A-ha - the weight of the wind, 1986

"In my mind this song is where the Scoundrel Days album finds its way back to the great side A. Super energetic and with great vocals and great keyboards. This is such a great pop song and still it has this melancholic feel to it. A crazy great chorus."

A-ha - we're looking for the whales, 1986

"a song of longing, a return to innocence, with the whale the symbol of that freedom. It’s filled with the ache of life which I love about a-ha’s music. The freedom of childhood is contrasted with the beached whales"

A-ha - october, 1986

"The album was another big hit by A-ha and sold over 6 million copies worldwide which gave the band international recognition. Scoundrel Days achieved Platinum status in the UK and Switzerland as well as Germany and Brazil. The album reached number two in the European Top 100 Albums chart."

The Housemartins - i smell winter, 1986

"The Housemartins were known for their jangly indie pop sound combined with socially conscious and often witty lyrics. The song captures a mood of change and anticipation, with "winter" metaphorically representing a time of hardship or a turning point. The Housemartins' music often blends upbeat melodies with more reflective or critical themes, creating a contrast that invites listeners to think deeper while enjoying the tune."

The Go-Betweens - the wrong road, 1986

"If you like lyrics, and rambling imagery, you'll love these songs. There are ten of them in thirty six minutes. Only the flat production lets them down; something they often had trouble with. But alongside Spring Hill Fair this is their best album."

Lee Scratch Perry - merry christmas happy new year, 1986

"The Jamaican legend kickstarted Bob Marley’s career, has worked with everyone from Paul McCartney to John Martyn to the Clash, and has racked up countless records as both artist and producer. Perry’s 1960s and 70s studio innovations were decades ahead of their time, and the godfather of dub’s incalculable influence is still reverberating through genres from hip-hop to grime to dubstep."

Elton John - hoop of fire, 1986

"Even the most ardent enthusiasts freely admit that Leather Jackets (1986) was nothing more or less than a final fulfillment of his six-album deal with Geffen Records."

The Beach Boys - california dreamin cover, 1986

"The Beach Boys' 1986 version of “California Dreamin’” is a seriously underrated gem. They took a folk-pop standard and gave it that warm, polished, late-period Beach Boys treatment, with richer production, those impeccable harmonies, and a slightly rockier edge that suits the mid-80s vibe. Carl Wilson’s lead vocal is especially soulful; he was in great voice during that era, and you can hear the emotional weight he brings to lines like “All the leaves are brown…”. Al Jardine complements him perfectly, and having Roger McGuinn reprise his signature 12-string Rickenbacker sound was a brilliant touch. It ties the song back to the jangly Byrds-influenced sound of the original era while still feeling fresh. It was recorded for Mike Love’s side project but ended up credited to The Beach Boys, and released during a period when they were having a bit of a commercial resurgence (thanks in part to “Kokomo” a couple years later). Though it only reached #57 on the Billboard Hot 100, it’s aged really well and holds up as one of their stronger covers in their catalog. Fun fact: the music video even featured McGuinn, John Phillips, and Michelle Phillips, which gave it a nice passing-of-the-torch feel between the two iconic California acts.Definitely a version that deserves more love. Great song, great voices, great arrangement."

Neil Young - people on the street, 1986

"People on the Street" is a track by Neil Young from his 1986 album Landing on Water, released by Geffen Records. The song, written and produced by Young with contributions from Danny Kortchmar, explores urban alienation and the struggles of the homeless, set against a rhythmic, almost hip-hop-influenced beat with synth elements that marked Young's experimental '80s phase."

Neil Young - touch the night, 1986

"Touch the Night" is the most guitar driven song on the album. Its lyrics consider the sudden loss of a partner. Biographer Jimmy McDonough compares it to its predecessor "Like a Hurricane."

Orchestral Manoeuvres In The Dark - if you leave, 1986

"If You Leave" is a song by the English electronic band Orchestral Manoeuvres in the Dark (OMD). It was recorded for the soundtrack to the film Pretty in Pink (1986), in which it is played prominently during the final scene. Along with 1980's "Enola Gay", the track has been described as OMD's signature song. "If You Leave" is the group's highest-charting single on the US Billboard Hot 100, where it reached number four in May 1986. The song was also a top-five hit in Canada and New Zealand and charted at number 15 in Australia. A defining track of the 1980s, it was described by Interview as "one of the most influential, zeitgeist-capturing songs ever to be written".

