New Order Drummer Recalls Chaos of ‘Top of the Pops’ Performance
· Ultimate Classic RockDrummer Stephen Morris has shared his memories of the “chaos” surrounding New Order’s 1983 performance on Top of the Pops.
The band’s biggest hit, “Blue Monday,” had only been out for a couple of weeks, but it was already racing up the U.K. charts. New Order was quickly booked on BBC’s famed music show, and unlike many other performers, the group was determined to play live rather than lip-synch. Given the amount of new technologies New Order was using – including synthesizers and sequencers – technical difficulties were all but guaranteed.
“The BBC had to come and test every plug before we could plug it in,” Morris noted during a recent appearance on the Rockonteurs podcast, adding that the TV production crew was unhappy with the band’s deadpan stage presence.
READ MORE: Top 100 '80s Rock Albums
“What was it the cameraman said? ‘I don't know what we're going to do with this lot. They don't move a muscle,’" the drummer recalled while laughing. “I think they were expecting us to do a bit of dancing about.”
What Went Wrong During New Order's 'Top of the Pops' Performance?
Sure enough, the band’s synthesizer parts went off the track during the live performance, including misplayed notes, timing problems and the wrong sample getting played. At points, members of New Order seemed to be holding back laughter as they continued through the song.
“It was ridiculous. And we thought we made a mess of it, pressed the wrong button… chaos,” Morris admitted (he previously even suggested that “Blue Monday” was the only single to go down on the chart following a Top of the Pops performance).
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Still, something strange happened with New Order’s lone appearance on the show. Fans have since gravitated to the performance, likely because of its honest, mistakes-and-all presentation.
“It was really funny when we did that because a lot of [other artists] came up to us because we were doing it live, saying, ‘Yeah, it's great. We wanted to do it live as well, but they wouldn't let us,” Morris recalled, skeptically. “It was an experience.”
Watch New Order's 1983 Performance of 'Blue Monday' on 'Top of the Pops'
40. Wham!, 'Make It Big' (1984) (tie)
George Michael was a multitalented musical visionary. Not only did he possess a soulful voice with an angelic falsetto, he produced and wrote nearly every song on Wham!'s second album, Make It Big. As a result, the duo is responsible for some of the most enduring songs of the '80s: the rollicking Motown update "Wake Me Up Before You Go-Go"; the stomping, horn-heavy anthem "Freedom"; and the sinewy synth-pop smolder "Everything She Wants." The only songs Michael didn't write himself are an Isley Brothers cover ("If You Were There") and the luxurious R&B ballad "Careless Whisper" — and that's only because the latter is a cowrite with his bandmate Andrew Ridgeley. (Annie Zaleski)
40. Talking Heads, 'Talking Heads:77' (1977) (tie)
Before Talking Heads signed with a label, they had immersed themselves in the rich musical fabric of New York City –– soaking up gigs at CBGB and rubbing elbows with avant-garde artists like Phillip Glass and Arthur Russell. When it came time for the debut album, Talking Heads had already solidified their reputation as as free-thinking art rockers. Front man David Bryne's fervent style of singing keeps listeners hanging on to what comes next, while Tina Weymouth's bouncing bass lines offer solid ground. The underground single "Pyscho Killer" revealed what would make them mainstream stars in just a few years: Talking Heads were always one step ahead of everyone else. (Allison Rapp)
39. Nick Lowe, 'Jesus of Cool' (1978)
Jesus of Cool, Nick Lowe's debut solo album, could be considered power-pop because of its clever lyricism and catchy guitar riffs. There's an air of satire across the album — the LP includes several songs addressing the music industry's greed. ("Music for money, Gibsons for gain. Bennies for roadies, Fenders for fame," Lowe sneers on "Music for Money," the album's opening track.) Raw, cynical and acutely self-aware, it's easy to see why Lowe's work would have a profound impact on Elvis Costello's songwriting. Lowe's "bash them out and move on to the next" approach to songwriting makes for a debut album that's as essential as it is influential. (Rapp)
38. Culture Club, 'Colour by Numbers' (1983)
