- 5/31/2025
Get ready to relive the magic of those unforgettable tunes that defined an era! From synth-pop sensations to power ballads that still give us chills, we're diving into those incredible songs that may have only topped the charts once, but left an indelible mark on music history. Which of these classics still gets you singing at the top of your lungs?
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00:00Welcome to WatchMojo, and today we're counting down our picks for those musical artists whose
00:11lasting legacies are primarily tied to a single song from the 1980s. Performers with multiple
00:17charting singles will be allowed as long as their public profile retains one big hit.
00:30The monumental success of the Saturday Night Fever soundtrack in 1977 led to a whole slew
00:40of other artists attempting to revamp classical music for a disco and post-disco age.
00:52Hooked on Classics parts one and two is just that, an amalgamation and medley of Beethoven,
00:57Mozart, and more, all set to an electronically danceable beat.
01:08Dance floors were still chock-full of disco during the earlier part of the 1980s,
01:13despite opposition to the contrary. This meant that novelty tunes such as Hooked on Classics
01:17parts one and two could still thrive within an era of hard rock, heavy metal, punk, and new wave.
01:27Number 49. The Adventures, Broken Land
01:31There is a massive hook to be found within the main verse section to Broken Land by The Adventures.
01:42It's sort of strange to look back today and wonder why this Northern Irish group never really achieved
01:47the sort of success their musical talent seemed to deserve. Broken Land possesses a huge-sounding
01:51production job, too, one that's polished and cavernous, drenched in magically resounding reverb.
02:04This allows the chorus of Broken Land to strike even harder, a powerfully melodic section that
02:09makes the most of Terry Sharp's wonderful vocals. The Adventures managed to make folk-influenced pop
02:14music cool back in the late 80s. It's just a shame not enough folks managed to check them out at the
02:19time.
02:25Number 48. The Afternoon Delights, General Hospitale
02:29No one could prove that he was a crook, till Luke stole his little black book.
02:34The writing was sort of on the wall when this group decided to name themselves after a one-hit
02:39wonder from the previous decade. The Afternoon Delights became something of a self-fulfilling prophecy,
02:44since this very niche tune was probably destined for dollar-bin obscurity status.
02:49General Hospitale is a proto-rap slash post-disco jam that uses its lyrics to summarize and recap
02:54various plot points from the long-running soap opera General Hospital.
03:01Rebecca Hall actually deserves some props for being on the ground floor of adopting a hip-hop vocal
03:06cadence, while the musicality of General Hospitale is a funky jam that wouldn't sound out of place on a
03:12chic record. We'd be lying if we said this one hasn't grown on us.
03:15I just can't cope without my soap
03:19Number 47. The Rainmakers, Let My People Go-Go
03:25There's a quirkiness to The Rainmakers that sort of makes us understand why commercial appeal seemed
03:36consistently outside the grasp of this Missouri-based rock act. The horn sections aren't for everyone,
03:41and Bob Walkenhorst's idiosyncratic vocals are equally unique to a fault.
03:50A deeper listen to Let My People Go-Go reveals some strong songwriting chops, however,
03:55particularly how the pre-chorus leads into its main anthemic hook. The lyrics are equally outside of
04:00what pop fans normally heard during the mid-80s, with some pop culture references and clever wordplay.
04:05It's not always easy standing out from the crowd, but The Rainmakers certainly walked to the beat of
04:10their own musical drum.
04:18Number 46. The Lotus Eaters, The First Picture of You
04:21The 80s featured numerous British acts that found success with their brands of sophisticated pop,
04:31yet The Lotus Eaters was one of the few cult acts that didn't quite achieve the same levels of
04:36visibility as some of their comrades. This wasn't through any lack of trying, of course,
04:40and The First Picture of You is one of those tunes that foregoes a lot of flashy style in favor of
04:45songwriting substance. There's a nice jangle to the guitars that lends The Lotus Eaters a certain
04:50gothiness analogous to some of The Cure's more upbeat material. At the same time, however,
05:01The First Picture of You never feels like a copycat. Perhaps that's why The Lotus Eaters had difficulty
05:06following it up.
05:13Number 45. Double, The Captain of Her Heart.
05:23This is the sort of song that was destined for the grocery store playlist. Background music for
05:28many of us to hazily remember, but not enough to properly identify. The Captain of Her Heart by Double
05:33hangs its creative hat upon Felix Haug's keyboard playing, particularly those hooky notes that leap
05:39out at us during the chorus.
05:47Meanwhile, Kurt Malou's vocals are understated, but in a cool way. A low-energy slow burn that works,
05:53given the songwriting circumstances. We're not going to say that Double was cheated out of an epic
05:57career or anything, but The Captain of Her Heart still works wonders for us all these years removed.
06:02Too long a road, too long a part. She couldn't wait another day for her.
06:09Number 44. Lip Sync, Funky Town.
06:18The song may have been written in 1979, but its 1980 release date as a single just slides it in
06:24under the nose for our criteria. And we're glad, too, because Funky Town by Lip Sync was one of those
06:29late-era disco jams that helped prove the genre didn't die in the 70s. The dance floor remained
06:34big business, and Funky Town served as an expertly crafted jigsaw puzzle of melodic hooks and earworm
06:40ideas that burrow their way into our brains.
