no. 4 on the Billboard Hot 100, his most successful solo single. “I Keep Forgettin’” is an exceptional example of sound songwriting, period (McDonald, Ed Sanford, Jerry Leiber, and Mike Stoller). The lyrics are strong, but also, the crossover appeal is what really stands out.  McDonald lies somewhere in the rock/pop/soul sphere, which makes him appeal to multiple audiences.  Thematically, McDonald is struggling with a break-up.  Sure, we’ve heard ‘this song and dance’ many times but it never grows old.  Clearly, McDonald hates that things have ended, and he isn’t coping well.  In the bridge, he asserts, “Don’t say that, don’t say that, don’t say that / I know you’re not mine anymore-anymore-anytime / But tell me how come I…” Basically, like all of us who have broken up with someone, you must work through it, sigh.

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10. Patrice Rushen, “Forget Me Nots”

Straight from the Heart • Strut • 1982

“Sending you forget me nots / To help you to remember.” Well, that’s incredibly thoughtful, Patrice Rushen! She continues singing in the chorus of “Forget Me Nots”, “Baby, please forget me not / I want to remember you.” Sweet, sweet, sweet! “Forget Me Nots” appears as the opening track from the singer/songwriter/pianist’s 1982 album, Straight from the Heart. Straight From The Heart marked the most successful album of her career, eventually peaking at no. 14 on the Billboard 200. Furthermore, “Forget Me Nots” marked the biggest hit of her career, peaking at no. 23 on the Billboard Hot 100. 

The chorus goes a long way in solidifying the success of “Forget Me Nots” – it’s catchy, infectious, tuneful, etc. However, it’s just one of the reasons why the song was and still is a BOP.  The funky groove is inescapable, PERIOD.  The bass line ( Freddie Washington) is incredibly active, featuring that glorious slapping technique, which was extremely popular in the 1980s. The production (Rushen and Charles Mims, Jr.) is a huge selling point – a V-I-B-E to the nth degree! As for the star, Patrice Rushen, she sounds incredibly refined vocally – sophisticated.  Rushen never breaks a sweat, singing coolly yet still bringing the heat.  Her modest approach speaks volumes as she tackles the universal topic of L-O-V-E. “Was it the simple things / That made me so crazy about you,” she sings in the first verse, continuing, “Was it your charm or your passion / It’s not hard to believe / I love you and I need you…” WOO! Unfortunately, Rushen and her lover ended up as friends, we learn in the second verse, though Patrice wants more, hence sending those “forget me nots” and reminding him of “Good times we had.” Perhaps “Forget Me Nots” is underrated compared to bigger R&B hits of the 1980s.  It shouldn’t be. Just like that bass , it still totally slaps! Rushen, Washington, and Terri McFaddin penned a good one!  

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11. Con Funk Shun, “Love’s Train” 

To the Max • Mercury • 1982

“If you are that special lover / And love keeps you tied to another / That’s the way it goes on love’s train.” Among the most beloved, popular songs by R&B/funk collective Con Funk Shun is “Love’s Train”.  The memorable chorus continues, “Sometimes, heart strings can be broken / But you just have to keep on goin’ / That’s the way it goes on love’s train.” “Love’s Train” graces the band’s 1982 album, To the Max. To The Max didn’t earn the success of a quartet of albums by Con Funk Shun between 1977 and 1980 that were all certified gold. Also, amazingly, “Love’s Train,” arguably the group’s ace in the hole, wasn’t released as a single .  Regardless, the excellence of this love triangle-oriented joint makes it a surefire gem.  

The gist is, he, Michael Cooper (lead vocals), wants to be with her.  She also wants to be with him, but there’s another in the picture:  

“She said ‘Sugar, Honey, Darlin’  

I really wanna see ya, too  

It’s just that someone’s over, and baby  

I really wanna be with you.’”  

Oh, the plight of love, in all of its unfairness! More unfair is that this great R&B record didn’t receive the fanfare it deserved.  The production is warm, idiomatic of the smooth, quiet storm brand of R&B popular in the 80s: keys, rhythm guitar, prominent bass line, and a hi-hat heavy drum groove. “Love’s Train” feels and sounds natural, never hurried, and takes its time. Besides the love-driven lyrics, Cooper’s vocals are buttery and silky smooth.  His pipes ooze with romance and sexiness, even if another person involved throws a wrench in the plans. Furthermore, “Love’s Train” features incredibly tuneful melodies.  Among the most tuneful section that is not named the chorus is the pre-chorus, where Cooper ascends into his powerful upper register. While Con Funk Shun didn’t receive the attention they should’ve for “Love’s Train”, it truly is a bop.  

