Great Guitar Solos Of The 1980s (Take Two)

We continue our rundown of classic solos from the 1980s. You can check out the first part here. Any missing? Of course. (Wanted: a lot more classic metal/post-punk solos). Let us know in the comments section below.

38, Shakespears Sister: ‘You’re History’ (Guitarist: Stevie Salas)

37. Bireli Lagrene: ‘Rue De Pierre Part 3’

A triumph of solo guitar, and the only acoustic solo in this list, Bireli stunned the cognoscenti with this track from his 1988 Steve Khan-produced album Foreign Affairs.

36. Bros: ‘Chocolate Box’ (Guitarist: Paul Gendler)

Yes, Bros… Gendler had been a fully-paid-up member of New Romantic nearly-men Modern Romance before becoming an in-demand player on the UK scene, and he enlivened this hit with a raunchy, nimble classic.

35. REO Speedwagon: ‘Keep On Loving You’ (Guitarist: Garry Richrath)

Unreconstructed, huge-toned, weirdly double-tracked solo which revels in being almost out-of-tune throughout. Its sheer in-your-faceness always comes as somewhat of a shock.

34. George Benson: ‘Off Broadway’

Slick, tasty solo from a truly great player, exploding out of the speakers from about 3:13 below. The tune is of course a Rod Temperton-penned, post-disco beauty from Give Me The Night.

33. Killing Joke: ‘Love Like Blood’ (Guitarist: Geordie)

This is ‘just’ a melody, but it’s a great melody, escalating in volume and intensity.

32. Phil Upchurch: ‘Song For Lenny’ (Guitarists: Phil Upchurch/Lenny Breau)

A couple of superb solos from a great, totally forgotten 1984 Upchurch solo album Companions. Breau stuns with his array of false harmonics and jazzy runs, while Upchurch brings the blues feeling.

31. Frank Zappa: ‘Alien Orifice’

It’s nice to hear Frank blowing over a few changes rather than his usual one or two-chord vamps. And he really gets a nice ‘flowing’ thing going here, right in the middle of one of his densest compositions. Starts at around 1:32:

30. Cameo: ‘A Goodbye’ (Guitarist: Fred Wells)

From the classic album Single Life, this solo goes way over and beyond the call of duty for an ’80s soul ballad. But it’s mainly included for its brilliant final flourish, spitting notes out like John McLaughlin. Who is Fred Wells and where is he now?

29. Rush: ‘YYZ’ (Guitarist: Alex Lifeson)

Hard to do without this flowing, creamy, Strat-toned classic on one of the great rock instrumentals of all time (though inexplicably it lost out to The Police’s ‘Behind My Camel’ at the Grammies…).

28. Kevin Eubanks: ‘That’s What Friends Are For’

A real hidden gem from the almost impossible-to-find Face To Face album, Eubanks lays down a short but beautifully-structured solo on a cool cover version, from about 2:45 below.

27. Steve Miller Band: ‘Abracadabra’

Good fun and totally unpredictable. Also notable for its lovely Spanish-style flurry of triplets in its last two bars.

26. Starship: ‘Nothing’s Gonna Stop Us Now’ (Guitarist: Corrado Rustici)

Cheesy? Maybe a bit, but who cares when it’s this well-structured and performed. Add a great tone, nice string-bending and a lovely phrase at the end and you’ve got a classic. Starts at 2:58:

25. Queen: The Invisible Man (Brian May)

May played a lot of great solos in the late 1980s, mostly on other people’s records (Holly Johnson, Fuzzbox, Living In A Box etc) but this one was just a kind of ‘play as many notes as possible in eight bars’ solo, and it’s a killer. From about 2:30 below:

24. Lee Ritenour: ‘Mr Briefcase’

Rit found the sweet spot on his Ibanez many times in the early ’80s, no more so than on this single that kicked off the classic Rit album. The solo also sounds double-tracked too, no mean feat considering the crazy bunch of 32nd notes at the end of bar 10.

23. Michael Jackson: ‘Wanna Be Startin’ Something’ (Guitarist: David Williams)

Not so much a solo as a suddenly-foregrounded riff, Williams became one of the most in-demand US session players after laying down this classic.

22. Pat Metheny: ‘Yolanda You Learn’

A marvellous, ‘singing’ guitar-synth solo from the First Circle album, rhythmically interesting and reflecting a strong Sonny Rollins influence, also closing with a cool quote from the standard ‘My One And Only Love’.

