7th Level Music

WSND DJ set list: Manic Monday – June 29, 2026

Thanks to all who tuned in for my latest all-80s show on WSND. Here’s the gnarly set list:

Foreigner – I Want to Know What Love Is (live) (1985)
Diana Ross – Upside Down (1980)
Orchestral Manouevers in the Dark – Secret (12” mix) (1985)
Mr. Flagio – Take a Chance (1983)
The Go-Gos – Our Lips Are Sealed (1981)
Michael Jackson – Thriller (1982)
Quincy Jones – One Hundred Ways (1981)
Lionel Ritchie – Running with the Night (1983)
Ace Frehley – Into the Night (request) (1987)
Hanoi Rocks – Tragedy (1981)
M – Pop Muzik (1989 remix) (request) (1989)
Talking Heads – Psycho Killer (live) (1980)
Bon Jovi – Runaway (request) (1984)
Cyndi Lauper – I’ll Kiss You (1983)
Shannon – Let the Music Play (12” remix) (1983)
Debbie Gibson – No More Rhyme (1989)
Peter Gabriel – In Your Eyes (1986)
De La Soul – Me Myself and I (1989)
Guns ’n’ Roses – Patience (1989)
LL Cool J – I’m That Type of Guy (1989)
Paul Abdul – Cold Hearted (1989)
Winger – Headed for a Heartbreak (1989)
Donny Osmond – Sacred Emotion (1989)
Don Henley – The End of the Innocence (1989)
The Cult – Fire Woman (1989)
The Cars – Tonight She Comes (live) (1987)
Visage – Fade to Grey (12” long version) (1980)
Yaz – Situation (1982)
Soft Cell – Memorabilia (1981)
Human League – Love Action (I Believe in Love) (1981)
Stevie Nicks – After the Glitter Fades (1981)
Duran Duran – Hungry Like the Wolf (1982)
David Bowie – Let’s Dance (1983)
Laura Branigan – Self Control (1984)
Frank Zappa – Be in My Video (1984)
Elton John – I’m Still Standing (1983)
Men at Work – Overkill (live) (1983)
Naked Raygun – Home of the Brave (1985)
The Brat – Attitudes (1980)
Pet Shop Boys – Always on My Mind (12” mix) (1987)
Tears for Fears – Everybody Wants to Rule the World (1985)
Salma & Sabina Agha – Mitha Maze Dar (Dancing Queen) (1981)
Joe Esposito – You’re the Best (1984)
Linda Ronstadt & James Ingram – Somewhere Out There (1986)
Jerry Goldsmith & Alexander Courage – Star Trek: The Next Generation theme (1987)
Prince – Batdance (1989)
Echo & The Bunnymen – The Killing Moon (1984)
Crash Kills Five – What Do You Do at Night? (1980)
Sad Lovers & Giants – Things We Never Did (1982)
The Cure – Lovesong (1989)
Bruce Springsteen – Hungry Heart (live) (1980)
808 State – Flow Coma (1988)
Yes – Owner of a Lonely Heart (extended version) (1983)
Hall & Oates – Out of Touch (1984)
Anita Baker – Giving You the Best That I Got (1988)
The Dog D’Amour – How Come It Never Rains? (1988)
Poison – Nothin’ but a Good Time (1988)
The High Tide – Dancing in My Mind (1981)
The Marble Staircase – The Long Weekend (1982)
The Shrinking Violets – She Said (1988)
The Wild Poppies – Walkabout (1986)
ABC – Be Near Me (1985)

Come back next week for more 80s mega-music!

Keep your mind open.

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Review: Vhyce – Romantic Visions EP

Looking for a fun record to spin at your next summer house party? Vhyce has you covered with his newest EP, Romantic Visions.

The title track opens the EP with almost seven minutes of heavenly house beats and dance piano. “And We’re All Connected” trades out the house music for trippy trance music that will fill the floor if it’s not already. “Eco Simulator” keeps the party going with great beats for your workout, post-workout pool party, and the drive back from the pool party. “Paradise” has a solid house piano line through it that makes you feel like you’ve gone to the hippest church revival ever.