The riverboat adventure depicted in Culture Club's video for “Karma Chameleon” is almost upstaged by Boy George’s stint as an honorary member of the A-Team in an episode that featured the hit song. The group was inescapable in the early '80s, but they were also musical shapeshifters, moving from country vibes to jazzy and soul-inflected songs. And the lush harmonies found in “It’s a Miracle” wouldn’t be out of place on a Beach Boys album. Colour by Numbers works within a wide tapestry of sounds and stylings that make it a consistently intriguing listen. (Matt Wardlaw)
37. INXS, 'Listen Like Thieves' (1985)
INXS were always a stadium-rock band in new wave clothing, and they finally showed their hand on their breakthrough fifth album, Listen Like Thieves. Album opener and lead single "What You Need" is a thundering statement of purpose, full of slick, Nile Rodgers-approved guitar riffs and sensuous saxophone licks. Heartthrob front man Michael Hutchence marshals listeners to the dance floor with every cocksure come-on, falling somewhere between Jim Morrison and Bono. The band nods to its new wave and post-punk roots on the saxophone-driven instrumental "Three Sisters," but raucous cuts like "Biting Bullets" and "Red Red Sun" capture INXS on the cusp of a global rock 'n' roll takeover. (Bryan Rolli)
36. Elvis Costello and the Attractions, 'Imperial Bedroom' (1982)
After a brief excursion in the world of country covers (1981's Almost Blue), Elvis Costello, backed by longtime compadres the Attractions, forged a lush pop path on Imperial Bedroom. The LP wasn't a commercial success, but it solidified Costello's position as one of his generation's greatest songwriters, not simply the Angry Young Man in a skinny tie and Buddy Holly glasses. Bringing in former Beatles engineer Geoff Emerick, and adding brass, woodwinds and strings, resulted in a layered, sophisticated record - one of the best in Costello's large catalog. (Rapp)
35. Orchestral Manoeuvres in the Dark, 'Architecture & Morality' (1981)
Most Americans didn't know it, but OMD had already put out six albums before Andy, Duckie and the preppy guy who should have never gotten the girl made them overnight sensations during the prom scene in Pretty in Pink. Thing is, nearly everything on those LPs was better than "If You Leave" and way better than the shockingly flaccid album that followed, 1986's The Pacific Age. By then all of the quirky experimentalism that marked Architecture & Morality had somehow disappeared, leaving behind only a glacier of featureless synth washes. It's a shame, because this band – like Duckie – deserved a better fate. Architecture & Morality isn't just an essential documentation of OMD before they ossified into lush fragility; it's also a crucial connecting point in synth-pop's MTV-era transformation from wrist-slashing industrial-town dirges to sleek, love-struck modern pop music. (Nick DeRiso)
34. Echo & the Bunnymen, 'Ocean Rain' (1984)
Even though Echo & the Bunnymen were always more post-punk than new wave, their fourth album opened up a world of new sounds. They expanded their landscape on Ocean Rain, bringing in outside musicians, exotic instruments and, most prominently, a 35-piece orchestra. The result is their most widescreen album and their undisputed masterpiece. The record also includes the band's all-time greatest song, "The Killing Moon," a huge hit in the U.K. and a pop-culture touchstone (the track is used to great effect in the opening of cult fave Donnie Darko). Echo & the Bunnymen have released more than a half-dozen albums since Ocean Rain, but they've never been as majestic as they are here. (Michael Gallucci)
33. Duran Duran, 'Duran Duran' (1981)
Duran Duran's eponymous debut shows a confident, hungry band already within striking distance of self-actualization. Simon Le Bon preens and peacocks like a debonair playboy in training on the opening one-two punch of "Girls on Film" and "Planet Earth," which combine fizzy pop hooks and stabbing post-punk guitar riffs. The rest of Duran Duran similarly blends retro and cutting-edge, powered by Nick Rhodes' chilly, sci-fi keyboards and John and Roger Taylor's airtight drum and bass grooves. The album's relatively spartan production emphasizes the punkish urgency of "Careless Memories," while the spangled guitar riffs and ebullient vocal harmonies on "Is There Something I Should Know?" foreshadow the hi-fi splendor of Rio. (Rolli)
32. Depeche Mode, 'Music for the Masses' (1987)
