The 100 Best Singles of the 1980s

Cont’d from Page 6


A Number of Names, “Sharevari”

A lot of songs from the post-disco/pre-techno era manage the feat of sounding both ahead of their time and, now, quaintly dated. The spare, deep “Sharevari,” one of the earliest proto-techno dance tunes, continues to sound like both Hill Valley in 2015 and downright Flinstonian. (Released in 1981, it's technically stuck in a boogie time warp all its own: too late for disco, too early for electro, and besting both.) It's really all about that bassline, so massive it scarcely leaves any room for a tight little high hat and a few “Moscow Discow”-like interjections. Deep, primordial, basic to a fault, but it fills a room like a brontosaurus pulling a b-boy windmill. Henderson


Run-D.M.C., “Walk This Way”

The single that first made rap music “safe” for white America, Run-D.M.C.'s collaboration with Steven Tyler and Joe Perry on a cover of Aerosmith's “Walk This Way” marks the point at which the two most dominant forces in American music definitively changed their respective courses in ways that are still shaping trends decades later. After “Walk This Way” conquered both radio and MTV, never again would hip-hop be considered some sort of fringe movement or novelty, and its pervasive influence on all aspects of pop culture would push MOR rock—as embodied by acts like Aerosmith—ever closer to irrelevance. Keefe


The Rolling Stones, “Start Me Up”

Nearly 20 years before it was used as a marketing anthem for Microsoft, “Start Me Up” was an unceremoniously scrapped B-side from Black and Blue, destined for a dusty studio heap until it was rescued for 1981's Tattoo You. It would have been an ironically lame fate for what's become one of the Rolling Stones' most iconic and recognizable tunes, a bluesy, hard-edged throwdown that supplied the perfect credo for, in 1982, the 20th anniversary of the so-called greatest rock n' roll band in the world. The track proved to be prescient, its red-meat guitar riff doubling down nicely on Mick Jagger's promise to “never stop” Cataldo


Kraftwerk, “Computer Love”

For a group that immersed themselves in technology, computers, and all things electronic, “Computer Love” displays a tender, human side to Kraftwerk. So tender and human, in fact, that Coldplay's Chris Martin wrote to the German electronica pioneers requesting to sample the song's gorgeous minimalist melody for his 2005 smash “Talk” This single is also one of Kraftwerk's most weighty prophecies, telling of our disquieting attachment to computer monitors, TV screens, or whatever device our urban society uses to get their technology fix. It's unnerving to think that Kraftwerk warned us against our march toward this soulless existence as far back as 1981, but there's never been a more apt time for a generation neck-deep in “data dates” to heed this message. Jones


Afrika Bambaataa & the Soulsonic Force, “Looking for the Perfect Beat”

“Planet Rock” was the cornerstone for a new rhythmic electro nation and still lands atop most lists of proto-techno and early hip-hop, but it's “Looking for the Perfect Beat” that feels more like the uncut manifesto. It's definitely the more focused and preoccupied: “I must get mine/I'm out to get it” Afrika Bambaataa's mission isn't to land a #1 or fill floors. The quest to craft the perfect beat spans the epochs of “universal people” and the “Mighty Zulu Nation” If the song's rhythms are notably less off the cuff and inventively playful than those crashing throughout “Planet Rock,” well, no one ever accused zealots of lacking concentration. Henderson



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