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12. Whitney Houston, “One Moment in Time”

I Will Always Love You: The Best of Whitney Houston • RCA • 2021

“Each day I live / I want to be / A day to give / The best of me / I’m only one / But not alone / My finest day / Is yet unknown.” What beautiful, beautiful lyrics.  With so many hits to her name, it seems sometimes that the Whitney Houston gem, “One Moment in Time” doesn’t get enough credit.  This ballad was penned by   Albert Hammond and John Bettis. The perfect fit for a big-voiced diva like Houston, she performed it at the 1988 Summer Olympics.  Ultimately, “One Moment in Time” wouldn’t appear on a studio album. Whitney had been released in 1987, and her next album, I’m Your Baby Tonight didn’t arrive until November 1990. Eventually, this no. 5 hit on the Billboard Hot 100 appeared on greatest hits compilations, though sometimes, it also manages to be omitted.  That’s a travesty for a gold single.  Thankfully, I Will Always Love You: The Best of Whitney Houston includes this moving ballad. 

In the verses, Houston shows control.  She never over sings highlighting the tunefulness of the melody.  At the same time, she sings with incredible authenticity, expression, and nuance.  The sense is always that Whitney is leading up to something bigger – truly momentous.  That moment, of course, is the beloved chorus.  Here, she soars, showing off her powerhouse vocals, backed by an awesome musical arrangement and grand production by the legendary Narada Michael Walden. “Give me one moment in time / When I’m racing with destiny,” she sings radiantly, continuing, “Then in that one moment of time / I will feel / I will feel eternity.”  Besides the chorus, another epic moment is the bridge (“You’re a winner for a lifetime / If you seize that one moment in time / Make it shine”), which prepares for a truly gargantuan final chorus and the big finish, where Houston proclaims, “I will be free.” “One Moment in Time” marks another utterly sublime moment from the Whitney Houston catalog. #ICONIC.

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13. Larry Graham, “One in a Million You”

One in a Million You • Warner • 1980

“But one day, the sun ️ came a-shinin’ through / The rain ️ had stopped and the skies were blue.”   Larry Graham (b. 1946) is renowned for playing bass in Sly & The Family Stone as well as fronting Graham Central Station.  The baritone is also renowned for one big, beloved solo hit, “One in a Million You”.  “One in a Million You” is the opening track and crème de la crème of Graham’s 1980 album, fittingly titled, One in a Million You. This R&B gem experienced pop success, reaching no. 9 on the Billboard Hot 100.  On the R&B songs chart, it peaked at no. 1. Graham received his sole Grammy nomination for Best R&B Vocal Performance, Male for this gem at the 23rd Annual Grammy Awards (he ultimately lost to George Benson).        

 “One in a Million You” is all about that extra special person.  Written by Sam Dees, the lyrics are utterly sublime, beginning with epic opening lines, “Love had played its games on me so long / I started to believe I’d never find anyone.” That sentiment is so relatable.  Likewise, in the second verse, Graham admits, “I was a lonely man with empty arms to fill.” What happened, though? “Then, I found a piece of happiness to call my own / And life is worth livin’ again / For to love you, is to live.” Yes, yes, yes ️ ️ ️! The chorus is where the singer’s bread is truly buttered.  The expressiveness with which he sings amplifies the level of authenticity, particularly as the record progresses. 

“A one in a million chance of a lifetime  

And life showed compassion  

And sent to me a stroke of love called ‘You’  

A one in a million you.”  

Well-performed, well-written, and well-produced, “One in a Million You” is an R&B classic for the ages.  Yes, it was the only pop hit for Graham as a solo artist, but it cemented his legacy, PERIOD.  

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Incredible Songs: 1980s, Vol. 4 (2023) [: Brent Faulkner / The Musical Hype; Columbia, Elektra, Hollywood, The Island Def Jam Music Group, Mercury, MJJ Productions, Motown, RCA, Sony Music Entertainment, UMG Recordings, Inc., Warner; Alexander Antropov, OpenClipart-Vectors, thank you for from Pixabay]

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