21. Frank Zappa: ‘Sharleena’ (Guitarist: Dweezil Zappa)

Frank’s son was apparently just 14 years old when he laid down this absurdly fluid cameo, at 2:05 below:

20. Eric Clapton: ‘Bad Love’

Nice to hear Eric pushing himself for once, delivering a striking solo played right at the top of the neck, demonstrating a mastery of string-bending and precise fingering.

19. Sadao Watanabe: ‘Road Song’ (Guitarist: Carlos Rios)

A classic rock/fusion solo, all the more impressive because it’s apparently double-tracked, from the album Maisha. Rios is still one of the most in-demand session players in Los Angeles (and one of the few leftie fusion players…), probably best known for his work with Gino Vannelli, Chick Corea and Lionel Richie.

18. Prince: ‘Batdance’

It’s the unapologetic volume and raucous tone, almost distorting it’s so hot in the mix.

17. David Sanborn: ‘Let’s Just Say Goodbye’ (Guitarist: Buzz Feiten)

Feiten seems a weirdly unrecognised figure in the guitar fraternity, but he contributed some great stuff to Sanborn’s seminal Voyeur album including this tasty break over a killer Marcus Miller/Steve Gadd groove. There are some lovely moments when Sanborn’s sax cuts in to augment his solo.

16. Paul Simon: ‘Allergies’ (Guitarist: Al Di Meola)

I love hearing ‘jazz’ musicians turning up on ‘pop’ records, and this is a classic of its kind featuring all of Al’s trademark licks in one short, tasty burst. It’s a lot more fun than listening to his solo albums, anyway… Starts at around 2:46.

15. Manhattan Transfer: ‘Twilight Zone’ (Guitarist: Jay Graydon)

At a time when he was getting much more into the production game, Graydon still found time to toss off a double-tracked showstopper on this hit single. All in a day’s work for the session genius who of course unleashed the famous solo on Steely Dan’s ‘Peg’. Speaking of which…

14. Steely Dan: ‘Glamour Profession’ (Guitarist: Steve Khan)

A mini masterpiece of precision and invention. Khan is given his head and takes the classic tune OUT in the last three minutes. When the chord changes, he changes. Stay right through the fade too – he plays some of his best stuff towards the end. Kicks off at 5:30.

13. King Crimson: ‘Elephant Talk’ (Guitarists: Adrian Belew/Robert Fripp)

Two great solos for the price of one on this Discipline opener. Fripp supplies the opening horn-like curio, then Belew adds some fire and a bit of famous elephantosity for good measure.

12. Living Colour: ‘Funny Vibe’ (Guitarist: Vernon Reid)

A classic modern blues solo from a modern master, adding excitement and elan to an already burning piece, helped along by Will Calhoun’s cajoling kit work.

11. Steely Dan: ‘Third World Man’ (Guitarist: Larry Carlton)

Another day, another classic Steely guitar solo, this one recorded in 1977 during the Aja sessions but not unleashed for another three years. Again, double-tracked for lasting power, featuring a superb mastery of tone and melody.

10. Wendy & Lisa: ‘Waterfall’ (Guitarist: Wendy Melvoin)

Sadly this is my only female entry in the list (more suggestions please), but it’s a fuzz-toned, anthemic treat, with shades of Santana and McLaughlin. From around 3:04 below:

9. The Police: ‘Driven To Tears’ (Guitarist: Andy Summers)

It’s the random, off-the-cuffness that appeals on this one. Summers sounds a lot more p*ssed off than usual, possibly reeling from yet another Sting jibe.

8. Steve Vai: ‘Call It Sleep’

Just a superb guitar composition from top to tail, but the moment at 1:22 when he stomps on the distortion pedal and rips it up is a great moment of ’80s music.

7. Propaganda: ‘Dream Within A Dream’ (Guitarist: Stephen Lipson)

Lipson modestly provided three or four extremely memorable guitar features during his golden ZTT period (not least Frankie’s ‘Two Tribes’), but this one gets extra points for the beauty of its infinite reverb and a dynamite fuzz tone.

6. Orange Juice: ‘Rip It Up’ (Guitarist: Edwyn Collins)

Just a funny two-fingers-up to the well-made solo, and also a fond homage to Pete Shelley’s famous break on Buzzcock’s ‘Boredom’.

5. Frank Gambale: ‘Credit Reference Blues’

Just wind him and watch him go. It starts slowly, almost wistfully, but then becomes a fire-breathing classic. Still scary after all these years.