“Perks of Daily Life” is another floor-filler with a thumping backbeat that allows it to be easily dropped into a dance mix. The soaring synths add a cool futuristic touch. The EP winds up with the Magari Goa “91 mix” of “Every Ending.” It sounds like could’ve been unearthed from a 1991 rave time capsule full of glow sticks, ring pops, coach’s whistles, and condoms.

All in all, this is a solid EP that will brighten up your summer playlist. Go grab it before Memorial Day gets here and the weather gets colder.

Keep your mind open.

[I have romantic visions of you subscribing.]

[Thanks to Inflyte!]

WSND DJ set list: New & Used Nocturne – June 28, 2026

Thanks to all who listened to my latest free-form show on WSND. Here’s the set list:

Morphine – All Wrong
Black Rebel Motorcycle Club – Love Burns
L’ira Del Baccano – The Praise of Folly (Part 1)
MOTSUS – Driver
“Weird” Al Yankovic – Living with a Hernia
The Beths – I’m Not Getting Excited (live)
The Beths – Uptown Girl (live)
Ten Years After – Sugar the Road (request)
De La Soul – What’s More
Eric B. & Rakim – Rest Assured
DJ Sneak vs. Le Knight Club – Intergalactik Disko
Skyland Drive-In Theatre intermission ad
MXPX – Vacation
Everything But the Girl – Five Fathoms (Club 69 Future Club mix)
Ross Harper – Narcissist (Amorphic Reshape)
Nude – All We Want
TV on the Radio – Family Tree
Gary Numan & Tubeway Army – We Are So Fragile
Francesco Demasi – C’e Sartana…Veni La Pistola e Comprati La Bara!
Miss Grit – Tourist Mind
Chromatics – Move a Mountain
Delta 5 – Mind Your Own Business (Deerhoof’s remix)
Screaming Females – Leave It All Up to Me
The Clash – The Leader
Mativetsky Amiri Pagé – Yavaran

Come back next week for more free-form madness!

Keep your mind open.

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WSND DJ set list: Deep Dive of The Allman Brothers Band

Thanks to all who tuned in and offered requests for my Deep Dive of The Allman Brothers Band on WSND. Here’s the set list:

The Allman Brothers Band – Ramblin’ Man
B.B. King – Mr. Pawnbroker
Otis Redding – Pain in My Heart
Patty LaBelle and The Bluebells – All or Nothing
The Allman Joys – Spoonful
Hour Glass – Southbound
The 31st of February – Morning Dew
Wilson Pickett – Hey Jude
The 2nd Coming – Evaluation
Muddy Waters – Trouble No More
The Velvet Underground – Some Kinda Love
Blind Wille McTell – Statesboro Blues
The Allman Brothers Band – Black Hearted Woman
The Allman Brothers Band – Whipping Post (1973 Beginnings mix)
The Allman Brothers Band – Dreams (live)
The Allman Brothers Band – Midnight Rider
The Allman Brothers Band – In Memory of Elizabeth Reed
Boz Scaggs – Lowdown
Derek and The Dominos – Nobody Knows You When You’re Down and Out
The Allman Brothers Band – Stormy Monday (live) (request)
The Allman Brothers Band – Melissa (live acoustic version)
The Allman Brothers Band – Blue Sky
Cher & Gregg Allman – Don’t Mess Up a Good Thing (live)
The Allman Brothers Band – Jessica (live)
Dickey Betts – Highway Call
The Allman Brothers Band – Can’t Lose What You Never Had
Chuck Berry – Too Much Monkey Business
Sea Level – Just a Good Feeling
The Allman Brothers Band – Straight from the Heart
The Allman Brothers Band – Firing Line

Come back next week for another Deep Dive!

Keep your mind open.

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Rewind Review: Bollywood Bloodbath compilation (2011)

I knew I was going to buy Bollywood Bloodbath as soon as I saw the cover and read “The B-Music of the Indian Horror Film Industry.” That cover image, by the way, is from the 1981 monster film Janni Dushman (which is readily available on YouTube if you’re interested).

