Best 80s New Wave Songs Free [NEW] Download

Rod Wave songs have an ability to get grown men crying like infant children, that's no secret. Rod Wave, known for his unique blend of hip-hop and soulful melodies, has captured the hearts of many with his emotionally charged lyrics and powerful voice. His songs often reflect personal struggles and triumphs, making them highly relatable to a wide audience. In this piece, we will explore the 14 best Rod Wave songs, delving into what makes each track so captivating and popular. From introspective ballads to energetic anthems, each song showcases Rod Wave's versatility as an artist.

So much of music in the '80s was defined by the new wave movement, but what are your favorite songs from the genre? Let's rank the best '80s new wave songs that truly defined the decade, with the help of your votes.

Best 80s New Wave Songs Free Download

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Many people think of new wave songs when they think of the 1980s, and it's no wonder why. Tracks like Kajagoogoo's "Too Shy" and Soft Cell's "Tainted Love" are the types of songs you'll always sing along to if you hear them on the radio. Even if you don't listen to '80s music, you surely know the lyrics to "I Ran" by A Flock of Seagulls. Another fantastic new wave song from the '80s is "People Are People" by Depeche Mode, despite the fact that the song's writer, Martin Gore, has been quoted as saying it's one of his least favorite.

New Order's groundbreaking hit "Blue Monday" redefined the 80s music landscape with its innovative electronic beats and haunting synths. As one of the most iconic songs from the era, this dancefloor classic solidified New Order's position as pioneers within the New Wave movement.

Soft Cell's pulsating cover of "Tainted Love" boasts infectious synth beats, perfectly complementing Marc Almond's signature vocal style. This quintessential New Wave track breathed new life into the original, transforming it into one of the most memorable songs from the 1980s music scene.

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The no wave movement emerged in New York during the late-1970s and early 1980s, standing in resistance to the thriving new-wave scene. An overlooked period of music history, no wave was vitally important, despite being short-lived.

The no wave movement was also very inclusive of women, with almost all of the major bands featuring female guitarists or vocalists, such as Lydia Lunch and Pat Place, who were pioneers of creating unique sounds which were hugely inspirational to experimental and noise rock musicians in future years.

One of the most memorable bands to emerge from the no wave scene, however, is undoubtedly the great Sonic Youth. When Thurston Moore relocated to Manhattan in 1977, it was inevitable that he would discover the movement and involve himself in it. Although Sonic Youth began in 1981, a few years after the golden age of no-wave, they were still an important part of the scene. Their earlier music carries the sound of a lot of no wave bands, and in 1984 they even collaborated with no wave queen Lydia Lunch.

New wave is a music genre[31][32][33] that encompasses pop-oriented styles from the late 1970s through the 1980s. It is considered a lighter and more melodic "broadening of punk culture".[4] It was originally used as a catch-all for the various styles of music that emerged after punk rock,[34] including punk itself.[33] Later, critical consensus favored "new wave" as an umbrella term involving many popular music styles of the era, including power pop, synth-pop, alternative dance, and specific forms of punk that were less abrasive.[15] It may also be viewed as a more accessible counterpart of post-punk.[33]

New wave commercially peaked from the late 1970s into the early 1980s with numerous major musicians and an abundance of one-hit wonders. MTV, which was launched in 1981, heavily promoted new-wave acts, boosting the genre's popularity.[33] In the mid-1980s, new wave declined with the emergence of the New Romantic, New Pop, and New Music genres.[35] Since the 1990s, new wave resurged several times with the growing nostalgia for several new-wave-influenced musicians.[36][37][38]

New wave music encompassed a wide variety of styles that shared a quirky, lighthearted, and humorous tone[39] that were very popular in the late 1970s and 1980s.[4] New wave includes several pop-oriented styles from this time period.[4] Common characteristics of new wave music include a humorous or quirky pop approach, the use of electronic sounds, and a distinctive visual style in music videos and fashion.[33] According to Simon Reynolds, new wave music had a twitchy, agitated feel. New wave musicians often played choppy rhythm guitars with fast tempos; keyboards, and stop-start song structures and melodies are common. Reynolds noted new-wave vocalists sound high-pitched, geeky, and suburban.[40]

As new wave originated in Britain, many of the first new wave artists were British.[41] These bands became popular in America, in part, because of channels like MTV, which would play British new wave music videos because most American hit records did not have music videos to play. British videos, according to head of S-Curve Records and music producer Steve Greenberg, "were easy to come by since they'd been a staple of UK pop music TV programs like "Top of the Pops" since the mid-70s."[42] This rise in technology made the visual style of new wave musicians important for their success.