Arriving six years after their first hit, “Just Can’t Get Enough,” Depeche Mode proved their deeper capabilities on Music for the Masses. Here the band manages to get darker and more accessible all at the same time. “Never Let Me Down Again” is a song so dynamic - and incessantly catchy - its presence alone would probably land Music for the Masses on our list (or at least earn it an honorable mention). But with tracks like “Strangelove,” “Behind the Wheel” and “Little 15,” the LP boasts a bevy of new wave classics. In June 1988, less than a year after the album's release, Depeche Mode played an iconic show in front of 65,000 fans at the Rose Bowl in Pasadena. The appropriately titled Music for the Masses is what got them to that stage. (Corey Irwin)
31. Tears for Fears, 'The Hurting' (1983)
The debut LP by Tears for Fears is a heavy effort, with tracks inspired by trauma, child abuse and depression. Yet even with such weighty subject matter, the band - led largely by Roland Orzabal and Curt Smith - manages to be a constant source of pop hooks. “Suffer the Children” bops along to a quintessential ‘80s synth line, while “Pale Shelter” serves up a dreamy romance. Still, “Mad World” is the album’s crown jewel, deftly balancing dark storytelling with hypnotic, synth-pop rhythms. It may not be their finest work (see below), but The Hurting certainly represents Tears for Fears’ arrival as one of new wave’s defining artists. (Irwin)
30. The Fixx, 'Reach the Beach' (1983)
There was nothing particularly unusual about this sophomore release. A smart, topical focus remained, as the Fixx – who'd memorably meditated on the fallout after a nuclear holocaust on "Red Skies" – continued to blend the personal with the political. Cy Curnin's seductive vocal style still offset against Jamie West-Oram's riffy-then-ethereal guitar and Rubert Greenall's synth washes, with drummer Adam Woods as the engine. But MTV arrived between the two records, changing everything for the Fixx. All of sudden, they were must-see television, then out on tour with the Police. Then selling 2 million copies of Reach the Beach in the U.S. alone. It somehow became definitive, without ever being different – a testament to their art. (DeRiso)
29. Television, 'Marquee Moon' (1977)
Television’s debut masterpiece doesn’t fit squarely into the already broad confines of new wave — its dual-riff crossfire and slippery song structures don’t share much DNA with, say, the sleek synth-pop of Duran Duran. But Marquee Moon wound up influencing just about every guitar-oriented rock band of its immediate era, led by Tom Verlaine’s strained voice and surrealist poetry. None of their admirers could even hope to accurately ape such a unique sound: Take a song like “Friction,” which sounds like a drugged-up blues-rock band jamming with a jazz-rock group in a nightmarish roadside bar. The peak, of course, is the 10-minute title epic, a maze of jagged rhythms and moonlit, exploratory guitar solos. (Ryan Reed)
28. Squeeze, 'East Side Story' (1981)
Glen Tilbrook and Chris Difford were crowned the “John Lennon and Paul McCartney” of new wave following the release of Squeeze's fourth album. It's easy to hear the comparisons. The music on East Side Story has continued to endure in unexpected ways, with “Tempted” (sung by keyboardist Paul Carrack) finding new life in 1994 thanks to a feature spot in the movie Reality Bites. Songs like opener “In Quintessence” make the record an uplifting listen. Don’t be surprised if you find yourself plunking out the bass intro to “Someone Else’s Heart,” one of many tracks that reveal the innovative way Squeeze were able to put together songs that lodge themselves in your brain. (Wardlaw)
27. Eurythmics, 'Sweet Dreams (Are Made of This)' (1983)
“Cold, European, hard, tough-sounding synthesizers with a soulful voice.” That’s how Dave Stewart summed up Eurythmics' ethos going into their second album, Sweet Dreams (Are Made of This). By embracing keyboards and adopting a DIY approach, Stewart - along with powerhouse singer Annie Lennox - find their perfect chemistry on the LP. The title track (understandably) gets all the attention; after all it did hit No. 1 in the U.S. on its way to becoming one of the duo’s defining tracks. But there are layers to Sweet Dreams (Are Made of This), as further gems “Love Is a Stranger,” “Wrap It Up,” “The Walk” and “This Is a House” prove the album is among new wave’s deepest releases. (Irwin)
26. Depeche Mode, 'Speak & Spell' (1981)
Depeche Mode had more expansive records, better-selling records, more influential records. But they never had one that was this unselfconscious, this willing to let itself be happy. It's interesting now to hear Dave Gahan, who's become a bundle of drawn-out vocal tics, sing with such rapturous openness. The only thing that seems to keep Gahan from bursting at the seams here is a shyness that as barely sensed as it is endless alluring. The music, likewise benefitting from the sun-streaked, disco-pop keys of future Erasure cofounder Vince Clarke, is both shamelessly simple and coolly futuristic. There is no artifice here, nobody striking a pose. And in that way, the LP set its own kind of standard in the Depeche Mode catalog. Speak & Spell is the one where they smile. (DeRiso)