The Smiths - cemetry gates, 1986

"Cemetry Gates" originated when Smiths guitarist Johnny Marr was on a train; he recalled, "I was ... thinking, 'If you're so great, first thing in the morning sit down and write a great song.' I started with 'Cemetry Gates'; B minor to G change in open G." Marr was initially sceptical of using the song, believing that the guitar part was not interesting enough to be developed into a song. However, Smiths singer Morrissey liked Marr's performance of the song's music and convinced him it was worthy of release. Marr recalled "I did this in my kitchen with Morrissey. When I played it I wasn't sure about it – but that’s one example of how a partnership works. Because Morrissey loved it, and it came so effortlessly and easy. I was just about to bin it." Producer Stephen Street stated that "the vibe was just wonderful" while recording the song. Street later said of the song: "It's all the best elements of The Smiths. And what a wonderful vocal and lyric. It's a nice bit of blessed relief. It's delicate, but it's still got power".

The Smiths - bigmouth strikes again, 1986

"I would call it a parody if that sounded less like self-celebration, which it definitely wasn't. It was just a really funny song"

The Smiths - the boy with the thorn in his side, 1986

"Margi Clarke asked Morrissey if this song was inspired by Oscar Wilde, and Morrissey replied: "No, that's not true. The thorn is the music industry and all those people who never believed anything I said, tried to get rid of me and wouldn't play the records. So I think we've reached a stage where we feel: if they don't believe me now, will they ever believe me? What more can a poor boy do?"

The Smiths - vicar in a tutu, 1986

"Vicar in a Tutu" centres on a cross-dressing clergyman, with Terence Cawley of The Boston Globe noting its "casual dismissal of gender norms", further describing as "sneakily subversive". Musically, the song features musical elements characteristic of the music hall tradition with Korber describing it as a "slight-yet-enjoyable rockabilly pastiche".

The Style Council - headstart for happiness live, 1986

"What “Headstart For Happiness” showed was that, at the very least, Weller hadn’t run out of melodies that spoke to me, and while it was less musically dense than the rest of the record, it was at least an entry point for his music moving forward."

The Style Council - when you call me live, 1986

"The Style Council was an English sophisti-pop band fronted by ex-Jam leader Paul Weller. Starting in 1983, they placed twelve songs on the UK Top 20, including “Speak Like a Child,” “Long Hot Summer,” “My Ever Changing Moods,” “Shout to the Top!,” and “The Lodgers.” Their popularity peaked with the 1984–85 Polydor albums Café Bleu and Our Favourite Shop. After their ambitious 1988 release Confessions of a Pop Group, Weller disbanded the group to launch a solo career."

The Style Council - the whole point of no return live, 1986

“I was really into the Modern Jazz Quartet. I really loved the sophistication thing they had going. They’d done a record called Place Vendôme [recorded in Paris in 1966, with The Swingle Singers]. And thought, ‘What a great idea — to take us off and go and record in Paris.’ At the time, I was thinking about doing a run of these EPs: doing an Alpine record in Switzerland… and going to different European cities. It never came about: it was a shame, really.”

The Style Council - with everything to lose live, 1986

"The album captures the band’s energetic live set, featuring Paul Weller (vocals, guitar), Mick Talbot (keyboards), Dee C. Lee (vocals), and Steve White (drums), with Billy Chapman on saxophone adding to the soulful and jazzy vibe. The performance of "With Everything to Lose" showcases the band’s sophisti-pop sound, blending soul, jazz, and pop elements, which was characteristic of their live shows during this period."

Etienne Daho - duel au soleil, 1986

"Let’s just get something straight here: Étienne Daho is very cool. He’s cooler than the coolest popstar you have at the top scale of cool. Better still, his voice is so good it makes every song it graces sound like the coolest song you’ve ever heard. All those styles from synthpop to surf rock, Étienne can do it all. In fact, he has done it all. But then he’s been around since the ’80s, wowing his native France, always dressed in the most effortlessly chic styles. For most popstars, new phases in their careers are greeted by a wardrobe overall. Étienne doesn’t need to do that. Leather jackets, jeans, over-sized coats, suit blazers and a smoldering cigarette has endured throughout the years, because he knows that cool is never out of style. An outsider who managed to conquer France’s mainstream, he started off his musical journey in London, back when punk was breaking. Apparently, he had to see it for himself. He felt it too, and would later jump at the chance of working with The Stinky Toys on his debut album. A great collaborator, Étienne would later appear in Saint Etienne’s He’s On The Phone, which is a repurposed version of an earlier hit Weekend A Rome. The ‘He’ the song is about? Étienne, most likely."