The collection is packed with great Bollywood psych-disco-horror music ranging from 1949 to 1985. It starts with the spooky laughter of Rajesh Roshan‘s theme to 1981’s Sannata (The Silence), which adds synth wind sounds and ghostly vocals to the mix. Pulsing beats lead the charge on Hemant Bhosle‘s funky phantom track, “Sasani Khez Koi Baat” from another 1981 film – Sansani (The Sensation). Bappi Lahiri‘s “He Met Me in the Guest House” (from 1980’s Guest House) is a rare Bollywood track with English vocals (by Preeti Sagar) that’s a mighty fine lost disco track. Lahiri’s horn-filled (and monster roar-including) “Meri Jaan” is another cool gem from another 1981 movie about a weird snake monster called Dahshat (Shock) and has lovely vocals by Sulakshana Pandit, freaky synths, and almost spaghetti western guitar sounds.

Up next are the prolific team of Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma with “Aa Jane Jaan” from the giallo-like Intaqam from 1969. It combines bells, spy movie-like horn blasts and hand percussion beats, and mysterious sounds you can’t quite place…and it ends with what sounds like a fight or murder taking place on screen. More mysterious sounds abound in Ratandeep Hemraj‘s “Birha Ki Maari Koi” (from 1979’s Shaitan Mujrim (Satan’s Culprit)) as Jyoti, the lead actress, sings alongside howling dogs, creaking coffin lids, screeching cats, and a horn section that sounds like it might be drunk.

Lahiri returns with the simply titled “Dance Music” from 1982’s Maut Ka Saya – a film about a swamp monster. It’s a rather bouncy track (with sexy, nearly orgasmic laughing) that could be mistaken for a cumbia instrumental upon the first listen. Apparently, this swamp monster is a cool cat. So are the duo known as Sapan Jagmohan, who display their jazz-funk chops on 1978’s “Aji Kahan Gum Ho” from the occult film Darwaza (The Door).

The duo of Laxmikant-Pyarelal return on the theme for 1967’s psychological thriller Anita. The simple hand percussion instruments highlight the lead character’s paranoia. Usha Khanna (Bollywood’s first female music director) provides “Tere Jaisa Pyara Koi Nahin” from the 1981 movie Hotel (the plot of which was pretty much ripped off by Poltergeist a couple years later). Khanna uses a funky bass groove and strange synth notes to craft a slick track.

Roshan comes back to another track from Sannata, this one being “Marjaban Too Kuthe Part 1.” It’s a fun love song hidden in a movie about a series of brutal murders. Sapan Jagmohan’s “Sote Sote Adhi Rat,” from 1984’s Siskeyan is a standout on the record with its great guitar work, funk bass, disco beats, and lush vocals from Salma Agha.

After the short instrumental “Ab Kahan Jayenge Ham (Sad)” by Bhosle (another track from Sansani), we get the exciting theme to 1980’s Andhera (The Darkness) by Sapan Jagmohan. The movie blends a vampire film with a crime thriller, and the “crime” sound is prominent here. You’re expecting a chase scene or a fight to break out any moment. Lahiri’s title to Dahshat follows it with more bat-snake-who knows monster sounds combined with fast tabla beats and warped synths and guitars that sound broken.

Roshan delivers the (in terms of title) out-of-place “Superman, Superman” from Sannata. Two detectives are trying to find the serial killer in this film, not intrepid reporter Clark Kent, so why a song with Udit Narayan, Alka Yagnik, and Ursula Vaz singing about the Man of Steel is in this movie’s soundtrack is anyone’s guess. Nonetheless, it’s a blast and needs to be in the next Superman movie.

Another nice inclusion is “Dance Music” by Khemchand Prakash from what is considered to be the first Indian horror film – 1949’s Mahal (The Mansion). It’s not dance music for the nightclub crowd. It’s dance music for a strange ritual or for ghosts…or both. Another track from Maut Ka Sava by Lahiri is next, titled “Aafat,” and it combines surf guitar with city pop saxophone and Kraftwerk-like synths. I don’t how it works, but it does.

