"SUBURBIA" PET SHOP BOYS (1986)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

Like many stateside, “West End Girls” was my introduction to the edgy synthscapes and witty verse of Pet Shop Boys. Please is one of the genre’s greatest debut albums. And though I think PSB’s singles are much better than the original album versions, it is a treasure trove. In addition to “West End Girls”, it’s packed with other big tracks like “Opportunities”, “Love Comes Quickly”, “Two Divided By Zero” and one of my favorites: “Suburbia”.

While another 80’s anthem – Rush’s “Subdivisions” – painted a bleak picture of suburban life, this track seemed to go even darker – moving beyond high school cliques and into a world of violence and squalor. In stark contrast, the music created a utopian vibe with the soaring synth notes. “Suburbia”’s defining element is probably the dog barks – deliberately electronic and fake in their sound – and all the more powerful for it.

“Where's a policeman when you need one
To blame the colour TV?”

"DON'T YOU WANT ME" THE HUMAN LEAGUE (1981)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

The casual music fan in the U.S. knows The Human League by one song: “Don’t You Want Me”. Sure, there were other singles during their pop phase that were better – “(Keep Feeling) Fascination”, “The Lebanon”, “Love Action”, among others. More serious fans realize that the early years were the best. Darker and more experimental – “Being Boiled” and “Empire State Human” were some of the standouts. When you look at what the band accomplished early on, it’s easy to make fun of “Don’t You Want Me”. But I like to think of it as my guilty pleasure.

Cheesy Casiotone-like synth riffs. Cheesy lyrics. Cheesy vocal baton pass. And I love every second of it. “Don’t You Want Me” is a time capsule of “such good times”. It dominated on MTV, turning eighties kids like me on to The Human League. These days, it’s a song that carries so much nostalgia with it because it has not stood the test of time at all. We crank it up in the car & queue it up on the karaoke list because it brings us back.

“I was working as a waitress in a cocktail bar, that much is true.”

"DOCTOR! DOCTOR!" THOMPSON TWINS (1984)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

During the mid eighties, Thompson Twins seemed hell bent on one thing: getting us to dance. They did it fast-tempo, mid-tempo and slow. Their musical cocktails mixed catchy melodies, synth jams, three-part harmonies, drum machines and assorted percussion instruments to create the impulse to move. And that ability to do it with a variety of tempos might be the Thompson Twins’ sharpest skill. Everyone remembers the catchy, yet slightly campy “Doctor! Doctor!”.

Those far eastern-influenced synth riffs are etched into my brain, giving me the ability to instantly recall them after not hearing them for decades. “Doctor! Doctor!” is an eighties anthem that hasn’t exactly aged well into the current decade. Nonetheless, it’s a nostalgic look back at what pop outfits were able to do with an infectious melody when they combined the use of synthesizers and analog instruments.

“Dance with me across the sea.”

"DREAM ATTACK" NEW ORDER (1989)

For October, the Mental Jukebox is dialing it way back to the eighties and going deep. Deep cuts have always been an important element of music listening to me because they’re often the songs that resonate with me most. Deep cuts are usually the ones that the true fans appreciate most. I like my singles and hits, but I love my deep cuts.

Technique will always be my favorite New Order album. The way those songs sounded one after another made it truly difficult for me to hear the individual tracks in isolation. The troubles with the band have been well-documented in Peter Hook’s memoir Substance. But it’s the chaos and the backdrop of Ibiza that led to one of the band’s greatest recordings. Album aside, if I had to pick a standout, “Dream Attack” is it.

One of the greatest closing tracks of the eighties, “Dream Attack” ended strong with a mid-tempo symphony of driving synth bass, iconic real bass lines by Hooky, piano-sounding synth and a medley of synth and guitar flourishes. Hooky has mentioned that some of Barney’s best vocals are when he’s stretching his range. While I tend to agree with that overall assessment, I think the lower key on “Dream Attack” really served the song well in terms of the vocals. Nothing in this world can touch it.

“Nothing in this world Can touch the music that I heard.”