4. Dire Straits: ‘Romeo And Juliet’ (Guitarist: Mark Knopfler)

The closing solo is just an oasis of choice phrases and unique tones.

3. Van Halen: ‘One Foot Out The Door’ (Guitarist: Eddie Van Halen)

Of course ‘Beat It’ is the industry standard, and possibly the greatest guitar solo of all time, but I’m going for this curio which closes out the oft-forgotten Fair Warning album. He just blows brilliantly over the changes with a gorgeous tone.

2. Jeff Beck: People Get Ready

The second and last solo is the one, a feast of Jeff-isms. A rare good bit from the rather poor Flash album.

1. Stanley Clarke: ‘Stories To Tell’ (Guitarist: Allan Holdsworth)

No chucking out any old solo for our Allan – this is a brief but fully-formed, perfectly structured, wide-interval classic that is easily the best thing about the tune. He seems to get a bit ‘lost’ in the middle, but then regroups for a stunning closing section over the rapid chord changes. Starts at 2:04:

21 Great 12″ Singles Of The 1980s

To some, the advent of the 12” single in the early ’80s was the end of music; but to many others it was a new dawn, a chance to hear your favourite song in widescreen format, expanded into an epic and not bound by radio conventions.

The 12” came about at an exciting time in music when a few things were colliding: the cult of the ‘star’ producer, club culture, sampling, dub techniques and electronic music moving into the mainstream, and the prevailing ‘anything goes’ post-punk ethos.

Talented sound designers such as Trevor Horn, Gary Langan, Shep Pettibone, John Potoker, Francois Kevorkian, Alex Sadkin and Steven Stanley were also in the right place at the right time. And it probably helped that sales of 12” singles contributed to weekly chart positions, so the stakes were high.

So to celebrate this long Bank Holiday weekend, let’s have a look at some key artefacts of the 12” revolution, a great time in music when anything – well, almost anything – went. A few of these I now prefer to the originals. Play ’em loud… And get in touch if your favourite is missing.

21. Paul Young: ‘I’m Gonna Tear Your Playhouse Down’ (1985)

Laurie Latham’s completely mad mix seems entirely designed to annoy the neighbours. A cacophony of metal guitars, Pino Palladino’s floor-shaking, P-funk-influenced bass and bizarre samples. And is that a jazzy riveted cymbal slinking into the mix from time to time?

20. A Guy Called Gerald: ‘Voodoo Ray’ (1989)

A timeless collection of house music tropes which doesn’t ever seem to date. Simplicity is the key, with subtly-shifting riffs.

19. Freeez: ‘Southern Freeez’ (Slipstream mix) (1982)

This one seems impossible to find on the internet or any other compilation album apart from the marvellous Slipstream 2-LP set which came out on Beggars Banquet in 1982. It’s a feast for the eardrums with gorgeous, spacey delays and twinkling Moog lines sprinkled into the mix.

18. Yes: ‘Owner Of A Lonely Heart’ (1983)

Remixer Gary Langan skillfully juggles of all this classic track’s trademark features: Trevor Rabin’s chiming guitar figure, the ethereal backing vocals and those crazy samples. Plus you can really hear Alan White’s drums here – never a chore.

17. Joni Mitchell: ‘Shiny Toys’ (1985)

Joni’s a name you probably wouldn’t expect to see in this list. But remixer Francois Kevorkian had great raw materials to play with here – Thomas Dolby’s dub-style treatments, Mike Landau’s gorgeous rhythm guitar, Vinnie Colaiuta’s killer drums and all the silly vocal overdubs.

16. ABC: ‘Poison Arrow’ (1982)

Trevor Horn ups the ante with a cool, extended lounge-jazz intro and lots of little musical motifs, a new bass part and some new guitar solos.

15. Michael Jackson: ‘PYT’ (2017)

I can’t resist including this recent discovery – someone has somehow got hold of the Thriller stems/mastertracks and put together a real classic. It’s even funkier than the original, if that’s possible.

14. Madonna: ‘Open Your Heart (Maxi Extended Version)’ (1986)

Steve Thompson And Michael Barbiero’s insanely exciting mash-up of Motorik sequencers, Jonathan Moffett’s sick drums and Madonna’s strident vocals, all adding up to an ‘I Feel Love’ for the 1980s.