06:50There's a certain weirdness and coldness within the electronic composition of Funky Town that just
06:54works. Meanwhile, the string sections and synth stabs all come together with some bubbling bass guitar
06:59and that famous chorus.
07:05The death of 1980s hair metal was greatly exaggerated by the end of that decade, as evidenced by the
07:19proliferation of groups like Bang Tango into the 90s. This LA group took cues from other bands'
07:24attempting to mix glam riffs with other genres of music, with Someone Like You going hard on the
07:28sleaze.
07:35The band's debut LP, Psycho Cafe, also had some funky moments on there for adventurous listeners,
07:41in addition to heavy rockers like Sweet Little Razor. Meanwhile, the star of Someone Like You is that
07:46chorus, which offers a place for singer Joe Lestay to howl his brains out with a voice that peels paint
07:51off the walls. Consider this one a worthy hair metal deep cut.
08:00Number 42. Spandau Ballet. True.
08:06Have you ever wondered why some band names or song titles click within our memory banks while others
08:13struggle for that connection? Spandau Ballet isn't exactly a moniker that rolls off the tongue,
08:17while True is a very simple yet also forgettable song title. Yet we know this classic 80s jam from
08:24the moment that uh-huh-huh-huh-huh-huh vocal ad-lib hits our hearts.
08:36True is a great song, and Spandau Ballet seemed primed for equally great things after this tune's chart
08:43success. At the same time, however, it seems as if this British pop group will always be tied to this
08:48mega hit, rather than any of their other great songs, which is sort of a shame, right?
08:58Number 41. Paul Hardcastle. 19.
09:01His is a name synonymous with trailblazing electronic music during the 1980s, a keyboard
09:12wizard that saw chart success come to him with 19. This hit song from 1985 was just one highlight
09:18from Paul Hardcastle's enviable career, and proof that one-hit wonders don't necessarily live in
09:22obscurity after striking it big. Instead, Hardcastle's legacy today is respected, both for those who dig the
09:28poppiness of 19, as well as for those who appreciate Hardcastle's other electronic and jazz records.
09:37It's remarkable to analyze the sampling, production, and composition of 19 today.
09:42The song was just so ahead of its time. 19 also fully leaned into its political message,
09:47which also stood out from other more disposable music of the era.
09:50I wasn't really sure what I was doing.
09:51The Grateful Dead truly didn't need to embrace the video age with Touch of Grey in order to earn
10:08success or respect. They were already certified legends in 87, but this music video allowed the
10:13dead to cross over to a new audience and a younger demographic. The image of Jerry Garcia and company
10:19performing as skeletons proved to be an iconic one. And Touch of Grey was a hooky pop tune that
10:30streamlined the dead's jamming psychedelia. Sure, fans know all about the Grateful Dead's
10:35classic discography, but Touch of Grey was a party where everybody was invited, including the MTV
10:41generation. Number 39, When in Rome, The Promise.
10:59British synth pop hadn't waned during the late 80s and instead attempted to carry on its legacy of
11:04chart success with new artists like When in Rome. The Promise sounds tailor-made for the dance floor
11:09and boasts a full-sounding production that could easily pass for a tune five years or so into the
11:1490s.
11:22When in Rome certainly seemed to know a good chorus when they heard one, and The Promise contains a
11:27great one. This was the group's only major flirtation with the Billboard Hot 100 chart in the U.S.,
11:32although diehard fans of When in Rome know full well there are probably other tunes that could
11:36have potentially broken through to the masses.
11:43Number 38, Susan Fassbender, Twilight Café.
11:53Susan Fassbender and her songwriting partner Kay Russell scored a UK singles hit back in 1981 with
11:58Twilight Café. The song is an earworm if ever we've heard one. An infectious tune that's led by
12:03Fassbender's charming vocals, her impressive keyboard skills, and a catchy bass line.
12:15If Twilight Café commits any sin, it's being a little innocuous, but there's an economy to the
12:20songwriting that feels intentionally simple. This ultimately works in the song's favor,
12:25although Fassbender and Russell never really reached the commercial heights of Twilight Café
12:29again in their careers.
12:37Number 37, Boy Meets Girl, Waiting for a Star to Fall.
12:48Never underestimate the power of a great turnaround. Seattle's Boy Meets Girl clearly knew what they
12:53were doing when they wrote and released Waiting for a Star to Fall in 1988. The song boasts a great
12:58chorus and strong vocal performances from the duo of George Merrill and Shannon Rubicam, but it's that
13:04little turnaround hook before the chorus hits that turns Waiting for a Star to Fall from a good song
13:08into a great song.
13:17Meanwhile, the decision to modulate the song's finale adds to the impact and texture of Waiting for a Star to
13:23fall. It's a perfect pop storm that still sounds great so many years later.
13:34Number 36, Kix, Don't Close Your Eyes.
13:42The subject of self-destruction isn't, historically speaking, one that tends to pop up within the world
13:48of 1980s hair metal.
13:49And it's true that Kix wasn't generally a band that worked within the rockin' and partyin' parameters
13:54associated with that scene.
13:55Yet, Don't Close Your Eyes was composed in collaboration with an outside songwriter,
13:59Bob Halligan Jr., and this deviation from the formula ultimately worked in Kix's favor.
14:11Don't Close Your Eyes is a moody ballad that feels sincere,
14:14particularly within the vocal delivery of Steve Whiteman.
