If there’s one word that captures the feel of the 1980s in pop culture, it’s joy. Sure, there have been classier, deeper, artier, weirder eras—in fact, probably any other decade you care to name in the past century is cooler than the ’80s—but that’s precisely why ’80s parties are the most fun (soundtracked by our playlist of course). In the grand and ridiculous prom that was the ’80s, music and movies were king and queen, coming together for a perfect, soft-focus tumble. Who can imagine ’s canon of without their glorious new wave soundtracks? Or the late, great Harold Ramis’s masterpiece,, without its ectoplasmically wonderful anthem? Bustin’ makes everybody feel good!

So in this spirit of joy, we’ve put together a list of the all-time greatest songs from ’80s movies for your delectation and delight. A note on our selections: We’ve featured only tracks made in the ’80s, so while old soul classics like “Stand by Me” and “Do You Love Me?” loomed large in some ’80s movies, we’re sticking with the acid-washed denim ’80s hits. Fans of, Prince, Starship and—hell yes—Kenny Loggins, get ready.

Let’s do this! Written by Michael Chen, Brent DiCrescenzo, Andrew Frisicano, Sophie Harris, Oliver Keens, James Manning, Tristan Parker, Amy Plitt, Joshua Rothkopf, Hank Shteamer, Steve Smith, Sarah Theeboom and Kate Wertheimer. “Batdance” is to the Purple One’s playful soundtrack as the trailer is to the movie. In this three-part album closer, Prince dices and splices clips from the movie and bits of his own songs, whipping up a funky hybrid of house music and New Jack Swing—complete with a hair-raising, hair-metal wank solo. It’s dance-floor serious, but with all the camp, color and pow!

Of a 1960s DC Comics panel. The opening third revisits “The Future,” a cut that 25 years later still sounds on the 22nd-century horizon. But it’s part two, the Vicki Vale section, that captures our hearts and booties, as the little sex elf admits, “Oo yeah, oo yeah, I wanna bus’ that body.” —Brent DiCrescenzo. White kids in the suburbs were beat-boxing and laying cardboard boxes in their driveways for break dancing before Licensed to Ill came along.

Breakin’ and Beat Street took budding New York hip-hop culture to middle America in 1984. A year later, Krush Groove prematurely mythologized the rise of Def Jam Records—a year before the Beastie Boys even released a record. This jam was better than anything on those other two soundtracks, bringing together rap icons Run-D.M.C., Kurtis Blow, Fat Boys and, uh, Sheila E., introducing so many youth to rhyming and scratching.

Parents’ turntables would be permanently damaged soon thereafter. Download Braun Paxina 29 Manual Free. —Brent DiCrescenzo. What do the Eagles and krautrock have in common? Not much, admittedly, though those two worlds copulate to make what sounds like a baby Pointer Sister blowing a yakety sax in “The Heat Is On.” The classically trained Harold Faltermeyer, who composed Beverly Hills’ “Axel F” (not to mention the “ Top Gun Anthem”), started out as Giorgio Moroder’s keyboardist before going on to totally corner the market in buddy-cop-movie scoring. Frey, eternally in Don Henley’s shadow, tried to make his name solo in soundtrack work, but ended up lifting ideas from either Loggins (this song) or Collins ( Miami Vice’s “You Belong to the City”). Maybe that’s what he meant by “Smuggler’s Blues.” —Brent DiCrescenzo.

A young couple living in a Connecticut suburb during the mid-1950s struggle to come to terms with their personal problems while trying to raise their two children. Based on a novel by Richard Yates. Brilliantly acted and emotionally powerful, Revolutionary Road is a handsome adaptation of Richard Yates'. Titre: Taken 2 FRENCH MD TS REPACK 1CD XViD By FlashDance For WwW T torrent.

The Bangles blew up with the help of Prince and studio-pop novelties like “Walk Like an Egyptian.” But a Simon & Garfunkel cover was hardly out of left field for the L.A. The band grew out of the Paisley Underground, where Susanna Hoffs cut her teeth singing folky knee-weakeners like “Flying on the Ground Is Wrong,” originally a Buffalo Springfield tune. However, this Rick Rubin–produced remake is tense arena rock, glittering like Poison rubbed in suntan oil.

Still, there’s a darkness lurking underneath the four-part harmonies. Perfect for a movie of pretty college-age preppies with junk, gigoloing and emptiness swimming behind their pearly teeth. —Brent DiCrescenzo. Could this be the mightiest meta dance anthem of all time?

The 1985 film that spawned it now seems like a kitschy time capsule of Koch-era NYC, but Madonna’s synth-spangled come-on still destroys in just about any setting. “When I was writing it, I was sitting in a fourth-floor walk-up on Avenue B,” Madonna told Time, “and there was this gorgeous Puerto Rican boy sitting across me that I wanted to go out on a date with.” To the stud in question, if you’re reading this: You’re our hero. —Hank Shteamer.