Laxmikant-Pyarelal’s “Chal De Rol” from Jaani Dushman is the most meditative track on the compilation with its excellent tabla work and swirling string instruments. My guess is that its supposed to call the crazy beast killing young brides in the film, but I could be far off base. Roshan’s “Marjaban Too Kuthe Part 2” is another lovely cut, and then we have “Dekho Dekho Dekho Magar Pyar Se” from 1985’s Cheekh (The Scream) by Nadeem Saifi and Shravan Rathod that could almost be video game music and has fun vocals by Alga Yagnik and wicked guitar riffs, tabla beats, and horn blasts.

The compilation appropriately ends with “Bindya Tarse Kajra Barse” by Rahul Dev Burman from the 1980 psychological thriller Phir Wohi Raat. Burman is sometimes known as the “Indian Ennio Morricone” for his massive output, experimentation, and talent.

Finding stuff like this is like finding a treasure chest of money in your backyard. It baffles you at first and then you’re elated by it.

Keep your mind open.

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Live: The Human League, Soft Cell, Alison Moyet – Chicago Theatre – Chicago, IL – June 23, 2026

It was a sold out night at the Chicago Theatre for this triple bill of 1980s music giants. The crowd was full of Gen Xers and Boomers who were buzzing outside the theatre and giddy once they got inside the place. I saw two people in their twenties there. I’m sure there were more, but they were vastly outnumbered…which is a shame because synthwave is hot stuff right now among the younger crowd. Go watch Stranger Things if you don’t believe me.

Alison Moyet started the night sounding and looking fabulous. Her backing band was sharp, especially her guitarist who subtly put down some slick riffs for those paying attention. Moyet was all smiles throughout her set, telling stories and expressing her thanks to the crowd. She played a good mix of stuff from her solo albums and Yazoo (known as Yaz in the U.S. for some weird reason) records. “Changeling” and “Only You” were lovely, and ending your set with “Don’t Go” is always a power move.

The modern version of Soft Cell was up next. Marc Almond is still on lead vocals and personality. David Ball died last year but not before they finished a lot of new material for their upcoming record, Danceteria. The new lineup came out right away with “Memorabilia,” the B-side to their first single, “A Man Could Get Lost,” which they also played. It was a weird new wave switch from Moyet’s sultry disco set, and I loved both. “Nostalgia Machine” (a clever takedown in 2022 and now) and “Out Come the Freaks” were other standouts, and, of course, they ended with “Tainted Love” to get everyone on their feet. They mentioned they’d be back in the spring to do a full show.

The Human League came out in full synthwave force with “The Sound of the Crowd” and “Mirror Man” with lead singer Philip Oakley quieting any curiosity about the strength of his voice right away.

Here comes The Human League…and the Mirror Man.

“The Lebanon” was a good highlight, and even stronger in 2026. An interesting moment was when I spotted a couple slow-dancing to “Human”…a song about infidelity. There’s a story there, I thought.

“Love Action (I Believe in Love)” is already a great song, and it’s even better life. The same goes for their mega-hit “(Keep Feeling) Fascination.” Their encore included “Being Boiled” (their first single) and “Electric Dreams,” a collaboration Oakley did with Giorgio Moroder.

They had a fun energy for the whole show, including multiple costume changes for Oakley, Susan Sulley, and Joanne Catherall, good visual effects, and Oakley prowling around the stage like some mysterious wizard. They’ve said they plan to keep touring as long as people want to see them and they’re healthy enough to do it, so get to a show while you still can.

Keep your mind open.

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[Thanks to Brian!]

Vitesse X covers Filter for her latest single.

New York producer, vocalist, and DJ Vitesse X shares her take on Filter’s late-’90s alt-rock classic “Take A Picture,” out today via Music Website. The track follows her recent single “Memori,” her first new music since the release of her acclaimed second album This Infinite.

On her version of “Take A Picture,” Vitesse X pulls the song out of its post-grunge radio-rock context and into something hazier and more suspended. Built around trip-hop-leaning drums, atmospheric production, and the song’s unmistakable melodic center, the cover draws out the melancholy beneath the original’s sense of escape while bringing it into Vitesse X’s own dream-pop world.

Of the track, Vitesse X says, “I was listening to ‘Take a Picture’ in the car in the winter, deep in some heavy emotions. I was feeling really detached from the current state of music and exhausted by the demands of the modern world. When the song came on, I was immediately transported back to a feeling I had completely forgotten existed. A time where life felt tangible and simple and pure. It was honestly transcendental. I opened up my phone notes to remind myself to make a cover, and a month later it came to fruition.”

