Researchers who analyzed half a million pop songs published in the UK between 1985 and 2015 discovered that they have become less upbeat and sadder, which they attribute to personality traits.
There’s something calming and comforting about music from the 80s that just hits home, or sometimes its lyrics reflect our personal lives perfectly. Here’s a selection of some great examples of sad music from that decade.
Townes Van Zandt
Townes Van Zandt was one of the most revered American South songwriters. A poet and musician with a voice that could move you both emotionally and musically, his music still resonates today and will likely remain influential decades from now. A master of country and folk, Townes’ most acclaimed songs focused on love, loss, and redemption – making him an embodiment of the legendary troubadour life style.
Townes was an accomplished songwriter and performer, recording over 12 albums throughout his lifetime. Beginning his career in Houston before being discovered by singer/songwriter Mickey Newbury who set him up with producer Jack Clements for recording sessions in Nashville with producer Jack Clements for For the Sake of the Song (1968), it quickly became a success before going on to produce classic folk and country tracks such as Tecumseh Valley, If I Needed You and Pancho and Lefty albums that became timeless classics in their own right.
In the late seventies he had become a beloved figure to musicians and songwriters across America and Europe, but began struggling with addiction issues. Although he managed to remain clean for some time after rehabbing his drink use, eventually it reared its ugly head again and led him back down his old drinking ways. After some attempts at rehabilitation he moved out to Nashville’s outskirts, living in a shack while continuing to play music at smaller venues like college coffee houses or juke joints; although he had abandoned recording altogether but eventually returned with 1977’s Live at Old Quarter on Tomato label as well as 1978’s Flyin’ Shoes on Tomato label respectively.
Unfortunately, these albums don’t quite match up to his debut and some of their material is fairly weak; “Brother Flower” contains dorky hippie vibes while “Dollar Bill Blues” has an annoying vocal effect that’s easily forgotten. On the flip side however, “No Place to Fall” and “Marie” prove far superior and stand as classics on this side of the album.
Sinead O’Connor
Sinead O’Connor was one of the most iconic artists to emerge from the 1980s, making her one of the most influential musical rebels with a cause. She took aim at both suits who represented her, racism and religious dogma – she tore up photos of Pope John Paul II for instance – and refused to appear on Saturday Night Live after its producers hired misogynist comedian Andrew Dice Clay; additionally she refused AIDS charities and cancelled Grammy nominations due to their materialism.
She was an artist of many styles, reflecting the eclecticism of her time period. Rock became more funky, hip hop was on the rise and synthesizers became the new drum machines influencing all genres of music. Additionally, she was an activist by publicly declaring her sexual orientation and supporting gay rights.
As anyone who’s experienced hardship knows, she had much to be frustrated about – she put that anger and sadness into song, adding Irish fury and melancholy to late ’80s MTV-era pop music with a voice capable of sounding either gruff and scornful, seductive yet chilling or warm and gentle; whether hushed or unfiltered.
Prince wrote this powerful pop-lush ballad featuring O’Connor’s mesmerizing voice building slowly to an almost cathartic crescendo – it feels hypnotically cathartic! – that speaks of a romance gone cold, leaving both lovers feeling distasteful and forlorn.
O’Connor never stopped fighting for truth throughout her difficult life; since her death she has become a beacon for queer women everywhere. We interviewed some musicians who were greatly inspired by O’Connor and her legacy; from Bikini Kill frontwoman Kathleen Hanna to indie rockers MGMT; here’s what they had to say. Plus check out our playlist of O’Connor songs below.
The Shangri-Las
The Shangri-Las were a girl group composed of Mary Weiss, twin Margie and Betty Ganser sisters from Queens High School Band who formed The Shangri-Las. Teenaged Mary joined Mary Weiss when Red Bird Records offered them a record deal in 1964 despite only being 15 at the time, although managing fame proved challenging at first for all three sisters (Mary was 15, while Margie and Betty Ganser were 16). But eventually all managed to adjust.
George “Shadow” Morton turned to Brill Building songwriting veterans to assist his girls. Their debut hit “Remember (Walking in the Sand)” made its debut at number 5 on the charts early 1965 and gave a big boost to the band. Unfortunately, its success proved short-lived as Mary seemed too consumed by all the attention and pressure to perform. As a result, her actions became detrimental to fellow band members as well as many other issues arose.
While most girl groups catered more towards women buyers, The Shangri-Las were able to attract both girls and boys due to their more realistic themes than many other girl groups were producing at that time.
The Shangri-Las dominated the charts throughout 1965 with only one minor setback in their songs’ success; their next hit being “Leader of the Pack”, a mini-teen opera accompanied by spoken introduction and rev sound effects from motorcycle engines.
However, unlike Motown where Phil Spector would send veterans such as Cholly Atkins to teach the Ronettes dance steps and stage performance techniques, The Shangri-Las were fairly self-sufficient in terms of dance steps and stage presence. There was one manager named Frankie that provided assistance but otherwise they acted independently.
In 1966, they parted ways and Mary died of mosquito-borne illness two years later. Her three surviving bandmates went on to make solo albums; most recently a trio known as The Shangri-Las, though not related to the original four, has been performing. Additionally, Norton Records issued her solo record, Dangerous Game.
Otis Redding
Otis Redding was an artist with great influence and yet, undeserved recognition in his era. A tireless worker with an immense heart, Redding’s death in 1967 left an enormous void. Redding had helped shape Stax Records into an iconic soul music label of its day – which Redding helped transform. His death left Stax reeling.
Redding first rose to fame as part of Johnny Jenkins’ Pinetoppers in Macon, Georgia – recording for local label Confederate. But it wasn’t until he moved to Memphis Tennessee to record with Stax’s rhythm section that his career truly blossomed. Redding had an open-throated singing style which soon became the benchmark of soul stylists during this decade; his recordings were emotionally charged while his openness as an artist made him ideal for album rock’s new age of album rock releases.
Redding’s recording of “(Sittin’ on) the Dock of the Bay” stands as the prime example. Recorded quickly with Steve Cropper on guitar, Donald “Duck” Dunn on bass and Al Jackson on drums in just several takes, it became an instrumental masterpiece, featuring lush orchestral backing and haunting vocals from Redding that appealed for change that seemed hopelessly out of reach.
Within its context of that era, this song serves as a devastating indictment of race relations at that time. Its lyrical message serves as a warning that life’s beauty may be threatened by similar racial hatred that had come to the fore among hippies and other young people attending Monterey Pop Festival the previous year.
Labelling certain music as “sad girl” music may seem tempting, but doing so would do more damage than good for artists who put so much of themselves into their work. These artists don’t simply sing about their insecurities for popularity; rather they seek to connect with listeners. By categorizing their work as sad girl music we risk losing sight of its healing properties and power.