"WEIGHT OF THE WORLD" ERASURE (1988)

For October, the Mental Jukebox is dialing it way back to the eighties and going deep. Deep cuts have always been an important element of music listening to me because they’re often the songs that resonate with me most. Deep cuts are usually the ones that the true fans appreciate most. I like my singles and hits, but I love my deep cuts.

Vince Clarke is one of the true elder statesmen of synth pop. A founding member of Depeche Mode who gave us bright synth anthems like “New Life” and “Just Can’t Get Enough”. As the band shifted toward a darker sound, Clarke left and formed Yaz (Yazoo in the UK) with Alison Moyet, penning more classics like “Nobody’s Diary”, “Situation”, “Don’t Go” and “Only You”. But my favorite Clarke era is the first decade of Erasure with Andy Bell – and deep cuts like “Weight of the World” are a big reason why.

The Innocents was a banner album for Erasure, spawning some of their biggest hits – including “A Little Respect” and “Chains Of Love”, while also containing some of the band’s most beloved songs like “Phantom Bride” and “Ship of Fools”. “Weight of the World” didn’t jump out the way some of those songs did, but it has a staying power in its slow tempo groove. The deep cut was always one of my favorite tracks. Vince’s simple, commanding synth bass lines and circus-esque transition lines. Andy’s soulful vocals. A relic of Erasure at the top of their game.

“You hold your head in your hands And the weight of the world on your shoulders.”

"AS HARD AS IT IS" FINE YOUNG CANNIBALS (1988)

For October, the Mental Jukebox is dialing it way back to the eighties and going deep. Deep cuts have always been an important element of music listening to me because they’re often the songs that resonate with me most. Deep cuts are usually the ones that the true fans appreciate most. I like my singles and hits, but I love my deep cuts.

I still remember the day I got my The Raw & The Cooked CD. I remember hearing from critics about a clear delineation between the first and second “sides”, that the first half was the raw and the second half was the cooked. I honestly couldn’t tell how one side was more raw or more cooked than the other. But I do remember the album being great from beginning to end with no filler. I do like the cooked side quite a bit, especially the Buzzcocks cover “Ever Fallen In Love” and the throwback ballad “As Hard As It Is”.

The song starts and ends with that voice. There’s no one else that sounds like Roland Gift. On “As Hard As It Is”, his voice truly ascends and has a chance to shine with its slower, prodding tempo. You can hear a sturdy oakiness on the song that stands in stark contrast to his falsetto approach on “She Drives Me Crazy” and “I’m Not The Man I Used To Be”. The ballad is a refreshing change of pace for an album that mostly operates at a fast, dance-friendly tempo.

“Life's been quiet since you've been gone.”

"ONLY YOU" YAZ (1982)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

Giorgio Moroder, Donna Summer and Kraftwerk are often cited as a few of the key pioneers of synth pop. But the full body of work by Vince Clarke proves he was one of the finest practitioners of the genre. His synth compositions are almost instantly recognizable, often sporting an upbeat, euphoric demeanor – a style that undoubtedly clashed with Depeche Mode as the band went in a darker, more ominous direction. Clarke’s next stop in his career: a relatively brief collaboration with Alison Moyet in the form of Yaz (Yazoo in the UK). “Only You” might be their most recognizable hit.

Hailing from the unforgettable Upstairs at Eric’s, an album that remains one of new wave’s must-listens from beginning to end, “Only You” was planted right smack in the middle of languid electronic offerings and upbeat dance bangers. “Only You” was the ballad that broke into new melodic territory for a synth-pop band. It emphasized Moyet’s soulful vocals above all else, but those blippy flourishes from the man behind the keyboards are a study in restraint. It truly is a case of less is more. The result: one of the most iconic ballads of the eighties.

“Looking from a window above, it's like a story of love.”

"THE PROMISE" WHEN IN ROME (1987)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

Those who criticize synth pop have every right to dislke the genre. What you listen to is up to you. But those who criticize it because they say it’s soulless are misunderstood. Synthesizers are mere instruments, just like a piano or an electric guitar. They can be the heart of a song. Or the soul of a song. But often, it’s not their job to be those things. It’s really the melody and the lyrics that tell you if a song has heart or soul. If you don’t believe me, listen to When in Rome’s “The Promise” and get reacquainted with what synth pop can do to your spirits.

