1. “It’s Over” – Electric Light Orchestra
ELO has plenty of hits, but “It’s Over” often gets lost in the shuffle. Released in 1977 as part of Out of the Blue, it’s a beautifully melancholic song with Jeff Lynne’s signature orchestral rock sound. The sweeping strings, layered harmonies, and emotional delivery make it just as strong as their biggest hits, yet it doesn’t get nearly as much airplay. The song perfectly captures the feeling of something slipping away, whether it’s love or a moment in time. It’s got that cinematic quality that makes so many of ELO’s songs unforgettable, yet it remains underrated shares Louder.
Maybe it’s because the band has so many massive songs, but this one never quite got its due. If you love “Telephone Line” or “Can’t Get It Out of My Head,” this fits right alongside them. The combination of grand instrumentation and heartfelt lyrics makes it the kind of song that sticks with you. It’s proof that even in an album packed with hits, some gems still go overlooked. Give it another listen, and you’ll wonder why it wasn’t a bigger staple.
2. “Seven Wonders” – Fleetwood Mac
Fleetwood Mac’s Tango in the Night is loaded with recognizable songs, but “Seven Wonders” often takes a backseat to bigger hits. Released in 1987, it features Stevie Nicks’ signature mystical vocals over a driving, synth-heavy beat. The song has an almost dreamlike quality, with lyrics that hint at lost love and fate. It may not have reached the legendary status of “Dreams” or “Rhiannon,” but it holds up just as well. The blend of rock and ‘80s production makes it one of Fleetwood Mac’s most unique-sounding tracks says Far Out Magazine.
Over the years, it’s had a bit of a resurgence, thanks in part to its use in American Horror Story: Coven. But even with that, it still doesn’t get the widespread recognition it deserves. Nicks’ voice is at its best here, balancing strength and vulnerability in a way only she can. It’s a song that feels timeless, and every time it comes on, it’s a reminder of how deep Fleetwood Mac’s catalog really is.
3. “Your Wildest Dreams” – The Moody Blues
The Moody Blues are often associated with their ‘60s and ‘70s work, but “Your Wildest Dreams” from 1986 is an absolute gem. It’s a gorgeous, nostalgic song about lost love and reminiscing on the past. The lush production, soaring chorus, and heartfelt lyrics make it one of their most moving songs. Unlike their earlier, more psychedelic hits, this one has a polished, synth-driven sound that fits perfectly with the mid-‘80s. It was a hit at the time, but it doesn’t seem to get the same level of love as their classic era adds American Songwriter.
For anyone who enjoys a good sentimental song, this one is a must. It’s filled with longing but never feels overly sad—just reflective and warm. The way Justin Hayward’s vocals soar over the shimmering production makes it a standout. If you’ve ever looked back on an old romance and wondered what could have been, this song will hit you right in the heart.
4. “Misunderstanding” – Genesis
Genesis had plenty of major hits, but “Misunderstanding” sometimes gets overlooked. Released in 1980, it was one of their first big songs after Phil Collins took over lead vocals. The bouncy, piano-driven melody makes it sound deceptively cheerful, but the lyrics tell a classic heartbreak story. It’s got a bit of that classic Motown influence, mixed with the slick pop-rock production Genesis perfected in the ‘80s. It’s catchy, emotional, and one of their most accessible songs.
For some reason, this one doesn’t get as much recognition as songs like “Invisible Touch” or “That’s All.” Maybe it’s because it came during a transitional period for the band. Either way, it’s a fantastic showcase of Collins’ ability to balance emotional storytelling with an upbeat groove. If you’re a Genesis fan and haven’t revisited this one in a while, it’s worth another listen.
5. “Talk to Ya Later” – The Tubes
The Tubes are mostly known for “She’s a Beauty,” but “Talk to Ya Later” is just as good—if not better. Released in 1981, it’s an upbeat, in-your-face rock song with a killer riff and an infectious chorus. Co-written by Toto’s Steve Lukather, it’s got that perfect blend of slick ‘80s production and raw energy. It feels like it should have been a huge stadium anthem, but it never quite reached that level. The song has the same rebellious attitude as early MTV-era hits, yet it remains a bit of a hidden gem.
For fans of power pop and classic rock, this one is a must-listen. The guitar work is fantastic, the vocals are full of attitude, and the whole thing is just plain fun. If it had been released by a band like Cheap Trick, it might have been a bigger hit. But that just makes it all the more exciting to rediscover now.
6. “Magic” – The Cars
The Cars had a ton of hits, but “Magic” doesn’t get nearly as much recognition as it should. Released in 1984, it’s got one of the best hooks of their entire catalog. The driving beat, Ric Ocasek’s cool, detached vocals, and the shimmering production make it the perfect summer song. The chorus is instantly memorable—once you hear it, you won’t be able to get it out of your head. It’s one of those songs that feels like it was made for cruising down the highway with the windows down.
Somehow, it tends to be overshadowed by bigger Cars hits like “Just What I Needed” or “Drive.” But it has all the elements of a classic: catchy melody, tight production, and a little bit of that quirky Cars charm. It’s a reminder that they had way more great songs than just the obvious ones.
7. “Don’t Answer Me” – The Alan Parsons Project
The Alan Parsons Project is one of those bands that had plenty of hits but rarely gets name-dropped. “Don’t Answer Me,” released in 1984, is a perfect example of their ability to create lush, cinematic music. It has a Phil Spector-style Wall of Sound production that makes it stand out from their usual progressive rock sound. The mix of orchestration and pop hooks gives it a timeless quality. It’s got an almost surreal, dreamlike feel to it, making it one of the most unique songs of the ‘80s.
