"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.”

"VITAL SIGNS" RUSH (1981)

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.

The Moving Pictures album is widely recognized as one of Rush’s best albums – from beginning to end. It is a tale of two halves. Side A contains four of the band’s biggest anthems. While still rooted in Rush’s progressive agenda, the songs reveal signs of a band willing to reach across the aisle to music fans that prefer more straight ahead rock, most notably in “Limelight” and “Red Barchetta”. But Side B is unapologetically progressive and less palatable for the masses. That’s what makes songs like “Vital Signs” so good.

The song reflects Peart’s mind for things rock bands rarely articulate so eloquently. “Leave out the fiction. The fact is this friction will only be worn by persistence.” The electronic elements give the song its prog tilt, but it’s also a song heavily influenced by the reggae rock sound of The Police in both the drums and guitar playing. “Vital Signs” is clear evidence of a band that’s willing to evolve and welcome in new influences. A band that has never settled for the status quo.

“Leave out conditions. Courageous convictions Will drag the dream into existence.”

"NO. 13 BABY" PIXIES (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.

The art of creating a stellar two-minute banger is one thing. Creating an album full of them is another. Doolittle doesn’t let up. Ever. On tour, the band still trots out a bunch of these tracks – and honestly I wish they would play the whole album in sequence. It’s an album where the deep cuts were just as strong as the singles. The singles, “Here Comes Your Man” and “Monkey Gone To Heaven” in particular, may have been more melodic. But most fans love the Pixies for the fits of rage where melodies almost don’t matter. Case in point: “No. 13 Baby”.

Black Francis could’ve sung this one without a coherent tune and it would still be just as strong. On “No. 13 Baby”, Dave and Kim lay down a chunky rhythmic bed, but musically this is Joey’s show. His guitar is, at times, possessed on the song. Sometimes it feels like it’s buried underground only to rise from the dead and die again. It’s that soft-loud-soft dynamic perfected where the guitar gets us to rise and fall along with it.

“Viva, don't want no blue eyes. La loma, I want brown eyes.”

"GYPSY" SUZANNE VEGA (1987)

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.

Solitude Standing will always hold a special place in my heart. Suzanne was the first music artist that I met in person. She signed both my Solitude Standing and 99.9 F CDs at Tower Records in Greenwich Village back in the early 90’s. About 25 years later, I saw her perform literally 10 feet left of center from me at Joe’s Pub. Unsurprisingly, only “Luka” and “Tom’s Diner” from Solitude Standing made it on the setlist. It was an incredible night of wit and music. But I was disappointed she didn’t play “Gypsy”.

In 1987, my music tastes mainly leaned in two directions: a classic hard rock direction including the likes of Rush, Pink Floyd and Zeppelin, and an alternative rock direction including R.E.M., U2, Depeche Mode and the like. “Gypsy” with its folk-inspired elements, was clearly neither of these. It’s a song that helped me to appreciate the strength of great songwriting and storytelling, not just a killer guitar riff or synth hook. “Gypsy” is beautifully written, showcasing Vega’s unique ability to merge poetry with prose.

“You come from far away With pictures in your eyes.”

"BIG MAN ON MULBERRY STREET" BILLY JOEL (1986)

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.

There are few artists more associated with New York than Billy Joel. It’s not just the artist’s hometown. It’s his inspiration – and often the state, the city and its people have been a key subject in his songs. “New York State of Mind”, “Summer, Highland Falls”, “The Downeaster Alexa”, “Miami 2017” and many other songs all reference New York in some shape or form. Another example of this is the deep cut off The Bridge, “Big Man On Mulberry Street”.

Jazz-influenced and featuring Ron Carter on acoustic bass, “Big Man On Mulberry Street” has plenty of big band moments as well as low-key meanderings. It feels like a big production in every way – from Joel’s piano playing to the horn section flourishes. Who is this big man on Mulberry Street? He can’t seem to stay out of trouble. He comes alive at night. He’s always making an impression. And Joel found just the right words to become him for five and a half minutes. When he writes about New York, he can't go wrong.

“Sometimes I panic, What if nobody finds out who I am?”

"BYE BYE BAD MAN" THE STONE ROSES (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.

The day I discovered The Stone Roses’ debut album was a watershed moment for me as a music fan. Looking back, I think this is when I became a serious fan of music. I got lost in the music – and I couldn’t help but dissect every element of those songs. The Velvet Underground was known as the band that made its listeners want to start their own band. Well, that’s what The Stone Roses did for me. One of the less heralded tracks on the debut record would be another band’s anthem track. “Bye Bye Bad Man” is resolutely a significant part of my life’s soundtrack.