I first heard “The Promise” on my local alt rock station WDRE. But it wasn’t long that the Top 40 stations picked up on it. The reason why: It wasn’t about the synthesizers even though the entire song’s instrumentation is based on them. It was about the words and the way the melody expressed those words. I could easily sing along to it, not because it was an easy melody (that chorus makes quite an octave jump), but because it made me feel something. Whatever it was, I wanted to feel more of it.

“I'm sorry but I'm just thinking of the right words to say.”

"LAY YOUR HANDS ON ME" THOMPSON TWINS (1985)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

The Thompson Twins were more than just a solid synth pop band. They wrote melodies with the best of them. And when it came to a distinct sound, they knew how to make down-tempo songs danceable. They knew how to make us move – no matter what the song was about, no matter how slow the song went. There are fast-paced Thompson Twins classics like “Lies”, “In The Name Of Love” and “Love On Your Side”. But it’s the slower jams that I love most, including “Doctor! Doctor!”, “Hold Me Now” and “Lay Your Hands On Me”.

Probably my favorite track from the synth pop three-piece, “Lay Your Hands On Me” is just gorgeous in its minimalist structure. The combination of shimmery synth notes, Leeway’s drumming and the vocal harmonies elevate the simplicity to the sublime. It is their version of a power ballad – a nostalgic artifact of the era when it was all about the songs and melodies. The synthesizers were just the means.

“I couldn't think of what to say. Words just vanished in a haze.”

"CHANGE" TEARS FOR FEARS (1982)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

In the early to mid eighties, Tears For Fears were as solid a band as you could get. Getting The Hurting and Songs From The Big Chair back to back was a treat for music fans like me who wanted the synthesizers to play a more prominent role. TFF knew their way around pop (“Everybody Wants To Rule The World”, “Pale Shelter”). They knew their way around more jazzier arrangements (“The Working Hour” and later “Woman In Chains”). They delved into the experimental (“The Prisoner”, “Listen”). And they always knew the power of a strong hook: “Change”, “Mad World”, “Mother’s Talk”, “Shout”, the list goes on.

“Change” lives and dies on that manic synth hook that opens the song, holds up the middle, and closes things up. Despite being so representative of the era, it still holds up quite well after all these years. The guitar that comes in later in the track doesn’t compete with the synthesizers, it merely complements what has already been building. Now, I dare you to listen to “Change” without bobbing your head or tapping your foot.

“When it's all too late, It's all too late.”

"LET IT HAPPEN" TAME IMPALA (2015)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

Currents was the first Tame Impala album that I heard from beginning to end. It arrived at a time when I was listening to music at work in an open bullpen environment where we all took turns playing albums and playlists off our laptops. My coworkers didn’t always agree on what was considered good, but everyone seemed to gravitate toward Currents. It seemed to satiate a variety of thirsts with its psychedelic leanings, disco influences and prog-like song structures and instrumentation. There was something for everyone. As the opener, “Let It Happen” was an intriguing, gripping segue into the rest of the album.

Clocking in at nearly eight minutes, the song is full of infectious hooks, experimental interludes and unexpected production explorations. And it’s not often that a track has all three of those features. “Let It Happen” is a song about going with the flow, and the music seems to adopt that theme as its own. It’s perhaps one of the most ambitious singles ever created and a shining example of the songwriting and production prowess of Kevin Parker.

“If my take-off fails, make up some other story. But if I never come back, tell my mother I'm sorry.”

"IT'S MY LIFE" TALK TALK (1984)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

Growing up as an 80’s kid is pretty core to who I am. That’s why I will always have a bias for 80’s music. There are some decent songs and albums from the era, but it’s the nostalgia that resonates with me the most. It’s why Talk Talk’s original version of “It’s My Life” will always be much better than No Doubt’s version, which was no musical slouch itself. Here in the U.S., the song wasn’t on the mainstream radar, therefore it was there for the taking for the new wave / alt rock / college rock kids. And we gladly gobbled it up.