The majority of American, male, new wave acts of the late 1970s were from white, middle-class backgrounds. Scholar Theo Cateforis said these acts intentionally presented these exaggerated, nerdy tendencies associated with their "whiteness" to criticize it and to reflect their identity.[43] A nervous, nerdy persona was a common characteristic of new wave fans, and acts such as Talking Heads, Devo, and Elvis Costello.[44] This took the forms of robotic dancing, jittery high-pitched vocals, and clothing fashions that hid the body such as suits and big glasses.[45] This seemed radical to audiences accustomed to post-counterculture genres such as disco dancing and macho "cock rock" that emphasized a "hang loose" philosophy, open sexuality, and sexual bravado.[43]

Although new wave shares punk's do-it-yourself artistic philosophy, the musicians were more influenced by the light strains of 1960s pop while opposed to mainstream "corporate" rock, which they considered creatively stagnant, and the generally abrasive and political bents of punk rock.[5] In the early 1980s, particularly in the United States, notable new wave acts embraced a crossover of pop and rock music with African and African-American styles. Adam and the Ants and Bow Wow Wow, both acts with ties to former Sex Pistols manager Malcolm McLaren, used Burundi-style drumming.[46] Talking Heads' album Remain in Light was marketed and positively reviewed as a breakthrough melding of new wave and African styles, although drummer Chris Frantz said he found out about this supposed African influence after the fact.[47] As the decade continued, new wave elements would be adopted by African-American musicians such as Grace Jones, Janet Jackson, and Prince,[48] who in particular used new wave influences to lay the groundwork for the Minneapolis sound.[49]

The Velvet Underground have also been heralded for their influence on new wave, post-punk and alternative rock.[50][51] Roxy Music were also influential to the genre as well as the works of David Bowie, Iggy Pop[52] and Brian Eno.[53]

The term "new wave" is regarded as so loose and wide-ranging as to be "virtually meaningless", according to the New Rolling Stone Encyclopedia of Rock.[32] It originated as a catch-all for the music that emerged after punk rock, including punk itself,[33] in Britain. Scholar Theo Cateforis said that the term was used to commercialize punk groups in the media:

Between 1976 and 1977, the terms "new wave" and "punk" were used somewhat interchangeably.[35][61] Music historian Vernon Joynson said new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk.[9] That year, the term gained currency when it appeared in UK punk fanzines such as Sniffin' Glue, and music weeklies such as Melody Maker and New Musical Express.[62] In November 1976, Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands that were not exactly punk but were related to the punk-music scene.[63] The mid-1970s British pub rock scene was the source of many of the most-commercially-successful new wave acts, such as Ian Dury, Nick Lowe, Eddie and the Hot Rods, and Dr. Feelgood.[64]

In the US, Sire Records chairman Seymour Stein, believing the term "punk" would mean poor sales for Sire's acts who had frequently played the New York club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave".[65] Because radio consultants in the US had advised their clients punk rock was a fad, they settled on the new term. Like the filmmakers of the French New Wave movement, after whom the genre was named, new wave bands such as Ramones and Talking Heads were anti-corporate and experimental. At first, most American writers used the term "new wave" exclusively in reference to British punk acts.[66] Starting in December 1976, The New York Rocker, which was suspicious of the term "punk", became the first American journal to enthusiastically use the term, at first for British acts and later for acts associated with the CBGB scene.[62] The music's stripped-back style and upbeat tempos, which Stein and others viewed as a much-needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with progressive rock and stadium spectacles, attracted them to new wave.[67][page needed] ff782bc1db