13. Phil Collins/Philip Bailey: ‘Easy Lover’ (1985)

John Potoker came of age working with Miles Davis and Steely Dan, and his sonic mastery shows through with this stunning reimagining of a somewhat corny single, bringing the originally-submerged drum machine right to the fore and adding loads of top-end. Well, Potoker’s nickname wasn’t ‘Tokes’ for nothing…

12. Scritti Politti: ‘Hypnotize’ (1985)

Gary Langan was at the controls again for this stunning collision of ’50s B-Movie voices, swooning synths, rhythm guitars and bangin’ machine beats. The only thing missing is some serious low-end.

11. Grandmaster Flash/Melle Mel: ‘White Lines (Don’t Do It)’ (1984)

Sylvia Robinson arguably laid down the groundwork for all future 12” singles with this 1984 classic.

10. Prince & The Revolution: ‘Mountains’ (1986)

If you – like me – are always frustrated when this track fades out on the album/single version, have no fear because this remix carries on for another six minutes in the same vein, and turns into one of the sickest grooves Prince ever submitted to vinyl.

9. Peter Gabriel: ‘Sledgehammer’ (1986)

Another entry helmed by John ‘Tokes’ Potoker, this one boosts the top-end again, adds some scary reverbs and focuses on David Rhodes’ guitar, Gabriel’s piano and background vocals and Manu Katche’s drums to superb effect. I now prefer this version of the song…

8. Eric B & Rakim: ‘Paid In Full (Seven Minutes Of Madness Mix)’ (1988)

Coldcut put together this sonic feast, one of the most sampled 12”s of all time. You’ve probably heard almost everything on this remix 100 times on other tracks.

7. Thompson Twins: ‘Lies’ (1983)

Alex Sadkin brings his Compass Point mastery to this remix, adding a real drummer (Sly Dunbar?) and bass player, and pushing the sequencers and percussion right to the fore.

6. Grace Jones: ‘Slave To The Rhythm’ (1985)

‘Pull Up To The Bumper’ is possibly the more artful Grace remix, but this is included for its irresistible groove, and the fact that I always want the original single to go on for twice as long as it does. Also I love the ‘false’ ending and off-stage shout (Horn?) at 3:50.

5. Donna Summer: ‘Love Is In Control (Dance Version)’ (1982)

You could hardly go wrong with Quincy Jones and Bruce Swedien at the controls, but this remix just brings out the sheer luxurious beauty of this single, and various sections are repeated and amplified to superb effect.

4. Will Powers: ‘Adventures In Success (Dub)’ (1983)

Chris Blackwell’s protegé Steven Stanley was in charge of this fascinating dub, completely dispensing with Lynn Goldsmith’s vocals and delaying the reveal of Robbie Shakespeare’s cool bassline for as long as possible.

3. Propaganda: ‘Duel’ (1985)

Included mainly for Steve Lipson’s beatific long guitar solo during the outro, and the fact that it sounds like it could go on forever…

2. Paul Hardcastle: ’19 (Destruction Mix)’ (1985)

A chilling remix which brings out a little more detail of the single version, adding more spoken-word excerpts from the ‘Vietnam Requiem’ documentary and lengthening the funky drum breakdowns.

1. Frankie Goes To Hollywood: ‘Rage Hard’ (1986)

Stephen Lipson and Paul Morley created this insane confection, a kind of Young Person’s Guide To The 12”, featuring Pamela Stephenson introducing all the clichés of the genre, Viv Stanshall-style! Only ZTT can do this. (It seems like sacrilege to leave Frankie’s ‘Two Tribes (Annihilation)’ out of this list, but this gets the nod for sheer balls).

De La Soul’s 3 Feet High And Rising: 30 Years Old Today

The citizens of Punxsutawney have the groundhog to tell them whether there’ll be an early spring (much to Phil Connors’ disgust). But my yardstick is generally: is it time to listen to 3 Feet High And Rising yet?

Perhaps prompted by the recent freakishly-warm weather in London, the answer is a resounding yes. Because De La Soul’s debut album, released 30 years ago today, can refresh the most jaded of pop palettes and may be the ultimate summer record.

At my school, it was all the rage and a huge relief from the incessant INXS, Simple Minds and U2. Probably because De La Soul were from the suburbs of Long Island rather than the inner city, they brought a playful spirit and much-needed humour to hip-hop. It also reminded older music fans (or – let’s be honest – music critics) of that other ‘summer of love’ anthem, Sgt Pepper, even if the band denied any knowledge of that album.

To my ears, it was the first time sampling was used to bring about a truly surreal vision of music. This was a carefree world where it was perfectly normal for a ‘how to speak French’ lesson to accompany The Turtles’ ‘You Showed Me’, or for Sly Stone’s ‘Poet’ to back up some nursery-rhyme rapping. Liberace, The Headhunters, Fats Domino; they were all fair game (though controversial – see below). If it sounded good, it was good.

