"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.”

"WATCHING THE DETECTIVES" ELVIS COSTELLO (1977)

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

When Costello’s debut album My Aim Is True was released, there was nothing else like it. His biggest strength has always been his songwriting, the way he strung clever lyrics through captivating melodies. But his musical ingenuity is also a huge strength. While you can hear several types of genres in his music – new wave, blues, pub rock, power pop – it’s his own amalgamation of those sounds that is so unique. The US release of My Aim Is True includes the snapping single, “Watching The Detectives”.

It kicks off with that trash can-sounding drum roll and chunky bass line. A cynical disposition and a reggae touch make “Watching The Detectives” an enthralling listen for me every time. Costello means every word he sings, highlighting his obsession for a girlfriend whose obsession is with a fictitious character on tv. I can picture her lying on the bed, doing her nails, watching the detectives with the lights off. And the boyfriend, sadly watching her watching them.

“They beat him up until the teardrops start. But he can't be wounded when he's got no heart.”

"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.”

"THE CHAUFFEUR" DURAN DURAN (1982)

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

My childhood isn’t complete without Rio. Few recordings are as connected to my early musical discovery years as this album. This was an album that a family friend introduced my brother and I to. He raved about the singles. He went on and on about the ballads. And he paid proper homage to “The Chauffeur”. Rio was full of radio-friendly songs that paired nicely with elaborate and exotic video shoots. The album is sugary and sweet, which is what makes the final track a bit of a pleasant surprise. “The Chauffeur”, a fan favorite, is the indisputed anomaly on the album.

“Hungry Like The Wolf”, “My Own Way” and “Rio” grab you, but “The Chauffeur” grows on you. The closing track from Rio revealed a darker, more mysterious side to the pop band. “The Chauffeur” put Duran Duran’s versatility on full display, with a moodier synth experiment from Nick Rhodes and even Simon Le Bon on the ocarina. The track is atmospheric and even visual. I can picture a long, aimless drive by the chauffeur late at night every single time I hear it. It’s not just a great Duran Duran anthem, it’s one of the greatest closing tracks of the eighties.

“Sing, sing blue silver.”

"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.”

"HERE IS THE HOUSE" DEPECHE MODE (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.

Black Celebration is the album where the band’s dark, infectious sound really came together. Up until then, I thought of Depeche Mode as a singles band. They had some great one-offs. Black Celebration was different. The songs fit perfectly together and helped differentiate their sound among a sea of synth pop outfits. From now on, DM would do it darker, kinkier, catchier. “Here Is My House” is a perfect microcosm of their approach.

It’s a song that reminds me of my youth. Memories of my first “real” girlfriend singing it to me in her bedroom attic. “Here Is My House” is a fan favorite. A song so melodic, so brooding, so sensual, it’s the magic formula that Depeche Mode has uniquely conjured time and time again. But this deep cut didn’t get the recognition of a “Stripped” or “A Question Of Lust”. Wilder’s synth lines are simply a series of cascading keys. Fletch’s bass lines lurk and slither around. On vocals, Gahan takes lead, Gore with some fantastic backing parts and harmonies. But the best part of the song will always be the melody. Brilliant. I’d love for the band to bring it back on tour.

“Body and soul come together.”

"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.”

"EL DIABLO" ARCADIA (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.

So Red The Rose was an underrated album here in the States. While “Election Day” made some noise as a single, it was the other Duran Duran side project – The Power Station with Robert Palmer and Tony Thompson – that made the biggest impression on this side of the pond. But the themes, songwriting, musicality and production that came from Le Bon, Rhodes and Roger were stellar, including this deep cut, “El Diablo”.

With this track, the devil is in the details. The ocarina comes up big, creating a mystic, ethereal sound. Duran Duran was no stranger to this instrument, having used it most famously in “The Chauffeur”, but that was just the beginning. “El Diablo” also includes a string arrangement of violins and a flamenco-inspired guitar part. Quite ambitious for a side project and a refreshing departure from the hit machine that is Duran Duran.

“One life with the devil do I play. For so long el Diablo is to blame.”

"THE WORKING HOUR" TEARS FOR FEARS (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.

Songs from the Big Chair contained absolutely massive hits. Songs that defined an era, including “Shout”, “Everybody Wants to Rule the World” and “Head Over Heels”. But the album also showed us the band’s penchant for creating beyond the four-minute pop single. TFF could do new wave and straight-ahead pop in their sleep. But I think some of their more impressive work are those grander explorations where they saunter along the edges of jazz and classical. One of the best examples of this is “The Working Hour”.