14:17Meanwhile, the bridge section serves as connecting tissue to lift Don't Close Your Eyes significantly
14:22above the batting average of Kix's contemporaries.
14:30Number 35, Bonham, Wait For You.
14:33Jason Bonham likely felt a lot of pressure when it came to the formation and release of
14:43The Disregard of Timekeeping back in 1989.
14:46The son of Led Zeppelin drummer John Bonham could have easily released a warmed-over rehash
14:50of his famous father's work, but instead, the younger Bonham pursued the Sunset Strip.
14:55Wait For You still possesses that bluesy crawl reminiscent of classic Zep, only painted with
14:59a heavy sheen of stylish glam rock.
15:08Daniel McMaster's vocals channel a polished Robert Plant, while Bonham's drum work drives
15:12the song with a technicality missing from many other hair metal bands of the day.
15:16These unique elements all allow Wait For You to stick out from the crowd in a great way.
15:21Number 34, T'Pau, Heart and Soul.
15:35This British group definitely wasn't one-hit wonders at home, since other songs like Valentine
15:40and China In Your Hand hit the charts and earned T'Pau further success.
15:44It's Heart and Soul that's synonymous with T'Pau in many other areas, however, including
15:48North America. There are way worse songs with which to be associated, that's for sure,
15:53since Heart and Soul still sounds totally radical.
16:00Carol Decker's intentionally murmured vocals on the verse feel half-rapped, before the
16:05singer brings the proverbial thunder for an epic chorus.
16:08Heart and Soul is a song that never overstays its welcome, instead begging the listener to
16:13flip the record over and spin it again.
16:20Number 33, Suzanne Vega, Luca.
16:27This is one of those songs that feels out of time, possessing a beauty that could work
16:33within any decade. Luca by Suzanne Vega possesses impeccable production, and boasts arrangements
16:38that sound beautiful, juxtaposed against some tragically dark lyrics.
16:49Luca's subject matter of a protagonist suffering a harrowing and violent family life is a powerful
16:54one, and executed to perfection by Vega, whose narration tugs on our collective heartstrings.
16:59This is a bittersweet song, one that we love listening to, yet are always brought back down
17:04to earth by its enduring power and message.
17:14Number 32, The Dream Academy, Life in a Northern Town.
17:23Pink Floyd guitarist David Gilmour was no stranger to collaborations, having worked with artists
17:28like Kate Bush alongside his own solo career.
17:30This included producing the Dream Academy's debut album, an LP that contained a major hit with Life
17:36in a Northern Town. The tune is lush, evocative, and atmospheric, with the vocalizations on the
17:42chorus probably serving as the most memorable aspect of its composition.
17:50It's sort of easy to see why Gilmour wanted to work with the group, since the Dream Academy
17:54definitely felt cut from a more experimental cloth than some other pop acts from the 80s.
17:58Number 31, Danger Danger, Bang Bang
18:02This New York-based hard rock group loved a little reduplication when it came to their
18:12band name and their song titles. It was sort of a gimmick with Danger Danger, reflected in both
18:17singles from their self-titled debut album. Naughty Naughty didn't quite resonate in the same way as
18:22their second release, Bang Bang, but both tunes were polished and highly memorable slices of pop
18:27metal arena rock.
18:34The latter in particular possessed an on-the-nose but ultimately sing-alongable chorus,
18:39a silly anthem for an indulgent age. Meanwhile, the actual album proper contained a number of
18:45quality deep tracks, including Under the Gun and the rock-solid ballad Don't Walk Away.
18:50Number 30, Sheriff, When I'm With You
18:59It wasn't unheard of for power ballads like When I'm With You by Sheriff to see chart success back in
19:10the 80s. It was, however, unique for such a song to resonate without a music video on MTV.
19:15This meant that Sheriff essentially did it the old-fashioned way, by writing good songs that
19:19rose up the charts via radio airplay and word of mouth.
19:27When I'm With You may sound somewhat formulaic by modern standards, almost like a parody of those
19:32hyper-sincere soundtrack cuts of the decade. Sheriff found an audience, though, and When I'm With You
19:37deserves to be mentioned in the same breath as other 80s power ballads. This is thanks primarily to
19:41that insane ending high note, of course.
20:06Number 29, Mars, Pump Up the Volume.
20:08The origin of this experimental electronic hit was actually a collaboration between two
20:17different British artists, Colorbox and A.R. Kane. It almost didn't happen as well,
20:22since Pump Up the Volume actually came into being at the insistence of both groups' record label 4AD.
20:27The end results proved to be successful, however, with Pump Up the Volume serving to legitimize an
20:40embryonic house music scene into a major cultural player. This Mars track also pumped up the attention
20:45paid to its sample sources, including Cold Cut and Eric B. and Rakim, essentially being a win-win
20:51for everybody involved.
21:00Some music genres meld better with commercially viable pop hooks than others. It wasn't a foregone
21:13conclusion that reggae could cross over into the mainstream MTV generation in quite the same way
21:17as Bob Marley did back in the day. Yet Eddie Grant silenced all doubters in 1983 with his
21:23infectious style of funk-infused pop reggae.
21:25We're gonna rock down to Electric Avenue, and then we'll take it higher.
