Supposedly written by frontman Mike Scott on the back of an envelope to show-off to his girlfriend, ‘The Whole Of The Moon’ is undoubtedly The Waterboys’ definitive track – a moon-soaked ditty that’s full of dreamy, wide-eyed wonder. Still groovy as a hepcat, ‘Sign ‘O’ The Times’ is stripped back like Sly Stone’s ‘Family Affair’; all the better to focus on a lyric that bemoans drug addiction, HIV and the damned space race. From Madonna to REO Speedwagon, "Stranger Things 3" has a soundtrack that will transport you right back to the '80s. None of that quiet-loud stuff here – ‘Debaser’ is full throttle throughout, celebrating Black Francis’s new favourite thing, Luis Buñuel and Salvador Dali’s surrealist, eyeball-slicing movie Un Chien Andalou. Grace Jones’s fusion of funk and reggae, a perfect blend for the Island label, was smoothed considerably by rhythm section Sly Dunbar and Robbie Shakespeare, who slipped comfortably into the musical melting pot of the new wave scene. Ah, the 80s. Who left the kettle on? Originally called ‘The Chemist Façade’, Madness’ most ridiculously happy tune was actually about the horror of going to the pharmacy to buy condoms for the first time. I avoided most obvious 80s anthems and instead made a playlist only true 80s kids would have listened to (unlike other Billy playlists). The people of Britain were “getting angry”, and this was mirrored in the song’s haunting production and sense of dislocation. "Stranger in Moscow" is a song by American singer-songwriter Michael Jackson from his ninth studio album HIStory. Quite a sweet chorus for a Pixies song, really, but nicely offset by some deranged Black Francis screaming about “GOD is seven!“. Hip-hop’s biggest ticket to the mainstream came when Run-D.M.C. Alongside Depeche Mode, OMD helped fly the flag for forward-looking British electro pop in the 80s. The 窶�80s窶妬n all of its hair-crimping, shoulder-pad-wearing, and neon-forward glory窶菟roduced so many iconic songs that it窶冱 almost impossible to rally them all up. Aunt looks out the window to the empty truck playing this song. Poised between staying or leaving both The Clash and girlfriend Ellen Foley, Mick Jones’s lyrics were appropriately propulsive. Sitting pretty between ‘Everything’s Gone Green’ and ‘Blue Monday’ in New Order’s early 80s run of astonishing singles, ‘Temptation’ is about as close as they came to a pop song at that point – there was just too much groundbreaking sonic exploration to get caught up in. 繝ｪ繝�繧ｯ繝ｻ繧ｹ繝励Μ繝ｳ繧ｰ繝輔ぅ繝ｼ繝ｫ繝峨�ｮDon't Talk To Strangers (Live)繧定�ｴ縺擾ｼ�Shazam縺輔ｌ縺溷屓謨ｰ�ｼ�126,179蝗橸ｼ�, '80s Hits Essentials縺ｨ窶�80s Rock Essentials縺ｮApple Music繝励Ξ繧､繝ｪ繧ｹ繝医↓逋ｻ蝣ｴ If only every attempt to tackle strife in the Middle-East were as joyous as this. Holly Johnson still wasn’t playing it safe, marrying lyrics about the Cold War to the foreboding march of a keyboard being bashed to within an inch of its life. Instead, it’s a celebration of debauchery, a whirlwind of sludgy guitars and tongue-in-cheek jokes about lackluster blowjobs. Jim’s vocals are still bottoming out, but some classic ‘Be My Baby’ drums and a hook as clear as a bell open a new JAMC chapter. They mainly served as the backup band for singer-songwriter Merle Haggard, who named them after his first hit single "(My Friends Are Gonna Be) Strangers". The song was released as the sixth and final single worldwide on November 4, 1996, but was not released in the United States until July 7, 1997 by Epic Records. share. Official UK releases were given to the more brassy stuff but ‘That’s Entertainment’ closer represented the soul of The Jam, or at least the soul of Paul Weller. Supposedly inspired by real-life reports of Iranians being flogged for owning forbidden CDs, Joe Strummer knocked up a farcical fantasy of pilots ignoring orders to bomb the transgressors and crank up the volume on their cockpit radios instead. And what a chorus. This brilliant, stately number was written by Elvis Costello as a much needed protest track against the Falklands war. Penned by Christine McVie about new husband Eddie Quintela, it was McVie doing what she did best; a simple song about the joys of new love. Drop Here to Add to Queue. It’s a collective mix of songs that fits the mysterious nature of the show as well as a testament to the … Download on Amazon - Making Love out of Nothing at All Play on Apple Music - Making Love out of Nothing at All Download on iTunes - Making Love out of Nothing at All Play on Spotify - Making Love … More than a pop song, this was a brilliant piece of art-as-social-comment. Like almost all the music in that show, the melody was taken from music composed by Alexander Borodin (1833–1887), in this case, the "Gliding Dance of the Maidens", from the Polovtsian Dances in the opera Prince Igor (1890). Clear. Contemplating his life post- divorce from Carrie Fisher, the song meshed afro-pop with his wonderfully literate, singer/songwriter songwriting style and the results were typically unforgettable. Like nothing else in the Smiths cannon, it paired Morrissey’s most painfully personal lyric (“I am human and I need to be loved just like everybody else does”) with Marr’s most musically inventive soundscape (he later cited obscure disco songs as influences).