Vitesse X has spent the last several years shaping a sound that sits between dream pop, breakbeats, club music, and alternative electronic production, becoming a quiet reference point for listeners drawn to shoegaze-adjacent electronic music, soft-club nostalgia, and left-field pop. Her 2024 album This Infinite expanded that world further, with KEXP calling it “a fantastic set of glistening synth-pop” and Pitchfork previously describing her debut Us Ephemeral as “transportive” and “engineered with precision.” She has since continued to connect across indie and electronic audiences through touring, collaborations, and a growing visual world.

Check out “Take A Picture” and stay tuned for more music from Vitesse X coming soon.

Keep your mind open.

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[Thanks to Cody at Terrorbird Media.]

Dead Pioneers call out “The Worst Among Us” with their new single.

Dead Pioneers, the Indigenous fronted band from Denver, are fast approaching the highly anticipated release of their third album, Wagon Burner, due to be issued June 26th via Hassle Records, and return this week with a new single featuring Sleaford Mods provocateur Jason Williamson on guest vocals. Titled “The Worst Among Us,” the single is a key track on Wagon Burner and demonstrates the bands progression, stretching their sound far beyond the confines of punk rock, with a pulsating post-punk groove under-pinning the songs dark, shimmering melodies.

“While it’s easy for me to say I’m proud of every song on ‘Wagon Burner’, I’d be remiss by not admitting this one is one of my favorites,” admits frontman Gregg Deal. “The way it came together with (bassist) Lee at the helm of this one. This song feels like a level up for us, a piece that brings together elements that are 100% Dead Pioneers with some other elements that are new. I’ve said this before, and I’ll say it again, but we really are about the art of this work. ‘The Worst Among Us’ is in this camp, recognizing that we sometimes will find lightening in a bottle more than once while on the Dead Pioneers path.”

The combination of Gregg and Jason’s vocals work perfectly, delivered with complete conviction with the intensity of the lyrics. Sleaford Mods have been an undeniable influence on Dead Pioneers since they first began.

“I wish I could express how excited I am to have Jason on this track with us. Lee introduced me to Sleaford Mods in 2021 when we met and pulled together ‘Bad Indian’. In the space of the original idea of Dead Pioneers being “spoken word with punk riffs”, Lee pointed me to Sleaford Mods and their then new album ‘Spare Rib’. I’d be lying if I didn’t admit that I’ve been proper obsessed with Sleaford Mods since. This feels like another full circle moment for ‘Wagon Burner’, and I am sincerely humbled to share space with the likes of Jason Williamson.

“Colonialism, imperialism, theft, murdering, oppressing and death? All the things a song needs, capped off by the unmistakable cadence and voice of Jason Williamson. This song was an important one lyrically, in presenting some personal experiences while acknowledging the more general grievances of colonialism and imperialism. This moment in the world’s history is more poignant than most for a song like this. Saying the things that need to be said on a political, social and cultural level is wildly important right now,” summarizes Gregg.

“Nabbing lands, traditions or symbols with cunning chicanery or beady eyed brute force” How could I not be on a tune with lyrics like these. ‘The Worst Among Us’ is the kind of song that revitalizes the idea of Punk within the listener. Wrapped up in some weird Cure/Sisters Of Mercy vibe to boot. Very honored to be included,” adds Jason Williamson.

Keep your mind open.

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[Thanks to Dan from Discipline PR.]

Cornelius announces new album with a new single with Sean Ono Lennon – “Aeons.”

Today, Cornelius announces his new album ‘REFRACTIONS’, the forthcoming full-length from Japanese musician, producer and composer Keigo Oyamada. The album is to be released on August 19th on Eat Your Own Ears Recordings and marks a new collaborative chapter in his work. Along with the album announcement, he has also announced a Japanese tour as well as a show at London’s Barbican.