21:32Electric Avenue would go on to become a musical calling card for Grant. It's honestly sort of
21:36surprising that some of his other album cuts and single efforts didn't resonate in the same
21:40manner as Electric Avenue. But hey, nobody's ever gonna deny that this song is a banger, right?
21:45Rocket in my home. Electric Avenue. Rocket in my night.
21:51Number 27. Benny Mardonis, Into the Night.
21:55Separated by fools who don't know what love.
22:02This hit from Cleveland-born singer Benny Mardonis peaked at number 11 on the Billboard Hot 100,
22:07but gained infamy for its lyrical content. The topic of age disparity in romance tended to
22:12overshadow the immense vocal power in Into the Night.
22:22However, a 2022 interview with the professor of rock on YouTube revealed how the late Mardonis
22:28was actually inspired by a real neighborhood family he met during the songwriting process.
22:32To me, it was just about this little girl losing her dad. And when radio got a letter sent out by the
22:40record company explaining the story, they started playing it. And of course, it went through the roof
22:46and became a huge monster hit. The tune remains a resonating soft rock banger. Although the song's
22:53initial controversy perhaps contributed to Mardonis being unable to replicate its success.
22:57Number 26. Mary Jane Girls, In My House.
23:08Musical luminaries such as Prince and Rick James also composed and produced efforts for other artists
23:12in their creative orbit. The latter in particular assisted his studio singers, including writing
23:17the hit In My House for the Mary Jane Girls. The song was hugely controversial at the time,
23:22having entered the cultural zeitgeist during a period when the perceived degradation of morality
23:27was blamed by some on pop music.
23:29Here's the key to unlock the door
23:32In My House
23:34In My House was singled out by Tipper Gore and the infamous Parents Music Resource Center as being
23:41overtly sexual and harmful to children. Today, however, it's probably just better to remember
23:47the tune as a catchy, highly-synthesized ode to 80s decadence.
23:58Number 25. Jack Wagner, All I Need.
24:06It's a story as old as time. Actors wanting to rock and musicians wanting to act.
24:11Jack Wagner earned some chart traction with this hit from his debut studio album.
24:14But the success of All I Need may not have been a surprise to those who were familiar
24:18with Wagner's character, Frisco Jones, on General Hospital, where he showcased his musical talent.
24:23Cause it seems so hard to believe
24:26That you're all I need
24:30All I Need boasts a strong chorus and economical set of arrangements.
24:34The soap opera star was afforded some high-quality help during recording sessions
24:37from songwriting legend Glenn Ballard.
24:39All I Need
24:43is just a little more time.
24:47Number 24. John Parr, St. Elmo's Fire, Men in Motion.
24:51The acronym AOR has been said to translate to everything from adult-oriented rock to album-oriented rock.
24:58But one thing's for sure, you know it when you hear it.
25:01You also know John Parr's voice when you hear it, since the man has delivered the goods on a number of film soundtracks.
25:14It feels sort of unfair to label Parr as a one-hit wonder as a result.
25:18Put a real man in motion.
25:20All I need is a pair of wheels.
25:22Take me where my future's a lion.
25:24But the British artist is admittedly most known for his theme to the 1985 film St. Elmo's Fire.
25:29The song is catchy as Sin, with copious hooks to go along with Parr's powerful vocals.
25:35What can we say?
25:35We never get tired of this one.
25:41Number 23. Midnight Oil, Beds Are Burning.
25:53Midnight Oil was an Australian band that didn't feel political statements and commercial chart success
25:58needed to be mutually exclusive.
26:01Their fiery, passionate lyrics and a desire to have creative voices heard
26:04resonated with pop fans back in the late 80s with Beds Are Burning.
26:07How do we sleep while our beds are burning?
26:12This song about demanding rights for Aboriginal Australians also just happened to have a chorus for the ages,
26:18one that was instantly recognizable.
26:20The song's arrangements also benefit from its simple chord structure and anthemic tone.
26:24It is a near-perfect symbiosis of commercial success and artistic integrity.
26:37Number 22. Scandal, The Warrior.
26:46The New York City band Scandal may have notched four other hits on the Billboard Hot 100 chart,
26:51but none of them managed to crack the top 40.
26:53The Warrior, however, was a different story.
26:56It peaked at the number 7 position.
26:58This success feels justified because the song absolutely rocks with pure pop rock brilliance.
27:06The Warrior is anchored by Patti Smith's incredible vocals and personal style.
27:15Her voice displays both range and power.
27:17Meanwhile, that main riff is simple but super catchy and memorable.
27:21Scandal may have never shot to the top of the charts again after The Warrior,
27:25but we'll never forget that million-dollar chorus.
27:28Warrior, the Warrior.
27:32Number 21. Rockwell, Somebody's Watching Me.
27:35We would love to say with confidence that Somebody's Watching Me by Rockwell would have been a hit without that million-dollar Michael Jackson chorus.
27:50It just doesn't seem plausible, however, given the comparative chart success of Rockwell's other singles,
27:55Obscene Phone Caller and Peeping Tom.
27:56One hit song is certainly better than no hit song, of course,
28:09and Somebody's Watching Me remains a Halloween playlist staple to this day.
28:13Yet its longevity is likely more due to its macabre musical arrangements and MJ
28:17than Rockwell's Boris Karloff impressions on lead vocals.
