"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.”

"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.”

"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.”

"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?”

"I BEG YOUR PARDON" KON KAN (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.

The late 80s were an unusual moment in music history. New alt rock forms were birthed, including the beginnings of some of the most influential rock bands: Jane’s Addiction, Smashing Pumpkins, and the Pixies, just to name a few. The latter is often credited with igniting the grunge era. A little, unknown band called Radiohead also got its start during this time. But what made the late 80’s even more unusual was this really late resurgence of synth pop making its way onto the airwaves — through outfits like When in Rome, Anything Box and Kon Kan. “I Beg Your Pardon” is one of the beautiful by-products of this era.

Let’s be honest. This song was immediately addictive, but by the thousandth listen we were all just about ready to give it up. It starts with a phone ring, as if signaling it’s coming to us with an important message. But the message wasn’t important. “I Beg Your Pardon” was simply a fun, almost meaningless little fling. The beats and synth hooks sounded like a blend between Pet Shop Boys and Anything Box. But then it took samples and weaved them in effortlessly into the melody. At times it was hard to tell what was the sample and what was original. Decades later, “I Beg Your Pardon” hasn’t aged nearly quite as well as some of its synth pop peers, but it remains a prime example of pure, fun nostalgic pop.

“I know now's the time that I went to find something new. You know it's your crime that I'm out to find someone, too.”

"WHAT'S ON YOUR MIND (PURE ENERGY)" INFORMATION SOCIETY (1988)

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 wrote earlier about the synth pop resurgence at the tail end of the 80’s. When In Rome. Anything Box. Kon Kan. Information Society. Each of these bands managed to squeeze in one major synth pop hit. And the latter hit it big with “What’s On Your Mind (Pure Energy)” on just about every chart – modern rock, dance, and even the Top 100. I was in high school when this song came out. And I can attest, it was everywhere.

“What’s On Your Mind (Pure Energy)” was the soundtrack of keg parties and pep rallies. It was universally loved by pretty much everyone. And despite being played to death on radio, it had a resilience about it. I didn’t dread it popping up on the radio again as I should have after the thousandth listen. The drum machine. The sputtering synth. The irresistible vocals. Thinking about those verses and chorus right now. I might need to add it to my karaoke repertoire.

“Here I am in silence it's a game I have to play. You and I in silence with nothing else to say.”

"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.”