If there was ever a decade that defined the musical guilty pleasure, it was the ‘80s.
The advent of new technologies unlocked sonic possibilities like never before. Blessed with a broad array of sounds, many musicians embraced a heavy dose of synthesizers and drum machines. These new tools also helped usher in the popularity of epic power ballads which permeated without the decade. In short, the ‘80s had a distinct sound, and not every song has aged with grace.
Yes, there are plenty of ‘80s tunes fans still play at full blast, but what about the ones people are much more reluctant to admit they enjoy? We’ve put together a list of 20 Classic Guilty Pleasures From ‘80s below.
Toto, “Africa”
Even Steve Lukather had a hard time embracing “Africa.” In a 2006 interview, the Toto guitarist described the tune as an “odd-ball song” that he didn’t even want to include on the band’s album. Keyboardist David Paich, who penned the track, had never even been to Africa before writing the song, instead basing his lyrics on a documentary he watched on late night TV. Still, there’s something indescribable about “Africa”’s appeal, a perfect balance of whimsy and cheesiness that continues to captivate listeners. Generations of fans still can’t get enough of the tune, as evidenced by Weezer’s massively successful cover decades later.
Starship, “We Built This City”
Starship’s much maligned 1985 single regularly pops up on lists of the worst songs of all-time. Decried as overproduced corporate rock, the song led to loud accusations that Starship – which had once been a counterculture voice in the ‘60s, when they were known as Jefferson Starship – had sold out. Still, facts are facts: “We Built This City” was a chart-topping smash, and it remains one of the ‘80s most memorable hits. Hate all you want, but you also can’t help but sing along.
Rick Springfield, “Jessie’s Girl”
In 2013, more than 30 years after “Jessie’s Girl” was originally released, Rick Springfield joined Foo Fighters as part of a special concert in support of the Sound City documentary. Naturally, when they launched into the classic track, the audience went nuts – causing Dave Grohl to immediately halt. “That’s how you fucking know,” the Foo Fighters frontman delcared to the crowd. “Three fucking chords. Congratulations, Rick Springfield, for writing a song that they don’t need to even hear one second of to know what it is.” The observation was accurate, given that Springfield’s tune about unrequited love remains popular as ever.
Motley Crue, “Girls Girls Girls”
There’s a reason grown men don’t have bikini model posters on their wall. At some point, guys evolve beyond their horny teenage years, but the same can’t be said for songs. “Girls Girls Girls,” Motley Crue’s 1987 strip club anthem, will always exist in a raunchy time capsule of yesteryear. It’s fun to occasionally listen back and smile, but we’re also happy those pheromone driven days are over.
Toni Basil, “Mickey”
Long before pop artists like Chappell Roan and Gwen Stefani utilized cheerleader-like vocals to score hits, Toni Basil perfected the style on “Mickey.” That’s not to say it’s necessarily good – we don’t expect “You’re so fine you blow my mind” to be celebrated in the Songwriters Hall of Fame – but there’s no denying how thoroughly enjoyable the 1982 track is.
Rick Astley, “Never Gonna Give You Up”
It takes a special kind of guilty pleasure to launch a worldwide phenomenon 30 years after it was released. “Never Gonna Give You Up” reached No. 1 in 17 different countries in 1987, including the U.K. and America. It was always destined to be a piece of ‘80s synth-tinged glory, but then Rickrolling took it to a whole new level. The internet fad – in which Astley’s performance of the song got randomly edited into other videos – brought “Never Gonna Give You Up” to billions of people, once again making it a pop-culture force.
Bon Jovi, “Livin’ on a Prayer”
In an era of arena rock, few tracks resonated louder than Bon Jovi’s “Livin’ on a Prayer.” With its lyrics about Johnny – who “used to work on the docks” – and Gina – who “works the diner all day” – the 1986 single was designed to be a gritty anthem for blue-collar folks with a dream. Of course, “gritty” hardly fit Bon Jovi’s pop-friendly sound, but that didn’t stop “Livin’ on a Prayer” from becoming a massive hit, topping charts across the globe. In the years since its release, the tune has vied with Journey’s “Don’t Stop Believin’” for the title of most popular karaoke song in the world.
Mick Jagger and David Bowie, “Dancing in the Streets”
Even legends make mistakes. Mick Jagger and David Bowie decided to record their own rendition of “Dancing in the Streets” to help raise money for Live Aid. While that cause was noble, the result was… odd. The campy cover was a commercial success, but has been roundly skewered ever since its release. It remains the type of tune you’re embarrassed to admit you like.
Styx, “Mr. Roboto”
Unfairly blamed for ending Styx’s classic era, “Mr. Roboto” will always hold a unique place in the band’s history. The tune was famously the work of singer Dennis DeYoung, while other members of the band despised its flamboyant nature. Regardless of where you stand in the dispute, fans and critics alike can bask in “Mr. Roboto”’s theatrical nature, coupled with a man-versus-machine theme that was way ahead of its time. It still may feel silly to say “Domo arigato, Mr Roboto,” but we bet you sing it loudly every time the song comes on.