The melody is exceptional. So exceptional, in fact, that I can’t imagine another band concocting it. It gives “Bye Bye Bad Man” that rare juxtaposition of smooth flow and hard edges. Instrumentally there are no slouches here. Every band piece is so critical to the sound. Each member adds serious muscle to the track – from Ian Brown’s Manchester drone and Squire’s jangle fest on guitar to Mani’s chunky bass meanderings and Reni’s garage rock sound on drums. The song is a reminder of how endearing Tracks 1-12 were, not just the single releases. An extraordinary track from one of the most impressive debut albums of all time.

“Choke me, smoke the air in this citrus-sucking sunshine. I don't care. You're not all there.”

"OSCILLATE WILDLY" THE SMITHS (1987)

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.

The U.K. had The World Won’t Listen. The U.S. had Louder Than Bombs, one of my all-time favorite compilations and albums, period. It might seem odd to call a track off a compilation as a deep cut – as compilations are often comprised of the hits or singles. However, just like New Order’s Substance, Louder Than Bombs contained a heavy dose of spectacular b-sides, including “Oscillate Wildly”.

More than any other song from the band, “Oscillate Wildly” demonstrated Johnny Marr’s musical intellect and diverse palette beyond traditional guitar riffs. It was the b-side to “How Soon is Now?” and sat quietly on the deep compilation album Louder Than Bombs. More notably, it was an instrumental. The subtle brilliance of “Oscillate Wildly” made me wish The Smiths recorded more instrumentals. To this day, it still remains one of my favorite Smiths tracks.

"WELCOME TO THE ROOM... SARA" FLEETWOOD MAC (1987)

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.

Rumours will always be Fleetwood Mac’s piece de resistance. The holy grail. It’s legendary and stands among rock’s greatest albums. I think it’s this stature that has caused other Fleetwood Mac albums to be unfairly diminished. Fans love Tango In The Night and it’s universally recognized as a great album. Yet somehow I think it’s vastly underrated and hasn’t been given the recognition it’s due. We know the hits, but the album tracks are superb, including Track 9: “Welcome To the Room… Sara”.

In the U.S., the big hits were “Little Lies” and “Big Love”. Both of them are great, but I do like the minor hits (“Seven Wonders” and “Everywhere”) and deep cuts the best. “Welcome To The Room… Sara” is one of my favorites because, let’s face it, Fleetwood Mac is Stevie Nicks. The group lives and dies with her. So any song that puts her alto vocals at the forefront is going to be great. Of course, the stellar harmonies and instrumentation didn’t hurt either.

“This is a dream, right? Déjà vu.”

"TOPAZ" THE B-52'S (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.

When The B-52’s came to visit my college, I snapped up the opportunity and got myself to the concert. That said, I’m not a big fan. Their songs are certainly etched into my life, especially my teenage years. But their niche in carefree, party rock always felt a little too cooky for my tastes. But on their breakthrough album Cosmic Thing, they flashed a different side to their music that I would describe more as euphoric and ethereal. This sound was represented in the last two tracks: “Topaz” and “Follow Your Bliss”.

On Cosmic Thing, everyone will remember “Love Shack”. Many will fondly remember “Roam”. Alt rock fans won’t forget “Channel Z”. But I’ll always remember “Topaz”. The second-to-last track. The almost forgotten song. The easily overshadowed one. But it was The B-52’s finally stepping outside of their party mentality. Still kids at heart, but this was a band that was growing up before our ears. With its swirly, dreamy, euphoric state, “Topaz” gave us a more mature perspective and sound that I appreciated back in high school. And still do.

“New cities by the sea. Skyscrapers are winking. Some hills are never seen. The universe expanding.”

"HOMELESS" PAUL SIMON (1986)

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.

A cappella is the greatest test of how good a song is. It’s all about the voices, the lyrics and the melody. There’s nowhere else to hide. It can expose some songs as thin or forgettable – and it can also help us to recognize and appreciate the beauty and power of a song. On an album as iconic as Graceland, we’re treated to an a cappella track by Simon in collaboration with Ladysmith Black Mambazo called “Homeless”.

It is a delightful track and it always was since the day I bought my Graceland cassette. “Homeless” is a track that demonstrates an extra measure of thoughtfulness and creativity – going beyond the conventions of the day to deliver something that feels right at home with the rest of the album yet still has its own individual identity. The choice to go a cappella is highly appropriate as the lyrics talk about the simplicity of a moonlit night mirrors the stripped down approach to the music.