28:20That said, Somebody's Watching Me remains a defining tune of the music video era,
28:25and one that we still love to pieces not just on Halloween, but every day.
28:30Number 20. Animotion, Obsession.
28:33Animotion was a unique group.
28:35Their ultra-80s-sounding synth-pop was tailor-made for the decade,
28:39and it's true that some of their other singles did chart on the Billboard Top 100.
28:42You are Obsession, I cannot sweep my impossession.
28:49However, it's largely argued that Obsession is Animotion's number one calling card.
28:54The song straddles a line between a clubby dance sound
28:56and colder, more experimental synth sounds found during this early part of the decade.
29:01To feel this again, I see the beauty there.
29:05It's this artificiality that works in Animotion's favor, however,
29:09since the song is actually a cover.
29:10The slightly more rock feeling of the Holly Knight and Michael DeBarre original
29:15is replaced by Animotion's detached and computerized approach.
29:19It's weird, it's wonderful, and it works.
29:25Number 19. Matthew Wilder, Break My Stride.
29:29You may only know Matthew Wilder from his smash hit Break My Stride,
29:32but that's only part of the man's story.
29:34Last night I had the strangest dream.
29:38I sailed away to China.
29:40This New York native has actually been responsible for producing hits
29:43for a ton of projects and artists, too,
29:46including, no doubt, Christina Aguilera and Kelly Clarkson,
29:49as well as the Disney film Mulan,
29:51for which Wilder co-composed the music.
29:54Break My Stride, a quirky tune taken from Wilder's 1983 debut album,
29:59is a reggae-influenced pop tune with a vocal inflection from the singer
30:02that undeniably sells the tune's charisma.
30:05Never been to another girl like you.
30:07This is breezy, feel-good music that's upbeat and impossible to resist.
30:13It's hard to believe this is Wilder's only solo brush
30:16with mainstream chart success.
30:18And I'm gonna break my stride.
30:20Nobody will slow me down.
30:23Oh, no.
30:24Number 18. Kajagoogoo, Too Shy.
30:27Too Shy was a monster hit for the British new wave group Kajagoogoo back in 1983.
30:31The band did manage to follow up with other success in the UK,
30:39but for many fans across the pond,
30:41it's Too Shy that cements the group in a collective time capsule memory.
30:45This could be thanks to the band's arresting appearance
30:47that made frontman Limal and crew easy on the eyes.
30:50Hey, yo.
30:52Move a little closer.
30:54However, the song itself also boasts an immensely memorable chorus,
30:59as well as subtly catchy slap bass work from Nick Beggs.
31:03Limal would find Chart's success as a solo artist
31:05with the theme from The NeverEnding Story,
31:07but unfortunately,
31:08Kajagoogoo would never reach the chart heights of Too Shy ever again.
31:12Too shy, shy.
31:15Hush, hush.
31:16I do I.
31:17Number 17.
31:18Murray Head.
31:19One Night in Bangkok.
31:20There seems to be a laundry list of actors
31:23who've tried their hands at the pop music game.
31:25Some of them have had more success than others.
31:28Time flies, doesn't seem a minute
31:30since the derrileon spa had the chess bars in it.
31:32Murray Head's thespian career took a detour into the music business,
31:35thanks to his performance on the rock opera soundtrack
31:38for 1973's Jesus Christ Superstar.
31:41However, his solo career is likely better known
31:44for yet another Broadway hit,
31:46One Night in Bangkok.
31:47One town's very like another
31:49when your head's down over your pieces, brother.
31:51From the musical Chess,
31:53this is a track that certainly feels like a show tune.
31:56Head, for his part,
31:57talks through the tune more than he sings,
31:59but his cadence is nothing short of catchy.
32:02Meanwhile, the chorus is an earworm of the highest order,
32:06accompanied by some of the most 80s-sounding synthesizers
32:09this side of a radio shack.
32:10One Night in Bangkok.
32:12In the world's your oyster.
32:15Number 16.
32:16Dexy's Midnight Runners.
32:18Come on, Eileen.
32:19It's not unusual for a pop act
32:21to strike gold more than once
32:22in their native land.
32:24Oh, oh, Johnny Wright.
32:28Geno served as a second number one hit
32:30for Dexy's Midnight Runners in the UK,
32:32but it's Come on, Eileen
32:33that remains the group's calling card
32:35in other parts of the world.
32:37This is due in part to the song's iconic video,
32:40which arrived during the early years of MTV.
32:43Please keep around here.
32:45The visual of the group clad in matching overalls
32:50would go on to become closely associated
32:52with their conceptual legacy.
32:54Meanwhile, the song's folk-influenced melodies
32:56and dramatic build during the finale
32:58make Come on, Eileen feel so vibrant even today.
33:02We challenge anyone not to kick up their heels
33:04and break out dancing to this one.
33:06Come on, Eileen.
33:07Oh, I swear to me, I've been smoking right.
33:11Number 15, Aldo Nova, Fantasy.
33:14The glam metal explosion that would occur
33:16in a post-Bon Jovi and Quiet Riot world
33:19was still a hairspray can or two away
33:21when Aldo Nova released Fantasy in 1982.
33:24City nights,
33:25in the breeze, make you feel right.
33:28As a result,
33:29it doesn't feel unfair
33:31to give this Canadian Axeman
33:32at least a little credit
33:33for being ahead of the curve.