There’s a silly-but-funny fake quiz show schtick running through the album and it’s not often you hear a whispered rap. Almost every track is under three minutes. There are rhymes about school, haircuts and soap, and if you don’t like one song, there’ll be another one along very shortly.

3 Feet High And Rising was the gateway to some brilliant retro music too, especially for my generation who were too young or not even born the first time around. A theory: it single-handedly led to a resurgence of interest in Hall & Oates, Steely Dan, early Michael Jackson and Funkadelic.

At the time of writing, the album is unavailable on streaming platforms, pending a stand-off between the band and Tommy Boy Records. Is it karmic payback for the boys being so trigger-happy with the samples? Who knows. But it doesn’t stop 3 Feet High And Rising being a classic of the ’80s or any other decade.

1980s Pop: The Worst Bits

We’ve looked at some of the great bits before, but what about the worst bits of ’80s pop, those moments that have you screaming at the radio?

Those randomly-generated solos, irritating choruses, ill-advised technological experiments or disastrous vocal sojourns?

Sometimes crap bits can ruin a perfectly decent song. But whose fault are they? You can often feel the band ‘spokesperson’ putting his oar in, going against the journeyman producer who probably wanted to get some session players in anyway.

And are there recurring themes? The dodgy sax solo is an ’80s staple. There are definitely repeat offenders (hello Midge). And maybe there are types of music that lend themselves to crap bits too (soft rock, mid-’80s techno-pop).

So roll up, roll up! Join us for the worst bits of 1980s pop…

15. Herb Alpert’s trumpet solo on Janet Jackson’s ‘Someday Is Tonight’

Searching for some Miles-ish brooding sexiness, label boss Herb luxuriates in Jam and Lewis’s delicious soundworld for a few seconds, picks up his trumpet and goes…’faaaaart’…

14. The chorus of Level 42’s ‘Running In The Family’

The most anodyne single of their glittering career, not helped by some creepy lyrics and a yukky, somewhat out-of-tune chorus.

13. The sax solo on Aztec Camera’s ‘Somewhere In My Heart’

12. The ‘false ending’ to T’Pau’s ‘China In Your Hand’

11. Lisa Stansfield’s spoken-word intro to ‘All Around The World’

Pass the sick bag. Yes, the song is an unashamed ‘tribute’ to Bazza White’s eroto-soul, but Lisa probably should have parked the sexy-as-a-dentist-chair, American-accented spoken-word opening of this UK number one (she should have done it in her Rochdale accent… – Ed.).

10. The guitar solo on Philip Bailey/Phil Collins’ ‘Easy Lover’

It’s crying out for some widdly Van Halen-inspired techno flash, but unfortunately Daryl Steurmer can only manage a tepid, weirdly unmemorable pass…

9. The sax solo on Spandau Ballet’s ‘True’

A classic ’80s single, almost ruined by Steve Norman’s dire feature. He sounds like a kid who’s just been given an alto sax for Christmas.

8. Steve Hogarth’s piano solo on The The’s ‘Heartland’

Much beloved in some circles but always sounds a bit tentative and formless to these ears.

7. The chorus of Duran Duran’s ‘Wild Boys’

6. The sampled vocal bits in Kylie Minogue’s ‘I Should Be So Lucky’

A horrible song from top to tail, but the keyboard ‘solo’ puts the tin lid on it. See also Rick Astley’s ‘Never Gonna Give You Up’ and Mel & Kim’s ‘Respectable’.

5. Gazza’s rapping on ‘Fog On The Tyne (Revisited)’

4. Billy Joel’s ‘We Didn’t Start The Fire’

Just the whole song. Period.

3. The chorus of Ultravox’s ‘Dancing With Tears In My Eyes’

If you look up ‘bombastic’ in the dictionary, you’ll see a little thumbnail of Midge.

2. The chorus of Midge Ure’s ‘If I Was’

See above.

1. The spoken bits on Michael Jackson’s ‘The Girl Is Mine’

This one divides opinion. Macca and Jacko’s little tete-a-tete has been the cause of much merriment, but it somehow fits the song. Still rubbish though…

Nominate your worst moments of ’80s pop below…

1980s Pop: The Best Bits

Earworms: ’80s pop was chock-a-block with ’em. Studio technology was blossoming fast and there was constant temptation (and pressure?) to come up with new sounds. Fairlights, Emulators, Synclaviers, gated snare drums: there had never been more ways to skin a cat.