For more than three decades, Cornelius has occupied a singular space in contemporary music, transforming everyday sound into intricate rhythmic systems and immersive, cinematic soundscapes. ‘REFRACTIONS’ continues this trajectory while marking a subtle but important shift outward. Where previous Cornelius records often leaned toward introspection, this new work is shaped more explicitly through collaboration and exchange. A sentiment illustrated with the album’s lead single “Aeons”, featuring Sean Ono Lennon. The track sees Lennon contribute vocals and lyrics, bringing his distinctive melodic sensibility and lyrical voice into Cornelius’ ever-shifting sonic world.

The creative relationship between Kiego and Sean stretches back to the late 1990s, when Cornelius first encountered Sean’s work and was struck by its unusual harmonic language, melodic openness and experimental pop sensibility. Across the years, their exchanges have continued to evolve through shared projects and long-standing artistic trust, with Sean inviting Cornelius be part of Yoko Ono’s re-formed Plastic Ono Band, doing performances is LA, NY, and London.

“Aeons” represents one of their most direct collaborations to date. Speaking about the collaboration, Cornelius says: “As the world and my surroundings changed at an intense speed, I think all of that inevitably shaped this work. Rather than expressing these ideas directly, I approached them structurally – exploring continuity, transformation, and multiple coexisting states within a single, uninterrupted flow of time.”

That same sense of shifting perception runs through “Aeons,” a track built around fluid forms and subtle instability, where melody and texture appear, fracture and reassemble in constantly evolving configurations.

Sean Ono Lennon reflects on the collaboration: “I’m always honoured to work with Keigo, he’s one of my favourite humans on the Earth Planet!”

Listen to “Aeons (ft. Sean Ono Lennon)”: https://www.youtube.com/watch?v=14-VSYqIRWw
‘‘Refractions’’ album links: https://linktr.ee/Cornelius_Japan

Emerging in the early 1990s after the dissolution of Tokyo pop group Flipper’s Guitar, Keigo Oyamada quickly developed a reputation as a meticulous sonic architect, building dense, playful and highly detailed musical worlds that dissolve genre boundaries entirely.

International breakthrough album ‘Fantasma’ (1997) established Cornelius on a global stage and is widely regarded as a landmark in experimental pop. Its collage-like approach to production drew comparisons to The Beach Boys, Brian Wilson, Beck and The Beastie Boys, while helping define a new international appetite for adventurous Japanese music. Nearly three decades later, the album continues to resonate with new generations of listeners, with b-side “Typewrite Lesson” recently unexpectedly finding renewed life in a viral moment on TikTok and support from artists such as Rosalía.

“This time, instead of turning inward, I wanted to open the work through interaction with others,” says Cornelius of his new work. “I’ve come to feel more strongly that reality is not something completed within oneself, but something shaped through relationships and exchanges.”

That philosophy runs through the fabric of ‘REFRACTIONS’, which also features contributions from Arto Lindsay, Bid, and longtime collaborator Shintaro Sakamoto.

Across ‘REFRACTIONS’, Cornelius continues to explore shifting perception, memory and interconnected consciousness, not through narrative but through sound itself. Tracks behave less like fixed compositions and more like living systems: ideas branch, overlap and mutate, forming an evolving sonic landscape where multiple states coexist at once.

Despite its conceptual framework, the record remains deeply human in tone. There is a familiar warmth and playfulness embedded within its intricate construction, a sense of curiosity that has long defined Cornelius’ work. Drawing from psychedelic pop, ambient music, Brazilian tropicália, kosmische experimentation and minimalist composition, ‘Refractions’ ultimately resists categorisation, existing instead within its own internal logic.

For new listeners, ‘REFRACTIONS’ offers a gateway into one of contemporary music’s most quietly influential catalogues. For long-time followers, it reveals an artist still expanding and reshaping his language after more than three decades.

What emerges is not a fixed statement, but something constantly in motion: music that refracts, reshapes and reorients itself as it unfolds. ‘REFRACTIONS’ marks the beginning of a new chapter for Cornelius, an artist who remains entirely singular in the landscape of modern music.