25. Devo, 'Freedom of Choice' (1980)
Devo's third album found the band settle into being a complete and total electronic machine. With the exception of acoustic drums and Bob Mothersbaugh's guitar, Freedom of Choice featured the heaviest usage of synths in the band's career up to that point. The LP includes the hit "Whip It!" and led to new audiences for the once underground band. “Freedom of Choice is where the gods smiled on Devo," bassist and singer Gerald Casale recalled in 2020. "We were innovative and we found something in Freedom of Choice with those songs that also was commercial." Polished and energetic, that sound became the Devo Sound going forward. (Rapp)
24. David Bowie, 'Scary Monsters (and Super Creeps) (1980)
David Bowie and producer Tony Visconti used to joke with each album that they were going to make their Sgt. Pepper. With Scary Monsters they came close to pulling it it off, kicked off the New Romantic movement in the process. The sinister swagger of “Scary Monsters (And Super Creeps)” is one of of many highlights on the record. Perennial fan favorites like “Ashes to Ashes” and the glamtastic swinger “Fashion” further bolster the lineup of one of Bowie’s strongest albums. Bowie followed Scary Monsters with an uneven string of records in the '80s, but he started the decade with a record that felt like an instant classic. (Wardlaw)
23. ABC, 'The Lexicon of Love' (1982)
Few albums embody new wave's pomp and sophistication better than ABC's The Lexicon of Love. Enormously indebted to Roxy Music, the LP is a glitzy display driven by swooning saxophone, disco-funk grooves and Martin Fry's debonair croon. As the album title implies, The Lexicon of Love is a nuanced song cycle about the agony of heartbreak and ecstasy of romance — and, in some cases vice versa — anchored by literate, honest lyrics. "Who broke my heart, you did, you did," Fry sings in an accusatory tone on "Poison Arrow." "Bow to the target, blame Cupid, Cupid." (Zaleski)
22. Oingo Boingo, 'Dead Man's Party' (1985)
Few albums are as ingrained in the era they were created as Dead Man’s Party. The 1985 Oingo Boingo LP drips with synthesizers, brass, percussion and every other musical element associated with the new wave sound. Quirky and off-center, the Danny Elfman-led outfit delivers a cacophony of ‘80s goodness. Want a catchy pop track with contrastingly dark lyrics? There’s “Just Another Day.” Looking for an upbeat dance tune inspired by a ghost story? Check out the title track. Then there’s the album’s closing song, “Weird Science,” written for the John Hughes’ movie of the same name. You can’t get much more ‘80s than that. (Irwin)
21. Roxy Music, 'Avalon' (1982)
Avalon was Roxy Music's eighth and final album. What a way to go out. “Take a Chance With Me” demonstrates what a sonically stunning band Roxy Music could be on record. Songs like “More Than This" and the title track are among the most popular in the band's catalog, and for good reason. The album’s gorgeous sound brings Roxy Music to a different place than where they started. But what a great trip. (Wardlaw)
20. Joe Jackson, 'Look Sharp!' (1979)
Joe Jackson was actually Royal Academy of Music trained, and maybe that accounts for the overpriced shoes on the cover. But that's not the way Look Sharp! played. Instead, he bristled like Graham Parker but in the leanest of musical settings, without the scroungy pub-rock influences. Every song, even the unexpectedly revealing "Fools in Love," seemed like it was itching for a fight. The rat race pissed him off, and the newspaper, and people who seemed a touch too much in love. But not to the point where he ever lost control of a razor-sharp wit. These songs were angsty, but often funny anyway. At one point, Jackson edged riiiiiight up to feeling sorry for himself on "Is She Really Going Out With Him?," but then he once again pushed back against sentiment with punk's sudden force. In the end, nothing is sharper on this flinty debut than Joe Jackson's elbows. (DeRiso)
19. XTC, 'Drums and Wires' (1979)