But woe betide the ’80s popster who neglected the basic tenets of songcraft; the trick was coming up with memorable ‘bits’ that fitted seamlessly into a track and bore repeated listening.

Thankfully, for every what-does-this-button-do novelty hit, there was a genuinely innovative, memorable pop confection.

So here’s a compendium of good bits from the 1980s, details that mark the decade out as a unique musical era. The rules: one artist per slot and every song has to have made the UK or US top 40 singles chart, or both…

36. Lee Thompson’s sax in the second verse of Madness’s ‘My Girl’

35. Marc Almond’s spoken-word line in Soft Cell’s ‘Say Hello Wave Goodbye’

34. Mel Gaynor’s volcanic snare-drum fill after the breakdown in Simple Minds’ ‘Alive And Kicking’

There’s a similar eruption in ‘Don’t You Forget About Me’, but this one wins out for sheer audacity. I wonder what ‘anti-muso’ co-producer Jimmy Iovine had to say about it… 

33. The fade of The Police’s ‘Every Little Thing She Does Is Magic’

32. The Middle Eastern-sounding synth riff in Blancmange’s ‘Living On The Ceiling’

31. Steve Jansen’s marimba solo on Japan’s ‘Ghosts’

30. Mark Knopfler’s lead guitar at the tail end of Dire Straits’ ‘Romeo And Juliet’

29. Martin Drover’s trumpet riff on Adam Ant’s ‘Goody Two Shoes’

28. The bassline enters at 0:20 of The Cure’s ‘Love Cats’

Phil Thornalley is a veritable Zelig figure in ’80s pop, but even he couldn’t have imagined that his superbly simple-yet-complex bassline (try playing along) could have had such an impact on this stand-alone UK top 5 single.

27. Martin Fry’s hysterical ‘You think you’re smart/That’s stupid/Right from the start/When you knew we would part!‘ at the tail end of ABC’s ‘Poison Ivy’ 

Pointing the way forward for similar outbursts from Jarvis Cocker et al.

26. The weird coda of Stephen Tin Tin Duffy’s ‘Kiss Me’

Just when you thought this slightly-annoying-but-effective UK top 10 single was all done and dusted, there’s that menacing little DX7 kiss-off…

25. Melle Mel’s laugh-rap on Grandmaster Flash’s ‘The Message’

24. The guitar riff on The Pretenders’ ‘Back On The Chain Gang’

The jury seems to be out on whether Billy Bremner or Robbie McIntosh played this (answers on a postcard please).

23. Pino Palladino’s opening bass salvo at 0:04 of Paul Young’s ‘I’m Gonna Tear Your Playhouse Down’ 

22. David Williams’ guitar break on Michael Jackson’s ‘Wanna Be Startin’ Somethin”

21. The jangling piano motif of Associates’ ‘Party Fears Two’

Who came up with this weird brilliance? For a generation of listeners, it’ll always be the theme to BBC radio’s ‘Week Ending’.

20. The post-chorus drum fills on It Bites’ ‘Calling All The Heroes’

Deceptively simple (leading with the left hand is not easy for a right-handed drummer), tasty fills from Bob Dalton, the Cumbrian four-piece’s sticksman.

19. The backing vocals at 1:45 of Quincy Jones’ ‘Razzamatazz’

Patti Austin’s kaleidoscopic overdubs on the Rod Temperton-penned single which reached #11 in the UK chart.

18. ‘Heeeere’s Grace!’ on ‘Slave To The Rhythm’

17. ‘Science!’

Dr Magnus Pyke’s outburst on Thomas Dolby’s ‘She Blinded Me With Science’ still raises a titter, but apparently he quickly came to regret his contribution to this US #5 single.

16. The Emulator string stabs which close Paul Hardcastle’s ’19’

Sending us out into that good night with a chill in the heart…

15. The spoken-word bits in Frankie Goes To Hollywood’s songs

Take your pick from: ‘Well ‘ard!’, ‘Are you flipping me off?’, ‘In Xanadu did Kublai Khan/Pleasuredome erect!’ or my favourite: ‘In the common age of automation, where people might eventually work ten or twenty hours a week, man for the first time will be forced to confront himself with the true spiritual problems of livin”!

