Every Breath You Take: The Police
Otherwise known as "The Stalker Song" It is very interesting to see how a song that has such sinister lyrics sound so much like a love song. And that comes down to Sting's delivery of the lyrics and the nice guitar riff/rhythm from Andy Summers. It creates a romantic feeling even though the lyrics are about stalking. A brilliant trick, even with no synthesizers
(Keep Feeling) Fascination: The Human League
As Meghan Trainor would say, it is all about that bass. The bass line on this is slapping good. The different tones of voices from the 4 members means you are coming at the song essentially from 4 directions. So even though some of it is basic gibberish ("best of plans they slayed?"), it's a solid song that I personally like more than their well known hit from the era "Don't You Want Me?"
Blue Monday: New Order
Like a lot of people my age or younger, I first heard that driving synth bassline in the "Wonder Woman: 1984" trailer. And it immediately stuck in my head. Then I went to listen to the song and more flesh was added to it, including those almost robotic like deliveries of the lyrics by Bernard Sumner. In fact, looking at studies of the song, that might have been intentional, because the song seems to deal with somebody abused and mistreated by another, almost servant like. Interesting.
Drive: The Cars
The only way I can describe this song is a cacophony of sound. From the synthesizers playing in the foreground to the crashing drum, it just is so powerful. And it completely sets the tone for this ballad about heartbreak and longing. It effortlessly fits the era. Also of note is the fact that the Cars are the only American band to have a song on this list, which really speaks to the strength and impact the British had on this era of music. But the Cars get in with a cracker
It's My Life: Talk Talk
I'll be honest. Talk Talk is a band that really helped me focus on the new wave era as a breeding ground for new music for me. This song was famously covered by No Doubt, and it is an okay cover. But, while Gwen Stefani sang it edgier with more bite and anger, Mark Hollis sings it with more melancholy and almost a touch of naivety. Combine that with the synthesizer laid on the top and that funky bassline (which comes with a jig in mimed performances) and you have a perfect song for that era.
Thank you for indulging me and talk to you next time.