33:35Fantasy is a hard rocker through and through,
33:37anchored by a sturdy main riff
33:39and some catchy keyboard accompaniment.
33:41Out of sight
33:42By your kids
33:44From the main and the white
33:46Meanwhile,
33:47the video is all pomp
33:49and ridiculously laser-obsessed.
33:52Nova's skills as a guitarist, however,
33:54are no joke.
33:55His leads on Fantasy
33:57ensure that rock fans
33:58still remember this solo hit
34:00from back in the day,
34:01no matter how far away it gets.
34:08Number 14, The Church,
34:10Under the Milky Way.
34:12Because of their change-up
34:13in genre and style,
34:14The Church are a bit of a special case.
34:16Sometimes when this place
34:17gets kind of empty.
34:20A respected Australian rock act
34:22with a worldwide following,
34:23this is a band with numerous charted songs.
34:26With that said,
34:27Under the Milky Way
34:28from their fifth studio album
34:30was released at a time
34:31when fans had already latched on
34:33to the group's gothic and moody
34:34dream-pop sound.
34:35Wish I knew what you were looking for
34:39The song proved to have
34:41mainstream commercial legs
34:42all the same,
34:43earning The Church a Top 40 US hit.
34:46It's easy to see why, too,
34:47as Under the Milky Way
34:48rolls over the listener
34:50with a smooth, stargazing melody
34:52and a soft, enveloping atmosphere.
34:58Number 13, Eddie Murphy,
35:00Party All the Time.
35:02Okay, so obviously,
35:03Eddie Murphy isn't a one-hit wonder
35:05in any other famed aspect of his life.
35:07However, is there any song
35:09from Murphy's musical career
35:10that's as well-known
35:11as this jam from 1985?
35:13Party All the Time
35:20is the sort of vanity project
35:22that one can only get off the ground
35:23when they achieve this level of fame.
35:26Hot on the heels of Beverly Hills Cop
35:27and his comedy special Delirious,
35:29Murphy was in the perfect position
35:31to release Party All the Time.
35:32Still, the song is better
35:40than it has any right to be,
35:42thanks largely to the production duties
35:44of Rick James.
35:45The grandiose orchestrations
35:46hide Murphy's limitations as a singer
35:49and help lift Party All the Time
35:51to cult classic status.
35:53My girl wants to party all the time,
35:56party all the time.
35:59Number 12, Patrick Swayze,
36:01She's Like the Wind.
36:02Chalk this next hit up
36:04as another song from an actor
36:05who had no right
36:07being this freaking good.
36:08She's like the wind
36:09through my tree.
36:13Patrick Swayze proved
36:14that he was a treasure trove
36:15of creative riches
36:16when he released this soundtrack cut
36:18from Dirty Dancing.
36:19The actor actually co-wrote the song too,
36:22intending it for release
36:23alongside a different 80s film.
36:25Today, however,
36:26She's Like the Wind
36:27is nearly impossible
36:28to separate from Dirty Dancing.
36:30And why would you?
36:31Am I just fooling myself
36:33That she'll stop the pain
36:36The image of Swayze's
36:38earnest emotional vocals,
36:39that saxophone,
36:41the booming 80s production,
36:43it's just fantastic all around.
36:45Plus, Wendy Fraser assists Swayze
36:47near the end
36:48with her own great vocals.
36:49We can't help but miss Patrick Swayze
36:51just a little bit more
36:52every time we hear
36:54this beautiful ballad.
36:55Number 11.
37:03Robert Tepper
37:03No Easy Way Out
37:05Has there ever been
37:06a soundtrack cut
37:07better suited
37:08for a kick-ass emotional montage?
37:10Well, maybe,
37:11but Robert Tepper
37:11does his best
37:12with this contribution
37:13to the 1985 Rocky IV soundtrack
37:15and succeeds in a huge way.
37:18We're not indestructible
37:20Baby, better get that string
37:24No Easy Way Out
37:25is an absolute banger.
37:27A surging pop rock tune
37:28that's anchored
37:29by persistent synth stabs,
37:31urgent bass playing,
37:32and Tepper's own
37:32dramatic delivery.
37:34Seriously,
37:34the man goes for broke
37:35right from the jump,
37:37issuing subtlety
37:37for raw emotion
37:39and pure honesty.
37:40I don't want to pass you back
37:42I don't want to drag you down
37:46Just check out
37:47Tepper's solo dance moves
37:48for the accompanying video
37:49and try not to be inspired.
37:51This is pure,
37:52unadulterated 80s awesomeness,
37:55undiluted to a perfect,
37:56excessive essence.
37:58No Easy,
37:59No Easy,
38:00No Easy Way Out
38:02Number 10.
38:03Don Johnson
38:04Heartbeat
38:05It isn't uncommon at all
38:07for actors to try their hands
38:08at creating music.
38:09While Don Johnson
38:10was co-leading the show
38:11Miami Vice,
38:12he released his debut single
38:14Heartbeat.
38:21The song's expensive music video
38:24features slick visuals
38:25that mimic the style
38:27and substance excess
38:28of Johnson's hit show.
38:29And it helps that the chorus
38:31of Heartbeat is instantly memorable
38:32and sounds epic.
38:35Heartbeat
38:36Although the production
38:42is super processed
38:43and ultra 80s,
38:44that isn't a bad thing
38:45for the song.