14. Neneh Cherry’s cockney accent on ‘Buffalo Stance’

13. The Sweetbreaths’ backing vocals at 1:36 on Tom Tom Club’s ‘Wordy Rappinghood’

Tina Weymouth’s sisters Lani and Laura bring the silliness, interpreted by Google thus: ‘Ram sam sam, a ram sam sam/Guli guli guli guli guli ram sam sam/Haykayay yipi yaykayé/Ahou ahou a nikichi’.

12. Bill Wyman’s French accent in the chorus of ‘(Si Si) Je Suis Un Rock Star’

Or the whole damn song really… 

11. Stevie Wonder’s harmonica solo on Eurythmics’ ‘There Must Be An Angel’

Is there any musician in pop music history who has better communicated pure joy?

10. The ‘Hey!’ sample on Art Of Noise’s ‘Close (To The Edit)’

Not the Noise’s Anne Dudley apparently, but Camilla Pilkington-Smyth (Who she? Ed.). A song of good bits.

9. The ‘Oh yeah!’ sample in Yello’s…’Oh Yeah’

8. Eric B’s ‘Pump up the volume!’ on ‘Paid In Full’

7. That Phil Collins drum fill on ‘In The Air Tonight’

It’s always a bit louder than you think it’s going to be…

6. Roy Bittan’s flanged piano on David Bowie’s ‘Ashes To Ashes’

5. The banshee-wailing on The Specials’ ‘Ghost Town’

It’s a close call between that and the haunting air-raid sirens at the end.

4. The whistling on XTC’s ‘Generals And Majors’

Real whistling or a synth? Who cares? Colin Moulding’s song has more great pop hooks than you can shake a stick at.

3. Abby Kimber’s cod nursery rhyme at the end of Bucks Fizz’s ‘Land Of Make Believe’

2. The synth riff of Human League’s ‘Love Action (I Believe In Love)’

1. Ryuichi Sakamoto’s funky piano on David Sylvian’s ‘Red Guitar’

Have I missed out some great moments? Of course. Let me know below.

Book Review: The Invisible Man (The Story Of Rod Temperton) by Jed Pitman

How many British songwriters have made their living exclusively in soul/funk/R’n’B? If you can come up with more than one name, you’re doing pretty well…

It shows just how singular and important Rod Temperton’s career was until cut short by his death in 2016. Though never ‘flavour of the month’ (i.e. not ‘rock’), he has to be in the pantheon of great songwriters, Brit or otherwise.

Jed Pitman is first out of the traps with a biography of the Cleethorpes-born melody maestro who came out of the somewhat unprepossessing mid-’70s Midlands soul scene to somehow write (or co-write) ‘Thriller’, ‘Rock With You’, ‘Sweet Freedom’, ‘Give Me The Night’, ‘The Dude’, ‘Love Is In Control (Finger On The Trigger)’, ‘Ya Mo Be There’, ‘Love X Love’, ‘Always And Forever’, ‘The Lady In My Life’, ‘Razzamatazz’ and ‘Boogie Nights’.

Pitman’s book evolved from a BBC radio programme and as such does at times feel somewhat like a transcription, with lots of verbatim interview material but fairly limited authorial insight. But that’s nitpicking when one considers his interviewees: Quincy Jones, Siedah Garrett, Michael McDonald, Herbie Hancock, Bob James, Bruce Swedien. The only major absentee seems to be Michael Jackson.

It has to be said, the constant theme of these interviews is: I can’t believe Rod wasn’t black. But once he’s got over that elephant in the room, Pitman builds up a more vivid picture of this rather geeky guy writing his funky, hook-laden tunes on a cheap keyboard in the weird town of Worms, Germany.

The groundbreaking disco/funk band Heatwave were of course the first recipients of his signature tunes, but the book’s great success is forging a line through all of Temperton’s work, identifying common traits and signposts. All those little synth and vocal motifs were clearly planned well in advance – it’s also clear that he worked from the bassline up. And what fabulous, much-sampled basslines they were. Even Public Enemy nicked from Heatwave’s brilliant ‘The Groove Line’ for their ‘Sophisticated B**ch‘.

The other really pleasing aspect of ‘The Invisible Man’ is discovering some of the more obscure avenues of Temperton’s career – collaborations with Herbie Hancock and Bob James, ‘The Color Purple’ soundtrack, ‘The Oprah Winfrey Show’ theme music. The book also places a lot more emphasis on his arranging work than is commonly known.

But we never quite work out what makes Temperton tick musically. Who were his main influences? The anecdotes seldom go beyond: ‘He was the real deal’. And Pitman rather glosses over the leaner last 20 years of his career – it would have been interesting to find out more about his view on the more technology-led/minimalist R’n’B of recent years.

