![]() ![]() We watched the kids transform before our eyes, but we simply didn’t know if any of these newfound identities would stick for longer than a weekend. “Don’t You (Forget About Me)” was the perfect match for John Hughes’s gorgeous teen study The Breakfast Club. Can you honestly say you’ve never air-guitar-ed along to those opening two chords? Or yelped along to Jim Kerr’s outrageous “Hey! Hey! Hey! Heeeey!” chant that immediately follows? Yet part of the song’s tremendous power is the way it keeps pulling away just as its excitement peaks: “Will you walk away?” murmurs Kerr as the song faux-fades, before its final climax. There are some truly great songs on this list, but none that strike at your emotional jugular quite the way “Don’t You (Forget About Me)” does-right from the get-go. ![]() Written by Michael Chen, Brent DiCrescenzo, Andrew Frisicano, Sophie Harris, Oliver Keens, James Manning, Tristan Parker, Amy Plitt, Joshua Rothkopf, Hank Shteamer, Matthew Singer, Steve Smith, Sarah Theeboom and Kate Wertheimer. And in order to keep it strictly ’80s, we limited the list only to songs actually made in the decade – so no ‘Stand By Me’ or ‘Day-O’, as much as we’d want to include them. Here, though, we present the ultimate, canonical, indisputable ranking of the most radical songs from ’80s movies. But what are the absolute best songs from ’80s movies? Everyone has their personal favorites: the ones that instantly conjure memories (or at least fantasies) of spraying on Aquanet, throwing on some spandex and heading to the multiplex in your Delorean. Suffice to say, an ’80s movie can’t be considered a true ’80s movie if the soundtrack isn’t banging. And shoot, don’t even get us started on Purple Rain. Or Michael J Fox skating through Hill Valley without Huey Lewis crooning about ‘The Power of Love’. Or Ghostbusters without Ray Parker Jr.’s theme song. But try to imagine any John Hughes film without the new wave hits that accompanied them. Sure, the 1960s has a handful of songs still used to signal ‘ the ’60s, maaaan ’, and the 1990s produced some classic soundtracks. A lo fi, glitchy, trippy, granular, sexy sound that owes as much to hip hop, pop and r&b as experimental noise, ambient dub, and electronic soul.No decade combined music and movies quite like the ’80s. One low-quality CD-R of the work stolen and then leaked online later, and the artist stepped away from music until the end of the last decade, when this "perfectly imperfect" LP was finally allowed to see the light of day. Coming full circle, that tune closes this collection of stuff produced around the same time, all of which was going to form the debut album, Bait Ones. More so, the type of team that would, eight years earlier, support and release one of the artist's earliest songs, 'BTSTU'. The kind of organisation that will take a punt on British polymath Jai Paul's demo album, which, by all accounts, is pretty hard to describe, let alone define. A constant source of inspiring surprises and new sonic experiences. The UK label has been at the forefront of boundary pushing music since its inception, and almost 35 years remains a seal of quality. It's these intelligently executed sonics and structures that make 'Cocoa Sugar' an addictive, thrilling and beguiling listen. Tracks like 'See How', 'In My View' and 'Lord' appear to tread into joyous and cathartic pop territory, before being pinned down by unnerving scraping samples and dissonant synthesis. Also, in their use off-kilter loops, gospel-esque vocals, haunting samples and breakneck speed verses, Young Fathers create dualities and contrasts that playfully subvert. Their third record isn't as brash and in-your-face as their previous two, but that's not to say that this any less impactful, instead 'Cocoa Sugar' is a stripped back, concentrated The group have a unique ability in that they can draw elements from a range of genres, with an outcome sounding in a class of its own and tantalisingly hard to define. Review: With their Mercury-winning 2014 debut 'Dead', Edinburgh trio Young Fathers set the bar high for themselves, which they met with 2015's follow-up 'White Men Are Black Men Too', and continue to do so with new album 'Cocoa Sugar'.
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