Colin Moulding was said to have become frustrated with XTC's growing reputation, two albums in, as insular weirdos. So he wrote their deliriously addictive breakthrough single, "Making Plans for Nigel." XTC also brought in producer Steve Lillywhite to give everything a big new sound and second guitarist Dave Gregory to tangle with Andy Partridge – and their presence inspired the album title. But for all of that, XTC was still pretty insular, and they were still very weird. In the best possible way, of course. Drums and Wires is without a doubt new wave, but this is the artiest of art-rock versions of the genre, with pure pop as its foundation. A template, finally, had been set. Forget those first two records. This is where XTC's journey began in earnest. (DeRiso)
18. The Jam, 'All Mod Cons' (1978)
The Jam's third album was delivered under pressure: A disastrous U.S. tour and a bout with writer's block led front man Paul Weller to look back to '60s British rock 'n' roll. A cover of the Kinks' "David Watts" was a launching point, but it's Weller's own songs that make All Mod Cons the essential record in the Jam's discography. He found new elegance in "English Rose," and in the closing "Down in the Tube Station at Midnight" he chronicles the danger of late-night run-ins with kids who have nothing to lose. Weaving punk, new wave and '60s mod, the LP spoke for a generation of displaced and disillusioned fans, all tied in a melodic knot that rivaled Weller's heroes the Who. (Gallucci)
17. Tears for Fears, 'Songs From the Big Chair' (1985)
While The Hurting made Tears for Fears stars in the U.K., it was their second LP, Songs From the Big Chair, that rocketed the band to the top of U.S. charts. The LP is overflowing with engrossing pop hooks, with the anthemic “La la-la la la” of “Head Over Heels” at the top of the list. Still, that track is far from the only earworm on the album. “Shout,” a powerful protest song inspired by primal therapy, and “Mothers Talk,” a Talking Heads-influenced anti-nuclear war tune, provide ample sing-along moments. Yet it’s “Everybody Wants to Rule the World,” with its soaring chorus and distinctive guitar, that turns a quality new wave LP into an all-time great. (Irwin)
16. Talking Heads, 'More Songs About Buildings and Food' (1978)
For their sophomore effort, which began to take shape after a heavy period of road work supporting their 1977 debut, things could have steered into many different directions. Musical fate put Talking Heads in the path of producer Brian Eno, who helped the New York band corral its strengths into one cohesive direction. Some of the songs had been in the band’s repertoire for years and were properly seasoned as a result. “The Good Thing” married instrumental quirk with an uplifting harmonic unity, while their rhythmic take on Al Green’s “Take Me to the River” immediately felt like a classic. (Wardlaw)
15. New Order, 'Power, Corruption & Lies' (1983)
New Order's 1981 debut LP was a transitional record; it's their second LP, Power, Corruption & Lies, that nods to their past while looking to the future. A heavier use of synthesizers coupled with driving guitar riffs led to an album that felt cohesive, pioneering and, best of all, fun. Joy Division fans lamented the seismic shift the remaining members had undergone here, but New Order took it as a sign they were healing and heading in the right direction. "That’s when we knew what we really wanted it to sound like," keyboardist Gillian Gilbert told NME. "We were left alone and came up with our own sound." (Rapp)
14. Go-Go's, 'Beauty and the Beat' (1981)
Drawing on influences from garage-pop, surf-punk and '60s girl-groups, the debut album from the Go-Go's remains fresh and relatable. The quintet — singer Belinda Carlisle, guitarists Charlotte Caffey and Jane Wiedlin, bassist Kathy Valentine and drummer Gina Schock — write lyrics addressing broken romances ("Skidmarks on my Heart"), the pain of insomnia ("You Can’t Walk in Your Sleep") and the secrecy of an undercover affair ("Our Lips Are Sealed"). Despite these challenges and heartbreaks, Beauty and the Beat possesses an optimistic bent. Back then, this was a welcome relief from moody rock 'n' rollers; today, the album's vibe is rightfully considered enormously influential. (Zaleski)
13. Devo, 'Q: Are We Not Men? A: We Are Devo!' (1978)
Devo's debut album encapsulates the DIY punk abrasiveness, whip-smart humor and indelible pop smarts of new wave. Gerald Casale's off-kilter keyboard melodies sound beamed in from another galaxy, lending a futuristic sheen to guitarist Bob Mothersbaugh's garage-rock riffs. Front man Mark Mothersbaugh doesn't so much sing as bark catchy one-liners in a variety of cartoonish affectations; just listen to the nearly combustible 'yeah yeah yeah!"s on "Uncontrollable Urge" or the way he contorts the second syllables of "Tex-ass" and "Kans-ass" on "Space Junk," a morbidly funny tale of unrequited love due to death by asteroid. And with their cover of the Rolling Stones' "Satisfaction," Devo pay deference to their rock 'n' roll forebears while respecting them enough to put their own stamp on a classic. (Rolli)