But on the whole this is an extremely readable, valuable book, and the world is a better place for it. It certainly had me scurrying to various streaming services to check out everything in Rod’s illustrious songbook. The Heatwave albums, in particular, have been a revelation. (Incidentally, the cover of ‘The Invisible Man’ is pretty ghastly but apparently a very accurate portrayal – almost every interviewee speaks of his obsession with the cigs…)

‘The Invisible Man’ is published now by The History Press.

The 11 Worst Music Videos Of The 1980s

Billy Squier doing his ‘thing’

When MTV launched on 1st August 1981, it was estimated that only 150 music videos were in circulation. So if the round-the-clock station was going to succeed, it needed new content, and fast.

But, mired in the middle of a recession, record companies were initially sceptical about the commercial clout of videos. That period was short-lived; as record exec Mick Kleber put it in the hilarious book ‘I Want My MTV’, ‘Once Duran Duran started selling records in Oklahoma, it opened everyone’s eyes.’

Suddenly the video department of the major labels was the ONLY department that was expanding. In the rush to fill MTV schedules, production went into overdrive. The likes of Toto, Christopher Cross, Journey, Stevie Nicks, Van Halen, Steve Miller and Chicago – still-big-selling acts from a different generation – were forced to ham it up in front of the camera.

And thank goodness that some of their lamest, most ill-advised attempts are preserved for posterity, and for our delectation. We are pleased to present 11 of the worst clinkers. Here you will find a strange parade of transvestites, mullets, models, douchebags, disco line-dancers and little people. What were the directors thinking? Who knows, but for once I’m inclined to concede that the 1980s might have been the decade that taste forgot…

11. Chick Corea Elektric Band: ‘Elektric City’ (1985)

From that weird sub-genre of ’80s music video: the jazz-fusion artist looks for a hit. One has to feel particularly sorry for sh*t-hot guitarist Scott Henderson (who didn’t even play on the track!), looking like Screech from ‘Saved By The Bell’, hamming it up against his better judgement. Not forgetting the brilliant jazz dance troupe IDJ – why, lads, why?

10. Hall & Oates: ‘Private Eyes’ (1981)

After an unforgivable snare-drum-in-the-wrong-place opening, one of the most unimaginative visual documents in pop history, fronted by an anaemic, manic, clearly uncomfortable Hall. It didn’t stop the single from getting to #1 in the States, though…

9. Billy Joel: ‘Allentown’ (1982)

Actually, Russell Mulcahy’s homoerotic curio would make a pretty good musical. Just putting it out there…

8. The Police: ‘Wrapped Around The Finger’ (1983)

Directors Godley and Creme’s instructions to the lads seem to have been: look as much of a pr*ck as possible…

7. Billy Squier: ‘Rock Me Tonite’ (1984)

Apparently our Billy was aiming for a homage to ‘American Gigolo’ but ended up with this slightly deranged, camp classic. ‘Directed’ by Kenny Ortega, later famed for ‘High School: The Musical’ and Michael Jackson’s ‘This Is It’.

6. Steve Miller Band: ‘Abracadabra’ (1983)

Boring, boring, boring, boring, boring…

5. Toto: ‘Waiting For Your Love’ (1982)

We’ll leave aside that this is a very ill-advised choice of single off the back of ‘Rosanna’ and ‘Africa’. According to guitarist Steve Lukather, the video was so bad that even MTV wouldn’t play it.

4. Journey: ‘Separate Ways’ (1982)

Could it have been any more unflattering to poor singer Steve Perry? And whose ideas was it to have the guy playing air keyboards? Not to mention that the preyed-upon, obligatory ‘sexy woman’ is obviously a drag queen, when seen in long shot…

3. The Jacksons: ‘Torture’ (1984)

The clue is in the title. Michael obviously got wind of the impending disaster – he didn’t even turn up for the shoot. They used a Madame Tussauds dummy in his place.

2. Chicago: ‘Hard Habit To Break’ (1984)

Great piece of music, horrible video. Lots of ‘sensitive’ men of a certain age longing for a succession of scantily-clad model/actresses.

1. Van Halen: ‘(Oh!) Pretty Woman’ (1982)

Short people? Tick. Transvestite? Tick. Questionable antics? Tick. Ridiculously cheap production values? Tick. Definitely a case of too much bourbon and not enough brains. Roy Orbison’s views on this monstrosity are not recorded…

Are there other stinkers from the 1980s? Of course. Let us know below.