Cornelius live dates:
10 Sep – Yokohama, JP – KT Zepp Yokohama
12 Sep – Tokyo, JP – CLUB QUATTRO
13 Sep – Fukuoka, JP – Zepp Fukuoka
19 Sep – Sapporo, JP – Zepp Sapporo
22 Sep – Nagoya, JP – Zepp Nagoya
23 Sep – Osaka, JP – Zepp Namba
26 Sep – Sendai, JP – Sendai PIT
2 Oct – Tokyo, JP – Zepp Haneda
3 Oct – Tokyo, JP – Zepp Haneda
6 Oct – Tokyo, JP – Zepp Shinjuku (TOKYO)
19 Jun, 2027 – London, UK – Barbican

Keep your mind open.

[It feels like aeons since you’ve thought about subscribing.]

[Thanks to Kate at Stereo Sanctity.]

WSND DJ set list: Manic Monday – June 22, 2026

Thanks to all who listened to my latest all-80s music show on WSND. Here’s the tubular set list:

Earth, Wind & Fire – Let’s Groove (live) (1981)
The Gap Band – You Dropped a Bomb on Me (1982)
Phil Collins – Don’t Lose My Number (extended version) (1985)
Eddie Murphy – Party All the Time (request) (1985)
Clio – Faces (1985)
Paul Simon – You Can Call Me Al (1986)
Adrian Belew – Animal Grace (1982)
Adam and The Ants – Physical (You’re So) (1980)
My Bloody Valentine – Slow (1988)
Heart – Tell It Like It Is (1980)
Rod Stewart – My Heart Can’t Tell You No (1988)
The Psychedelic Furs – President Gas (live) (1983)
Madness – One Step Beyond (request) (1980)
Billy Idol – Catch My Fall (remix) (1985)
Howard Jones – What Is Love? (extended version) (1983)
Joan Jett & The Blackhearts – I Hate Myself for Loving You (1988)
New Kids on the Block – Please Don’t Go Girl (1988)
S-Express – Theme from S-Express (1988)
New Order – Blue Monday 1988 (1988)
Stevie B – Dreamin’ of Love (1988)
Bros – When Will I Be Famous? (1988)
Billy Ocean – Get Outta My Dreams, Get into My Car (1988)
Whitney Houston – Where Do Broken Hearts Go? (1988)
Toto – Pamela (1988)
10,000 Maniacs – Like the Weather (1988)
Hüsker Dü – New Day Rising (live) (1980)
Rufus & Chaka Khan – Ain’t Nobody (12” maxi-single) (1983)
Kool & The Gang – Celebration (request) (1980)
The Power Station – Some Like It Hot (1985)
The Cramps – New Kind of Kick (1984)
The Commodores – Lady (You Bring Me Up) (1981)
Giorgio Moroder & Joe Esposito – Lady, Lady (1983)
Laser – Laser (1981)
Madonna – Lucky Star (1983)
Taylor Dayne – With Every Beat of My Heart (1989)
The Pretenders – Back on the Chain Gang (live) (1985)
Little Steven – Out of the Darkness (request) (1984)
Tom Petty & The Heartbreakers – You Got Lucky (1982)
U2 – Pride (in the Name of Love) (12” version) (1984)
The Waterboys – The Whole of the Moon (request) (1985)
Spandau Ballet – To Cut a Long Story Short (1980)
Art of Noise – Peter Gunn (1986)
Irene Cara – Flashdance (What a Feeling) (1983)
Glenn Frey – You Belong to the City (1985)
Jane’s Addiction – My Cat’s Name Is Maceo (1987)
Frankie Goes to Hollywood – War (1984)
Men at Work – Down Under (1980)
Squeeze – Tempted (1981)
Fine Young Cannibals – She Drives Me Crazy (live) (1989)
De La Soul – Change in Speak (1989)
Fiction Factory – Feels Like Heaven (12” extended remix) (1983)
The Dead Milkmen – Punk Rock Girl (1988)
Beastie Boys – Fight for Your Right (1986)
Motörhead – Ace of Spades (request) (1980)
Def Leppard – Photograph (1983)
The Passions – I’m in Love with a German Film Star (1981)
Rupert Holmes – Him (1980)
George Michael – Monkey (1987)
Queen – Another One Bites the Dust (1980)
The Chameleons – Swamp Thing (1986)
The Damned – Life Goes On (1982)

Come back next week for more 80s madness!

Keep your mind open.

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