It may not be the song that grabs you right away off that album, but, for me, it has the most staying power of any track on Songs from the Big Chair. The saxophone — and the grand piano to a lesser extent — were instruments that certainly thrived in the 80s. But TFF was using them in arrangements and executions that were uniquely their own. “The Working Hour” doles out sweeping soundscapes, key changes and instrumental jazz solos. It’s delightful. Grand. And timeless.

“Find out, find out, what this fear is about.”

"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.”

"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.”

"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.”

"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.”

"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.”

"1963" NEW ORDER (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.

More than the average band, New Order recorded dozens of tracks that never made their way onto their studio releases. “1963” was one of them. This was a song that seemed vastly undervalued by the band at first. But luckily it didn’t stay off the radar for long, despite being the b-side to the bold and brash “True Faith” single. I remember first discovering the song on Long Island’s WDRE (WLIR), which had a healthy habit of playing deep cuts and forgotten tracks. Nearly a decade later, “1963” eventually became a single in its own right. My question for the band is, what took so long?

“1963” was a rare treat for New Order fans like me. A lot of the band’s synth-driven work was either slow-tempo or up-tempo. But this track is as pure mid-tempo as it gets. The highlight for me are the lyrics. This just might be the most well-written song from Sumner. He created a peculiar fictional narrative around J.F.K., Marilyn Monroe and Lee Harvey Oswald. It’s brilliant storytelling. Then, musically, Sumner’s shimmery riffs give way to Gillian Gilbert’s synth grooves that toggle between dreamy and doom.

“I saw hatred in his eyes. But he never meant to hurt me.”

"LIKE TO GET TO KNOW YOU WELL" HOWARD JONES (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.

I got a lot of mileage out of my Dream Into Action cassette. The album set off a wave of synth pop hits that were a bit more contemplative than the average musical fare and still managed to reach the mainstream, including “No One Is To Blame”, “Life In One Day” and “Things Can Only Get Better”. It was Howard Jones in peak form, which coincided perfectly with the height of the 80’s synth pop era. The lesser known single, “Like To Get To Know You Well”, didn’t fare well in the States, but it was my favorite track of the bunch. On the surface, the song title sounds like it’s setting us up for a romance-fueled confession. But it’s so much more than that.

The single version of the song was released during the 1984 Olympic Games. On the sleeve of this release, HoJo wrote that the song was dedicated to the original spirit of the Olympics. The song is actually about unity. About stripping away barriers and becoming one. Nearly 40 years later, this 80’s gem has even more meaning in the current climate where people don’t have much interest in really getting to know each other. Making stereotypical assumptions of one another or keeping a safe distance from one another seem to be the order of the day. Well, this little new wave song begs to differ.

“Leave the things that separate. Build on a trust that we must stand on.”

"QUIET LIFE" JAPAN (1979)

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.

Japan is one of those bands that I missed early on – mainly because I was just 6 years old when Quiet Life was released and the influential band wasn’t big in the U.S. Interestingly, it was one of the bands they helped shape – Duran Duran – that became huge in the States. Having discovered the genius of Japan much, much later in life I can’t help but feel like Duran Duran ripped them off in so many respects. To prove it, I’ll submit the title track “Quiet Life” as Exhibit A.

I hear Duran Duran all over this. Or perhaps I should say, I hear “Quiet Life” all over Duran Duran’s debut album. The funk-inspired bass lines. Shimmery synth lines. Sax interludes. Helicopter effects. Even the vocals sound like Simon Le Bon. “Quiet Life” is proof that commercial success isn’t indicative of the innovation behind the music. Just like The Chameleons who paved the way for Interpol, Japan – and Roxy Music to a lesser extent – made Duran Duran who they are.

“Beware, here comes the quiet life again.”

"WISHING (IF I HAD A PHOTOGRAPH OF YOU)" A FLOCK OF SEAGULLS (1983)

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 U.S., A Flock Of Seagulls were more or less relegated to one-hit wonder status. They were mainly talked about for the Jetson wavve-inspired haircut. But thankfully MTV and alt rock stations in the States let another track through the cracks for us music fans. The track “Wishing (If I Had A Photograph Of You)” has earned synth pop anthem status – more so than “I Ran”. Here’s why.

While “I Ran”’s best moments are dominated by the electric guitar, there’s no arguing that “Wishing” is all about the synth notes. The guitar plays a complementary role, placing accents that supplement the synth barrage evident throughout the track. “Wishing” also has that iconic synth arpeggio riff, one of the most unforgettable keyboard hooks of the decade – along with that enthralling Joy Division-inspired percussion. It’s hard to think of a more clearer expression of 80’s synth pop.

“If I had a photograph of you, It's something to remind me I wouldn't spend my life just wishing.”