12. Talking Heads, 'Fear of Music' (1979)
Fear of Music is the bridge linking the nervy post-punk of More Songs About Buildings and Food to the loopy art-funk experiments on Remain in Light — and because the album’s compass points in both directions at once, some fans tend to write it off as a less-than-essential transitional piece. But that in-between vibe makes it unique: Opener “I Zimbra” points to Light’s polyrhythmic grooves — a perfect platform for Robert Fripp’s disorienting guitar tones. But Fear of Music also offers some of Talking Heads’ hookiest material, like the grinding riffs of “Cities” and “Life During Wartime.” (Reed)
11. The Police, 'Synchronicity' (1983)
Synchronicity sounds polished in a way that almost betrays the loose improvisational spirit of the album's recording. Sting would show songs to drummer Stewart Copeland and guitarist Andy Summers, and 30 minutes later they were recorded, often within two or three takes. Sometimes, things were even more spontaneous. The jazz-flecked “Murder by Numbers” - originally a B-side and included on cassette and CD versions of the album - emerged after dinner one night, with producer Hugh Padgham hitting "record" as the trio played through the first performance. That's what you hear. Whether it’s a driving rocker like “Synchronicity II” or the emotional coldness of “Every Breath You Take,” the band's final album sounds like an instant classic. (Wardlaw)
10. The B-52's, 'The B-52's' (1979)
By the time the B-52's recorded their self-titled debut album in the Bahamas with producer Chris Blackwell, they had already spent several years on the road perfecting these songs. (In fact, a 7" single with one of the LP's highlights, the dance floor barn-burner "Rock Lobster," had already been a success.) The result is a record that combines punk's nervy energy ("6060-842") with precise, inventive arrangements ("Dance This Mess Around") and imaginative lyrics. The enigmatic "Planet Claire," with its beeping walkie-talkie accents and heavy nod to the Peter Gunn theme, even sounds like it's beamed from another universe. (Zaleski)
9. Elvis Costello, 'My Aim Is True' (1977)
Costello's first album ranks among the all-time greatest debuts. He was just 22 when My Aim Is True came out, but his songwriting was decades wiser. Today the record reads like a greatest hits: "Alison," "(The Angels Wanna Wear My) Red Shoes" and "Less Than Zero" show an artist who refused to be categorized. He'd develop even more identity on his second album, This Year's Model, with the addition of his backing band the Attractions (Clover, who'd become Huey Lewis' News, add support here), and he'd jump genres - from country and baroque pop to classical and R&B - over the decades, but My Aim Is True plants that restless seed. Few debuts arrived so fully formed. (Gallucci)
8. Elvis Costello, 'This Year's Model' (1978)
How do you top one of the best debut LPs ever made? If you're Elvis Costello, you add your stage-tested backing band, amp up the intensity and write an even better set of songs. My Aim Is True was a triumph of '70s singer-songwriter styles wrapped in punk and new wave attitude; This Year's Model dispenses with any pleasantries and goes for the throat. "Pump It Up," "(I Don't Want to Go to) Chelsea" and "Lipstick Vogue" are all fat-fisted keys, guitars and drums. Nearly every song rolls with punk energy and new wave sharpness. In short, This Year's Model is one of the best rock 'n' roll records ever made. How great is it? The best song from the sessions, "Radio, Radio," wasn't even included on U.K. pressings of the album. (Gallucci)
7. The Human League, 'Dare' (1981)
How strong of an album is Human League's Dare? The Sheffield, England, band's unstoppable global hit (and U.S. chart-topper) "Don't You Want Me" is the last song on the LP, tucked away after another infectious single, the sophisto-pop song "Love Action (I Believe in Love)." Unsurprisingly, Dare is one of new wave's great triumphs, a sparkling display of futuristic synthpop fused with equal parts romantic sentimentality, emotional anxiety and lyrical depth. Case in point: the melancholy, meditative "Seconds" uses the 1963 assassination of John F. Kennedy to illustrate how a brief moment can change the world forever. (Zaleski)