“Moonlight sleeping on a midnight lake. Homeless, homeless.”

"MEDIATE" INXS (1987)

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.

Growing up as a music fan, a whole slew of terminology entered my consciousness that doesn’t typically make its way into everyday conversations. Unless I’m talking to people just like me. One such phrase is album-oriented rock and its numerous variations, including album rock and album track. For the unconverted, these tracks thrive in being part of a greater collection of songs and often are best heard when played in their original sequence. There are arguably fewer examples as spot on as INXS’ “Mediate”.

“Mediate” holds the #5 position on Kick, a massive breakthrough album for the Aussie band. On an album stuffed with huge, infectious chart-topping singles, “Mediate” was a role track, not a star track. It cleansed the palette so to speak, coming off the massive three-song run of “New Sensation”, “Devil Inside” and “Need You Tonight”. In fact, it bleeds out of “Need You Tonight” with a continuous drumbeat. It’s a concept song – a poem that rhymes for about two and a half minutes before we get into the old bluesy rock track, “The Loved One.”

“Deliberate, fascinate, Deviate, reinstate.”

"TEA IN THE SAHARA" THE POLICE (1983)

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.

Synchroncity is an anomaly in music history. It contains some of The Police’s biggest hits, including “Every Breath You Take” and “Wrapped Around Your Finger”. These songs were accessible for a wider audience. But this same album also birthed some of the band’s most experimental tracks, including “Mother” and “Miss Gradenko”. Synchronicity spanned several genres, from hard rock (“Synchronicity II”) to jazz (“Murder By Numbers”). But, more than anything, it was a study in space. The Police knew how to use space to their advantage as good as any other band out there. “Tea in the Sahara” is a solid case in point.

The song theme is inspired by a book that Sting read by Paul Bowles called “The Sheltering Sky”. There’s a story within the greater story about three sisters who wait to have tea in the Sahara with a prince. It’s a story of gratification and dreams pursued, achieved, and lost again. The story required an atmospheric approach to the instrumentation, which Andy Summers created through space and layers. His guitar thrives in open space with a series of feedback expressions and echoes that immediately transport us into the scorching desert. Copeland’s percussion approach is light and airy like the Sahara sand. “Tea in the Sahara” is a soundscape that appears like a mirage and then seems to vanish into thin air in an instant.

“WE HAVE THIS STRANGE OBSESSION. YOU HAVE THE MEANS IN YOUR POSSESSION.”

"ACROSS THE LINES" TRACY CHAPMAN (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.

Some musicians take a little longer to appreciate. That was the case for me with Tracy Chapman and her debut album. “Fast Car” was getting tons of radio airplay, but it wasn’t until I heard the full album that I really started to appreciate what she was doing that no one else was at the time. Some songs grabbed me instantly, like “Baby Can I Hold You” and “Mountains O’Things”. Others eventually got my full, undivided attention after a few listens, and none more so than “Across the Lines”.

“Across the Lines” was genius folk songwriting. It was at another level. This was a black singer giving us a sober look at the world she knew. The song combined the socio-political conscience of Dylan with the raw Americana portraits of Springsteen. It took an incredibly candid, minimalist approach with nowhere to hide. While other artists were wielding their electric guitars, firing up their synthesizers and screaming into their mics, Tracy was strumming on an acoustic and singing from her soul.

“Choose sides. Run for your life.”

"SINKING" THE CURE (1985)

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 count The Head On The Door among my top five favorite Cure albums. This was the record that brought me into the fold. True, it is known for being one of the more accessible recordings from their catalog. It’s poppier for sure. And often times, fans will recommend that new enthusiasts start with this album first, then branch out to the less accessible stuff. But the thing is, The Head On The Door tends to get written off as a one-dimensional pop fest. The final proof that this is preposterous is the last track, “Sinking”. It might be my favorite closer of all time, from any band.

That sinking feeling is captured so perfectly and profoundly on the track. In true Cure fashion, the instruments take on a life of their own, personifying human emotions so beautifully. The guitar harmonics and tragic synth interludes seem to drag each other down into the mire. Smith doesn’t sling a ton of lyrics around on this one. But every word counts. Every word has a nearly unbearable weight attached to it. Gallup’s bass line mopes around, pacing back and forth in its misery. “Sinking” might seem more at home on a record like Disintegration, but as the final track on The Head On The Door, it’s a reminder that The Cure, as always, is in touch with every emotion.

“IF ONLY I COULD REMEMBER ANYTHING AT ALL.”

"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.”