“It’s My Life” took a desperate plea and turned it into a feel good song, and raised the bar for dozens of British synth pop bands in the process. There are some iconic riffs here, but what the synthesizer does best on the song is create these mind-blowing soundscapes. One minute I’m gliding along the Atlantic Ocean. Another minute, I’m dancing in heaven. That’s how innovative Talk Talk was – even during their early synth pop era.

“Funny how I find myself in love with you.”

"SEND ME AN ANGEL '89" REAL LIFE (1989)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

During high school, I went through a cassette single phase. With no turntable to be found in my house, I resorted to cassettes before finally turning to CDs. Full LP cassettes, cassette singles and mix tapes lined my book shelf. I played some of them over and over again to the point where I can memorize every word, synth flourish and bass line even after not hearing the music for decades. A case in point: Real Life’s “Send Me An Angel ‘89” single.

This remake falls into that late 80’s synth pop resurgence that I wrote about earlier on Mental Jukebox. A movement with so many great songs and moments, but a short movement at that – squashed by the grunge era. To be clear, “Send Me An Angel ‘89” does have a brief guitar solo on it, but it’s the trademark synth riff – together with the angelic chants – that gives the song its new wave sensibility. Make me want to play it on my Casiotone.

“It gets in your eyes. It's making you cry. Don't know what to do. Don't know what to do.”

"SUCH GREAT HEIGHTS" THE POSTAL SERVICE (2003)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

The Postal Service got its name from the way in which they collaborated from different parts of the country, sending each other tapes with early music sketches and ideas. It might not be the best way to collaborate, but it worked wonders here. Led by Death Cab’s Ben Gibbard, The Postal Service only gathered together for one album. But Give Up was a strong showing – and the undisputed anthem is the single, “Such Great Heights”.

With both Death Cab For Cutie and The Postal Service, Gibbard’s songs have often felt calculated, pensive, yet strangely liberating at the same time. “Such Great Heights” feels like a ticking bomb that could go off at any moment. The smatterings of synth notes and electronic percussion feed into this, but Gibbard’s unusually earnest vocals only create more urgency on the track. “Such Great Heights” takes us to the pinnacle and back.

“And I have to speculate That God Himself did make Us into corresponding shapes Like puzzle pieces from the clay.”

"FENCES" PHOENIX (2009)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

Back in 2009, a second wave of synth pop bands was rising. The bands that were leading the charge were Phoenix and MGMT. Their songs made you dance. They made you feel young again. Wolfgang Amadeus Phoenix gave me a renewed interest in electronic music once again, like their French countrymen Daft Punk. Their synth lines hovered, floated and soared. They didn’t overpower you. This is sugary pop, not a rock and roll album full of bangers.

You don’t over explain songs like “Fences”. You just have fun with them. But I will say this. Phoenix, with these delicious pop songs, found their own brand of rhythmic hooks, lifting spirits with their pregnant pauses, tempo shifts and clever musical layering. “Fences” changed up the instrumentation in a way that made you feel like you were being ushered from one dance floor to another. This is a track that you can let loose to without rocking out.

“Once remembered now forgotten.”

"BEING BORING" PET SHOP BOYS (1990)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

When done right, the art of engineering paradoxical elements in a song can lead to something incredible. We’ve seen it occur from the post-punk days of Joy Division when Ian Curtis’ baritone vocals crawled underneath Peter Hook’s unusually high bass lines. Or several years later when The Smiths paired Marr’s jangly guitar riffs with Morrissey’s morbid commentary of misery. It happened again in 1990 with Pet Shop Boys’ fan favorite, “Being Boring”.

“Being Boring” is one of my favorite songs from the Pet Shop Boys catalog because of its paradoxical elements, fusing a majestic synthscape with Tenant’s mundane memoir of growing up. The track saw less commercial success than some of their bigger singles in the US, but it was laden with some of Lowe’s most pristine synth riffs and Tenant’s finest lyrics. The song is about a friend of Tenant’s who died of AIDS. It’s about the reflection and change in perspective we may have in hindsight. I consider Please, Actually, Introspective and Behaviour to be one of the finest synth pop album runs in history – and “Being Boring” is arguably their best song.

“We dressed up and fought, then thought: "Make amends". And we were never holding back or worried that time would come to an end.”