6. The Police, 'Zenyatta Mondatta' (1980)
With “De Do Do Do, De Da Da Da” and “Don’t Stand So Close to Me,” Zenyatta Mondatta features a pair of songs that reached the Top 10 on both sides of the pond. The latter track also earned the Police a Grammy award, one of two the band took home for their work on the LP. Still, what places Zenyatta Mondatta so high on our list is its importance in the evolution of the Police. Rather than relying on reggae rock, the LP finds the band branching into new territory. Pop, punk and (yes) plenty of new wave permeate throughout the album. Its sound is that of the Police discovering just how prolific they could be. (Irwin)
5. The Cars, 'The Cars' (1978)
As ubiquitous as this remarkable new wave classic has been, it's interesting to outline what The Cars was not: a Top 10 album. (Or even Top 15, for that matter). It did not have a single go any higher than No. 27 in the U.S. (Yes, "Just What I Needed" – the song that got stuck in a million commercial-watcher's heads – couldn't even crack the Top 20.) Instead, this album was the very definition of a "grower." The Cars stayed on the chart for an impressive 139 weeks, slowly but just as surely selling 6 million copies. It took some time, but everyone eventually discovered that the Cars had fashioned one of the best debut albums ever, while helping to define a decade that was still a few years – and what seemed like a million miles – away. In the end, that's its true legacy, whatever the Billboard charts say. (DeRiso)
4. Duran Duran, 'Rio' (1982)
Duran Duran is synonymous with new wave thanks to Rio. Everything about the album feels cutting edge: the playful Patrick Nagel painting on the cover, the seamless blend of futuristic synthesizers and organic instruments and how the Birmingham band carried on the artsy dance-rock vibe of David Bowie and Roxy Music. Unlike many new wave LPs, however, Rio doesn't sound dated today. Simon Le Bon's romantic, enigmatic lyrics capture the universal experience of growing up and finding your place in the world, while songs such as the haunting synth-pop curio "The Chauffeur" remain strikingly original. With Rio, Duran Duran manifested music's vibrant future — and launched their own career into the stratosphere. (Zaleski)
3. Blondie, 'Parallel Lines' (1978)
Debbie Harry sounds like the future of pop music on Blondie's great third album. They were easily categorized early in their career as girl-group revivalists and New York punks. They're unclassifiable on Parallel Lines. There's pop ("Sunday Girl"), power-pop ("Hanging on the Telephone"), new wave ("One Way or Another"), disco (the No. 1 "Heart of Glass") and about a half-dozen other styles here, too. Through it all Blondie spin the music to their core sound - part jagged guitars, part bouncy keys. They'd get even more musically expansive in a couple years, bringing reggae and rap to the Top 10. But this is where the band pushed against their limits and Harry became a star. This is where it all came together. (Gallucci)
2. Pretenders, 'Pretenders' (1979)
Exuding confidence from start to finish, the Pretenders' debut got in fans' faces and demanded respect. "I’m special, so special, I’ve gotta have some of your attention, give it to me," front woman Chrissie Hynde sings on "Brass in Pocket," one of the LP's singles. Hynde's vocals are unpolished and glorious, while James Honeyman-Scott's guitar riffs arrive one after another, each sharper than the last. The band's hard-rock swagger gets balanced out with more vulnerable songs like "Private Life" and "Lovers of Today," making Pretenders a definitive new wave record, stating up-front that there are no rules. (Rapp)
1. Talking Heads, 'Remain in Light' (1980)
For their fourth album, Talking Heads steered even further from the jagged post-punk and art-rock they built their reputation on. Producer Brian Eno helped expand the sonic network here, incorporating loops, funk and world music into the band's usual mix of lyrical fatalism and neuroses. The result is a record that slammed into the '80s with a musical force that really sounds like the beginning of something brand new. Everyone knows "Once in a Lifetime," but Remain in Light is stuffed with pleasures, from the opening "Born Under Punches (The Heat Goes On)" to the percussive explosion of "Crosseyed and Painless" to "Houses in Motion," a bridge between Talking Heads' past and future. They'd score bigger hits as the '80s went on, but they never topped this breathtaking album's influence on just about every genre the decade offered. (Gallucci)