38:46Johnson's performative emoting
38:48and the video's dramatic narrative
38:49showed he was dedicated
38:51to making music.
38:52Unfortunately,
38:53Johnson's follow-up song,
38:55Heartache Away,
38:56didn't achieve
38:57the same level of success.
38:58Heartbeat
39:00Looking for
39:02Heartbeat
39:04Heartbeat
39:06Number 9.
39:08Taco
39:08Puttin' on the Ritz
39:09Although one-hit wonders
39:11don't have to be cheeky
39:12or weird,
39:13they can really stand out
39:14when they are.
39:15Wear a date coat,
39:16pants with stripes,
39:17and coat a weight coat,
39:18proof it fits.
39:20Puttin' on the Ritz
39:21This was definitely the case
39:23with Taco's cover
39:24of the Irving Berlin song
39:25Puttin' on the Ritz.
39:26It became his only
39:28top five hit in the U.S.
39:29back in 1982,
39:31shot to the top of charts
39:32in Germany,
39:33and even reached
39:34the number one slot
39:35in Finland.
39:36Have you seen
39:37the well-to-do
39:38Up and down
39:39Park Avenue
39:40Puttin' on the Ritz
39:41is quirky
39:41and absolutely soaked
39:43in processed
39:4480s synthesizers.
39:45While Taco puts in
39:46a performance
39:47that may not be
39:48traditionally good,
39:49it is definitely memorable.
39:51But it's still
39:52a one-off song
39:53that feels as distinctly
39:5580s as
39:55hairspray
39:56and shoulder pads.
40:02Number 8
40:03Stacey Q
40:04Two of Hearts
40:05Stacey Q
40:06is a California-born singer
40:08who's been able
40:08to find success
40:09in the worlds
40:10of movies and music.
40:17Her synth-pop band
40:19SSQ
40:19earned cult status
40:20with the material
40:21penned for classic
40:22horror film
40:23The Return of the Living Dead.
40:24But the biggest hit
40:25of Stacey's solo career
40:27had to be
40:281986's
40:29Two of Hearts.
40:36The song is infectious
40:38right from the jump.
40:39It boasts
40:40an energetic backbeat,
40:41electric synth,
40:42and Stacey's warm
40:44and appealing vocals.
40:45The singer proved
40:46that she could come across
40:47as both sinister
40:48and sweet.
40:56None of her other tracks
40:57quite captured
40:58the magic of
40:59Two of Hearts.
41:00However,
41:01it will always serve
41:02as the perfect B-side
41:04for Stacey Q's
41:05darker work
41:05in the horror realm.
41:06Two of Hearts
41:08Two of Hearts
41:09Two of Hearts
41:09That feel
41:10I'm strong
41:10Two of Hearts
41:12Come on,
41:13Come on
41:13Number 7
41:14Shannon
41:15Let the Music Play
41:16R&B singer Shannon
41:18may have earned
41:18a couple of number one hits
41:20on the US dance charts
41:21over the course
41:21of her career,
41:22but Let the Music Play
41:23remains her biggest achievement
41:25on the Billboard Hot 100.
41:26We started dancing
41:28and love
41:29put us into our groove
41:31It's easy to see why.
41:33This smooth jam
41:34benefits greatly
41:35from Shannon's
41:36personable
41:36and melodic vocals.
41:38She manages to create
41:39a great chorus
41:40with the song
41:40while the instrumentation
41:42also does exactly
41:44what it's supposed to do
41:45Get bodies on the floor.
41:50Let the Music Play
41:51is a great throwback
41:53to an R&B era
41:54that's old school
41:55but never dated.
41:56In fact,
41:57consider this one timeless.
42:03Number 6
42:07Tommy Two-Tone
42:088-6-7-5-3-0-9-Jenny
42:10Throughout the 1970s
42:12and 80s,
42:13the power pop subgenre
42:14was absolutely everywhere
42:15thanks to trailblazers
42:16like Cheap Trick
42:17and Blondie.
42:24The group,
42:25known as Tommy Two-Tone,
42:26took full advantage
42:28of the trend
42:28to achieve modest chart success
42:30with Angels Say No.
42:32However,
42:32the song with which
42:33the band will always
42:35be associated
42:35is 8-6-7-5-3-0-9-Jenny.
42:39I got it
42:40I got it
42:41I got your number
42:44on the wall
42:45The track absolutely rocks
42:47thanks to a killer
42:48opening guitar melody,
42:50awesome guitar solo
42:51and instantly memorable lyrics.
42:538-6-7-5-3-0-9-9
42:568-6-7-5-3-0-9-9
43:00It's basically songwriting
43:01101 for anyone searching
43:03to write a hit pop tune.
43:04The only people
43:05that were unhappy
43:06with this Tommy Two-Tone classic
43:07are people
43:08who actually had
43:09this phone number.
43:108-6-7-5-3-0-9-9-9-8-6-7-5-2-9-9
43:17Number 5
43:17Quarter Flash
43:18Harden My Heart
43:19Some songs just have
43:21a timeless quality to them
43:23due to a mixture of nostalgia
43:24and vitality
43:25that keeps them
43:25in the public consciousness.
43:26Crying on the corner
43:28Waiting in the rain
43:30I swear I'll never ever wait
43:33Harden My Heart
43:34is definitely one of those tracks.