"SOUVENIR" OMD (1981)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

OMD will forever be known as a John Hughes-era music staple. They penned one of the most famous 80s movie soundtrack songs, “If You Leave”, and topped it off with plenty more standout tracks like “Dreaming”, “Forever (Live and Die)” and “Secret”. But I think all that Brat Pack-fueled success almost did a disservice to the band. It overshadowed what they accomplished artistically in their first three albums, including Architecture & Morality, a vastly underrated album which contains a fantastic single called “Souvenir”.

Some of the best songs are the ones that envelope us into the ether. They transport us. Anywhere, but where our physical bodies may be. While few people would classify OMD as a post punk band, what they were doing on “Souvenir” was very post-punk in their mentality. The instrumentation was much more nuanced and layered in various synth sounds. And the song conjured up multiple emotional states, including euphoria, indifference and sadness, all in under four minutes. Structurally, it was anything but obvious, substituting a vocal chorus with the signature synth hook.

“My obsession. It's my creation. You'll understand. It's not important now.”

"TOGETHER IN ELECTRIC DREAMS" PHILIP OAKEY & GIORGIO MORODER (1984)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

Like a Human League song on sonic steroids. Growing up I always thought it was The Human League, and I didn’t know who Giorgio Moroder was until Daft Punk paid homage to him on their Random Access Memories album. And what a shame it is that Giovanni Giorgio Moroder doesn’t receive more acclaim. This man unleashed the power of the synthesizer. He was the one with the vision that saw it as the future of music. There would be no euro disco, synth pop and a key swath of new wave without him. “Together In Electric Dreams” is just as much his song as it’s Philip Oakey’s, if not more.

Oakey’s baritone vocals shine like crystals on the track. Simultaneously weighty and lofty, they give the song its upbeat demeanor together with that feel good melody. But the magic of the song is Moroder. He not only crafts gorgeous synth hooks, he uses it to create guitar-like riffs multiple times throughout the song. Moroder unleashed the synthesizer in ways we weren’t accustomed to hearing it. “Together In Electric Dreams” is much more than just a catchy synth pop song. It’s a foreshadowing of the dual vocal attacks of Pet Shop Boys and Dusty Springfield, the synth chord progressions of early Erasure, and the disco vibes of Daft Punk.

“Because the friendship that you gave has taught me to be brave.”

"KIDS" MGMT (2007)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

While synth pop’s hey day is indisputably the eighties, the genre has enjoyed multiple resurgences, including the mid-2000s when bands found new ways to create melodic pop hooks using synthesizers. Some bands rocked a little harder like LCD Soundsystem. Others went more experimental like Grizzly Bear and Animal Collective. Still, others kept the focus on infectious pop melodies, like Phoenix and MGMT. In 2007, there was no song more emblematic of this era than “Kids”.

It seemed like “Kids” was everywhere, becoming an anthem at parties and clubs with its signature synth hook. I still remember the power of that song, especially when it was delivered on giant club speakers. The single came in with an air of carefree optimism at the start of the recession. It was like an escape. Listening back to it now, I’m reminded of the power of music – its ability to change the dynamic and the mood of the room in an instant.

“Take only what you need from it.”

"SOMETHING ABOUT YOU" LEVEL 42 (1985)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

1985 was an absolute banner year for music. Hounds of Love. Brothers in Arms. The Head on the Door. Songs From the Big Chair. Hunting High and Low. No Jacket Required. Psychocandy. Rain Dogs. Meat is Murder. And the list goes on. For a junior high school kid like me, it was a dream. It’s safe to say that my early love for music was significantly shaped by the albums and songs of 1985. Level 42 also made some noise during the same year. They did it with the ubiquitous single, “Something About You”.

Look, I know there’s a pretty sweet guitar solo at the end of the song, but “Something About You” is all about the synthesizers. It’s a synth pop song with some juicy keyboard bits and that badass bass line. The synthesizer hooks us in early, and then uses minimal flourishes to keep things going. But the song is all about the vocals and melody. Maybe this is the greatest compliment I can give this eighties anthem: It’s a song you want to sing along to over and over again.

“Is it so wrong to be human after all?”