It also became Collins' only number 1 single on the Hot Mainstream Rock Tracks chart as a solo artist, although he would achieve two other number ones on this chart with his band, Genesis. It is the first of six songs by Collins written specifically for a film soundtrack to appear on the Hot 100. It replaced "Footloose" by Kenny Loggins, and was replaced by Lionel Richie's "Hello". Billboard Hot 100 for three weeks, from 15 April to. I couldn't believe it." It peaked at number 2 in the UK upon its release as a single in 1984 and became Collins' third top ten single there, and it peaked at number 1 on the U.S. The mixes were done by phone and the song went to Number 1. According to Collins in a 1985 interview with Dan Neer: "We recorded the song in two days: One day in New York, the other in Los Angeles. Rob Mounsey played piano and keyboard bass, Collins sang and played the drums with his (and Hugh Padgham's) trademark gated reverb sound, and a string arrangement by Mardin completed the production. It has been covered by several artists.Originally titled "How Can You Just Sit There?", the song was initially from the sessions for Collins' debut solo album Face Value (1981), and it was one of about a dozen written for his first wife, who had left him.Phil Collins released the song on the soundtrack to the film Against All Odds, and it was produced by Arif Mardin. It is a ballad in which its protagonist implores his/her ex-lover to "take a look at me now", knowing that reconciliation is "against all odds", but also knowing that he or she must try. The song was the main theme for the 1984 film of the same name, and first appeared on its soundtrack. (The teens’ note to the assistant principal reads, “What we found out is that each one of us is a brain, and an athlete, and a basket case, a princess, and a criminal."Against All Odds" by Phil Collins "Against All Odds (Take a Look at Me Now)" (also simply titled "Against All Odds") is a song originally written and recorded by British singer Phil Collins. In the context of the movie, “Don’t You (Forget About Me)” plays as a lover’s forget-me-not-but equally as plea to those newly discovered selves. We watched the kids transform before our eyes, but we simply didn’t know if any of these newfound identities would stick for longer than a weekend. “Don’t You (Forget About Me)” was the perfect match for John Hughes’s gorgeous teen study The Breakfast Club. Can you honestly say you’ve never air-guitar-ed along to those opening two chords? Or yelped along to Jim Kerr’s outrageous “Hey! Hey! Hey! Heeeey!” chant that immediately follows? Yet part of the song’s tremendous power is the way it keeps pulling away just as its excitement peaks: “Will you walk away?” murmurs Kerr as the song faux-fades, before its final climax.
There are some truly great songs on this list, but none that strike at your emotional jugular quite the way “Don’t You (Forget About Me)” does-right from the get-go. Written by Michael Chen, Brent DiCrescenzo, Andrew Frisicano, Sophie Harris, Oliver Keens, James Manning, Tristan Parker, Amy Plitt, Joshua Rothkopf, Hank Shteamer, Matthew Singer, Steve Smith, Sarah Theeboom and Kate Wertheimer. And in order to keep it strictly ’80s, we limited the list only to songs actually made in the decade – so no ‘Stand By Me’ or ‘Day-O’, as much as we’d want to include them. Here, though, we present the ultimate, canonical, indisputable ranking of the most radical songs from ’80s movies.
But what are the absolute best songs from ’80s movies? Everyone has their personal favorites: the ones that instantly conjure memories (or at least fantasies) of spraying on Aquanet, throwing on some spandex and heading to the multiplex in your Delorean. Suffice to say, an ’80s movie can’t be considered a true ’80s movie if the soundtrack isn’t banging. And shoot, don’t even get us started on Purple Rain. Or Michael J Fox skating through Hill Valley without Huey Lewis crooning about ‘The Power of Love’. Or Ghostbusters without Ray Parker Jr.’s theme song. But try to imagine any John Hughes film without the new wave hits that accompanied them. Sure, the 1960s has a handful of songs still used to signal ‘ the ’60s, maaaan ’, and the 1990s produced some classic soundtracks.
No decade combined music and movies quite like the ’80s.
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