43:36This awesomely moody
43:38and memorable hit song
43:39comes from the Oregon-based
43:40group Quarter Flash.
43:42All of my life
43:43Been waiting in the rain
43:45I've been waiting
43:46for a few
43:47to never
43:48Rindy Ross
43:49is front and center
43:50of the song's success.
43:52Her plaintive,
43:53melancholic vocals
43:54and excellent saxophone playing
43:55work perfectly
43:56with the emotive guitar
43:57and insistent
43:58bass-driven groove.
44:06Near the song's finale
44:07the tune becomes
44:08so urgent and powerful
44:10that we just
44:11cannot get enough.
44:12Harden My Heart
44:13was unquestionably
44:14this band's biggest smash.
44:16It's a shame
44:16more people don't remember
44:18Quarter Flash's
44:18impressive effort.
44:26Number 4
44:27Baltimore
44:28Tarzan Boy
44:29If you're looking
44:30for a truly unique
44:32musical rabbit hole
44:33to explore
44:34may we suggest
44:35the wild world
44:36of a tello disco?
44:41This synth-obsessed
44:45sub-genre provided
44:46countless single hits
44:47and strange music videos
44:48for fans to uncover.
44:50One of the most popular
44:51one-hit wonder tracks
44:52came courtesy of Baltimore
44:53with their hit
44:54Tarzan Boy.
45:02The music video
45:03is a fever dream
45:04of hazy visuals
45:05and excessive makeup.
45:07But don't let those elements
45:08distract you
45:08from the fun vocals
45:09and strong composition
45:10of the song.
45:11Oh, and did we mention
45:13there's a version
45:13of Tarzan's yell
45:14within the track?
45:15There's an oomph
45:23to the arrangements
45:24that mixes just
45:24the right amount
45:25of repetition
45:26with melodies
45:27that burrow their way
45:28into your brain
45:29and just live there
45:30rent-free forever.
45:31Since this song
45:42was released in 1989
45:44it may sound
45:45a little bit less
45:46well, capital E 80s
45:48but that's not a bad thing.
45:54Black Velvet
45:55from Alana Miles
45:56is the sort of slinky
45:57and sensual blues number
45:59that wouldn't sound
45:59out of place
46:00on a movie soundtrack.
46:01While Miles enjoyed success
46:03in her home country
46:04of Canada
46:04Black Velvet serves
46:05as her singular
46:06calling card
46:07elsewhere in the world.
46:13This isn't taking away
46:15anything from Miles
46:16as a performer
46:16or Black Velvet
46:18as a song.
46:19It stands out
46:19from the late period
46:20hair metal and pop
46:21that was dominating
46:22the charts back in 89.
46:231989 was a good year
46:36for pop music.
46:37Part of the reason why
46:38comes down to
46:39Martika's Toy Soldiers.
46:44In 1989
46:45she released this fragile
46:47and melancholic melody
46:48to the masses.
46:49Despite its darker tone
46:51it was a number one hit
46:52in America that year.
46:53It's getting hard
46:54to wake up
46:54in the morning
46:56My head is spinning
46:58constantly
46:59There's a strength
47:01and sadness
47:01to the tune.
47:02The guitar melodies
47:03are impeccably produced,
47:05the drums are soaked
47:06in reverb,
47:07and Martika's vocals
47:09tug at the heartstrings
47:10in the best possible way.
47:11We are not ashamed
47:20to say that
47:20Toy Soldiers
47:21still makes us
47:22shed a tear
47:22to this day.
47:24Then again,
47:24that's the power
47:25of music, right?
47:27Even if you call
47:27Martika a one-hit wonder,
47:29you cannot deny
47:30that she created
47:31a classic
47:32with this tune.
47:39Before we continue,
47:41be sure to subscribe
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47:56Number 1.
47:57Cutting Crew
47:57I just died
47:58in your arms tonight.
48:00Admittedly,
48:00Cutting Crew
48:01hit the top 10
48:02with both
48:02I just died
48:03in your arms tonight
48:03and their follow-up
48:05I've been in love before.
48:06However,
48:07the former song
48:08has endured far more
48:09than the latter
48:10as the band's
48:10most famous song
48:11and with good reason, too.
48:19I just died
48:20in your arms tonight
48:21is a dramatic
48:22new wave hit
48:23that feels larger
48:24than life.
48:25The guitars
48:26are punchy,
48:26the synthesizers
48:27are perfect
48:28and the lyrics
48:29are iconic.
48:37Frontman Nick Van Ede
48:38radiates both power
48:40and sensitivity
48:40as the brooding crooner
48:42at the lead of the track.
48:43We can't stop
48:44replaying this song
48:45on repeat
48:46and singing it
48:47at karaoke
48:47every chance we get.
48:49Our love
48:50for Cutting Crew's
48:50biggest hit
48:51will never die.
48:52Feel like shouting out
49:00any one-hit wonders
49:01you feel deserved
49:02more chart success?
49:03Let us know
49:03in the comments.
49:04It's raining men
49:06Hallelujah
49:07It's raining men
49:09Did you enjoy this video?
49:11Check out these other clips
49:12from WatchMojo
49:13and be sure to subscribe
49:14and ring the bell
49:15to be notified
49:16about our latest videos.
49:22We'll see you next time.
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