Wham, “Wake Me Up Before You Go-Go”
From the opening phrase of “jitterbug” – a dance popular in the ‘30s – to their liberal use of Motown motifs, English duo Wham borrowed heavily from outside influences on their 1984 hit “Wake Me Up Before You Go-Go.” The sugary pop hit will never be confused with high art, but there’s a certain infectious ebullience to it that is inescapable – the perfect soundtrack for a giddy gasoline fight.
Europe, “The Final Countdown”
Swedish rock band Europe wanted a grand, stadium-shaking track to open their third studio album. They concocted “The final Countdown,” but never expected it to become a hit. “It was almost six-minutes long,” Joey Tempest recalled to VH-1. “It was never intended to be a short pop hit or anything, it was very much a surprise.” The formula at work here is similar to several of the guilty pleasures on our list – namely, a mix of theatrical elements and bombastic fortitude. Yet, it’s the song’s cheesy-yet-iconic keyboard part that sets it apart, a soaring, catchy riff we can’t help but love.
Olivia Newton John, “Physical”
Wait, when did Sandra Dee grow up? After coming to prominence with a squeaky clean image thanks to her starring turn in Grease, Olivia Newton-John successfully to an edgier style on the back of her 1981 album Physical. The title track became a smash hit, propelling the singer’s successful career second act. By today’s standards, the tune is tame, its lyrics feeling far less risque decades after release. The music video is also an ‘80s fever dream, with slicked up hardbodies and Newton-John wearing her famous leg-warmer and headband combo.
Phil Collins, “Sussudio”
There may not be another artist who milked the ‘80s penchant for drum machines, synthesizers and horns to greater success than Phil Collins. Even by his standards, he may have gone too far on “Sussudio,” a track that drips with every ‘80s sonic cliche possible. The tune hasn’t aged well – and we still say part of it sounds a little too similar to Prince’s “1999” – but we can’t stop our legs from moving when “Sussudio” comes on. Guilty pleasure status confirmed.
Eddie Murphy, “Party All the Time”
Eddie Murphy will always be great. ‘80s Eddie Murphy? Even better. But Eddie Murphy the singer? Well, that leaves a little something to be desired. When Murphy decided he wanted to record a music album, Richard Pryor famously bet him $100,000 he wouldn’t succeed. Murphy enlisted some heavy-hitters to help with the LP, including Rick James, who wrote and produced “Party All the Time.” Murphy’s vocals are weak and buried in the mix – not that there’s much going on with the lyrics. Still, this cross-section of ‘80s pop-culture became a hit and remains a guilty pleasure for legions of listeners. Despite the success, Pryor never paid Murphy his money.
Hall & Oates, “You Make My Dreams”
Hall & Oates‘ “You Make My Dreams” is a finely honed track, built around an infectious groove and an earworm chorus. So why is it the kind of song you hide your appreciation for, rather than sharing outwardly? We’d argue that the tune’s bubbly nature and soccer mom-appeal takes it too far away from feeling cool.
Bonnie Tyler, “Total Eclipse of the Heart”
Grandiose and overindulgent are just some of the words used to describe Bonnie Tyler’s 1983 hit “Total Eclipse of the Heart.” The extravagant track – written and produced by king of ‘80s epics, Jim Steinman – is extremely theatrical, but that’s part of its allure. That its lyrics were inspired by the groundbreaking 1992 vampire film Nosferatu is simply icing on the cake.
Men at Work, “Down Under”
The ‘80s briefly saw Australia invading worldwide pop culture thanks to films like Crocodile Dundee and bands like INXS and Men at Work. The latter group worked the phenomenon to great success with “Down Under,” a tune infused with various Australian cultural references and colloquialisms. In hindsight, the song is pretty silly, but still enjoyable. Bonus points for being the No. 1 hit to ever mention a Vegemite sandwich.
Billy Ocean, “Get Outta My Dreams, Get Into My Car”
Hey (hey) you (you) – will never admit how much you like this song. That’s ok, we’re not here to judge. After all, “Get Outta My Dreams, Get Into My Car” was a No. 1 single in 1988, ranking among the year’s biggest hits. Billy Ocean never again achieved such commercial heights, but his vehicular classic lives on.
Beach Boys, “Kokomo”
Beach Boys created some of the richest, musically complex songs in rock history. “Kokomo” isn’t one of them. Instead, the breezy island jam leans heavily into cliches, while also delivering such smirk-inducing lines as “Bermuda, Bahama, come on pretty mama.”
Corey Hart, “Sunglasses at Night”
That hypnotic synth line, the image of Corey Hart popping his collar, the emphatic chorus that fans almost always don’t know the correct words to – there are so many elements that make “Sunglasses at Night” an ‘80s guilty pleasure. Though Hart will always be associated with the tune, it’s actually not his biggest hit. That honor goes to “Never Surrender,” the singer’s 1985 single that peaked at No. 3 on the Billboard Hot 100, four spots higher than “Sunglasses at Night.”
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Gallery Credit: Nick DeRiso and Michael Gallucci