Despite its brilliance, it rarely gets the same level of nostalgia-fueled love as other ‘80s ballads. Maybe it’s because The Alan Parsons Project never really had a big mainstream personality behind the band. Either way, it’s a song that deserves way more recognition. If you love atmospheric, cinematic rock, this is one to put on your playlist.
8. “Hold Me” – Fleetwood Mac
Fleetwood Mac has plenty of iconic songs, but “Hold Me” often gets overlooked in favor of their bigger hits. Released in 1982 as part of Mirage, it features Christine McVie and Lindsey Buckingham trading vocals over a dreamy, layered production. The song has a light, shimmering quality that makes it feel effortlessly smooth, yet it’s packed with emotion. McVie’s warm voice gives it a comforting feel, while Buckingham’s harmonies add a slightly bittersweet edge. It was a hit at the time, but it hasn’t had the same lasting presence as “Go Your Own Way” or “Little Lies.”
Despite that, “Hold Me” is a perfect example of Fleetwood Mac’s ability to blend rock and pop with stunning precision. The melody is addictive, and the chorus is one of their best, even if it’s not always the first song people think of. It’s the kind of track that sneaks up on you, sounding breezy at first but revealing more depth with each listen. If you’re a fan of the band and haven’t given this one much attention, it’s time to change that.
9. “Somebody’s Baby” – Jackson Browne
Jackson Browne is best known for his introspective folk-rock, but “Somebody’s Baby” stands out as one of his catchiest songs. Released in 1982 for the Fast Times at Ridgemont High soundtrack, it’s a perfect blend of pop and rock. The lyrics tell the story of unrequited love, with Browne’s signature heartfelt delivery making it instantly relatable. It’s a more radio-friendly sound than his usual work, yet it still carries his thoughtful songwriting style. The song was a hit when it came out, but it doesn’t get as much recognition as “Running on Empty” or “Doctor My Eyes.”
Despite being one of his most accessible songs, it often feels like a forgotten gem. Maybe that’s because it was tied to a movie soundtrack instead of one of his main albums. But the bright, melodic sound and catchy chorus make it one of his best. It’s the kind of song that feels both nostalgic and timeless, perfect for a late-night drive or a summer afternoon.
10. “Back on the Chain Gang” – The Pretenders
The Pretenders have plenty of beloved songs, but “Back on the Chain Gang” deserves even more love. Released in 1982, it was written by Chrissie Hynde as a tribute to their late guitarist, James Honeyman-Scott. The song carries a deep sense of loss and resilience, with Hynde’s voice full of raw emotion. The jangly guitars and steady rhythm give it a classic, almost anthemic quality. While it was a hit at the time, it often gets overshadowed by “Brass in Pocket” or “I’ll Stand by You.”
That’s a shame because it’s one of the band’s most powerful and moving songs. It perfectly balances heartbreak and strength, making it one of those tracks that sticks with you long after you hear it. The melody is unforgettable, and the lyrics capture that universal feeling of pushing forward despite hardships. If you haven’t listened to it in a while, it’s worth revisiting—it’s even better than you remember.
11. “I’m on Fire” – Bruce Springsteen
Bruce Springsteen’s catalog is filled with legendary songs, but “I’m on Fire” sometimes gets lost among his biggest anthems. Released in 1984 on Born in the U.S.A., it’s one of his most stripped-down and haunting tracks. The sparse instrumentation, steady drum beat, and quiet intensity make it stand out from his usual heartland rock sound. It’s a slow burn of a song, with Springsteen’s hushed vocals adding a layer of vulnerability. The lyrics, filled with longing and desire, make it one of his most emotionally charged performances.
Even though it was a hit, it doesn’t get as much attention as “Dancing in the Dark” or “Born to Run.” But its quiet power and unique feel make it one of Springsteen’s best. It’s proof that sometimes less is more—there’s no big chorus or dramatic build, just a smoldering tension that lingers. If you love The Boss but haven’t revisited this one in a while, it’s time to give it another listen.
12. “Love Is the Answer” – England Dan & John Ford Coley
England Dan & John Ford Coley are best known for “I’d Really Love to See You Tonight,” but “Love Is the Answer” is just as beautiful. Released in 1979, it’s a gentle, heartfelt song with a message of unity and hope. Written by Todd Rundgren, it carries his signature melodic touch while fitting perfectly with the duo’s soft rock style. The harmonies are gorgeous, and the uplifting lyrics make it feel like a warm embrace. While it had moderate success, it never became a huge hit like some of their other songs.
That’s a shame because it’s a song that still feels relevant today. The combination of soothing melodies and a positive message makes it the kind of track that can instantly lift your mood. It’s easy to overlook among all the other late ‘70s soft rock hits, but it deserves more recognition. If you need a song that feels like a comforting reminder of the good in the world, this is it.
13. “Take It Away” – Paul McCartney
Paul McCartney’s solo career is full of great songs, but “Take It Away” tends to fly under the radar. Released in 1982, it’s an upbeat, piano-driven track with a fantastic groove. The song has a bit of everything—catchy hooks, tight harmonies, and a fun, energetic feel. It also features Ringo Starr on drums, making it a partial Beatles reunion of sorts. Despite all that, it’s not as frequently mentioned as his other hits like “Band on the Run” or “Live and Let Die.”
It’s one of those songs that feels effortlessly enjoyable, the kind you can put on anytime and instantly feel good. The production is slick, the melody is top-tier, and McCartney’s vocals are as smooth as ever. Maybe it was overshadowed by some of his bigger songs, but it deserves to be remembered as one of his best solo tracks. If you’re a McCartney fan and haven’t given it much attention, it’s time to change that.