Top 100 Singles of the 80s: 35-31
By Classic Pop | March 20, 2014
Duran Duran: Rio
We’re getting higher and higher up our Top 100, so the Duran Duran quotient is starting to increase (though we were taken aback that Rio – surely their definitive Eighties statement – has scored lower than lesser songs like Hungry Like The Wolf). Inspiration for this single came from various unlikely sources – from Nick Rhodes’ girlfriend’s laughter to a chorus riffing off TV Eye – and it’s inspired some unlikely covers, from Arctic Monkeys to Nicole Scherzinger.
Orchestral Manoeuvres In The Dark: Souvenir
The first of three appearances in the Top 100 from OMD, all of which come from a very short chapter in the group’s 30-year history, from the end of 1980’s Organisation album and into its follow-up, 1981’s Architecture & Morality. Souvenir was the first single from the latter: reaching number three in the UK, it was the group’s highest-charting single of the 1980s.
Kate Bush: Running Up That Hill
The only Kate Bush single to make it into our chart, this was her Eighties anthem: the lead track from her definitive album, Hounds Of Love, and the single that got a renewed lease of life (and a second UK chart placing more than 20 years later) courtesy of the Olympics’ Closing Ceremony. Her biggest hit in the UK (it reached number five in 1985), it also seeped into our conscious from being used as the theme tune to the cult kids’ TV drama Running Scared.
Eurythmics: Sweet Dreams (Are Made Of This)
We were expecting more than just two entries for Eurythmics in our Top 100, but here – after Sexcrime’s appearance at number 90 – is the second. It may have been the final single to be released from the Sweet Dreams album in the UK, but it was the first to appear in the US, where it became a number-one hit and struck a blow to the “old wave” by ending a month-long reign at the top for The Police’s Every Breath You Take.
Duran Duran: The Reflex
After the relatively poor critical reception of Duran’s third album, Seven And The Ragged Tiger, they knew they had to pull something big out of the bag for its final single. And they did: this being the first time the group had worked with one of this issue’s Godfathers Of Pop, Nile Rodgers. He remixed the single beyond recognition, making it vital, electronic and cutting-edge, and giving the band their second UK number one and highest-selling single of the Eighties.