5 Rock Songs From 1985 That Sound Even Cooler Today

Do you remember 1985? To quote the Bowling for Soup song of the same name, "... way before Nirvana/ There was U2 and Blondie, and music still on MTV." It's remembered as a titillating 12 months for the genre of rock, featuring bangers, slayers, and songs that continue to hold up stronger than the structures at Stonehenge.

We think the tracks we've chosen from 1985 sound even better today, mostly because they come across as original compared to everything else out there, or the lyrics somehow predicted the state of the world those decades ago. Was it something in the water, or were musicians just better back then? Alternatively, here's another point for consideration: "Back to the Future" was released in 1985, so maybe Doc Brown and Marty McFly had a helping hand in influencing the slate of music that would be released that year, knowing what its impact would be later on.

So, let's get to it, shall we? It's time to explore the rock songs from 1985 that sound even cooler today. Listen to the tracks while you read for the full experience, and don't forget to add them to your playlists afterward.

Love songs have existed since the dawn of time, and the Cult's "She Sells Sanctuary" falls smack-bang into this category. Now, while neither the concept nor the words prove to be too original, it's the execution that makes this track from 1985's "Love" album that much more memorable.

Dressed to the nines in flanger and delay effects, Billy Duffy's guitar riff remains unmistakable and undeniable. It's a powerful and easily identifiable piece of music that "She Sells Sanctuary" revolves around. The moment in which the opening notes hit, it sets the energy and tone for a song that values consistency over peaks and valleys, almost as if the guitar line has its own singing voice. Of course, it helps that it's complemented by Ian Astbury's pristine pipes ringing over the track and adding that extra bit of quality, which wouldn't have been possible with another vocalist.

Listening to "She Sells Sanctuary" in modern times, it's a reminder that simplicity is often the key to creating timeless music. Having said that, genius is knowing when it's too much or too little. The Cult nails it here, producing a song about the universal topic of love and delivering it in a style that makes it such a perfect track to play on repeat forever and a day. Plus, it isn't one of those love songs that's unbearable to listen to because constant radio play killed it over the years.

The ever-controversial glam rock band Mötley Crüe knows how to write about girls, booze, illegal substances, and the hedonistic lifestyle. However, the group also has an array of more poignant songs that connect deeper than surface-level bad-boy anthems, such as "Home Sweet Home," which is off the 1985 record, "Theatre of Pain." It's a little softer than the usual Crüe fodder, driven by a heart-warming piano line, but it's as irresistible as anything the band has ever written.

What makes "Home Sweet Home" more impactful is the fact that hardly anyone writes about this experience nowadays; that special moment when you realize you're almost by your doorstep and get to sleep in your own bed, whether you're at the office for the day or away on a business trip across the continent. Yet, it's something that almost everyone goes through on a daily basis. Traveling on a train, or stuck in a traffic jam, this is the song you want to put on and sing as loud as possible. Belt out, "I'm on the way, I'm on the way, home sweet home" to make the time go faster.

Faith No More might not be remembered as one of the most influential rock bands of all time, but it should be. Whether it's the highly underrated Chuck Mosley (R.I.P) era, or the glorious time with Mike Patton at the helm, it's safe to say there's no one quite like this avant-garde group. In 1985, Faith No More released its debut album, "We Care a Lot," which features the lead single of the same name. The song would be re-recorded a few times thereafter, but let's focus on the original, which boasts Mosley on vocals and contains specific lyrics. There's a sarcastic undertone to the track, as Mosley lists all the stuff he cares about, including Cabbage Patch Kids, the Army, and the LAPD.

"We Care a Lot" is the type of tongue-in-cheek track that everyone expects from Faith No More, but it's particularly relevant in modern times. The world of social media is rife with everyone virtue-signaling about the latest causes and profile banners to let the world know they're good people. "We Care a Lot" is about all these folks who come across as disingenuous posers. It's a way of saying, "That's cool, but actually get off your screen and care about these causes in the real world — and not just say you do for perceived social clout."

Many people know the Talking Heads' "Psycho Killer" for its playful lyrics and musical composition; however, "Road to Nowhere" — from 1985's "Little Creatures" — may have its number. You can't beat the jubilation and bop of this track that refuses to take itself too seriously. The song sucks you into its mesmerizing marching beat, as David Byrne sings about the uncertainty of the unknown but the importance of enjoying the ride while it lasts. When people say that life is a journey — not a destination — this song is the embodiment of that phrase.

No one can deny that disillusionment runs rampant in modern times, as society finds itself at a major crossroads of technology, work, and humanity. It's an overwhelming feeling as the future appears more uncertain than it's ever been, and no one knows how to prepare for what may lie ahead. However, a song like "Road to Nowhere" rings like a klaxon. It's about saying that tomorrow is promised to no one, as well as how it's impossible to plan for all eventualities and possible outcomes. It's sad and scary to think of what could be around the bend, but hey, let's take that ride anyway.

Every goth worth their weight in black nail polish knows that without the Sisters of Mercy, there would be no Nine Inch Nails, Marilyn Manson, or HIM. The seminal English alternative rock band changed the sonic landscape for the better, especially with Andrew Eldritch's brooding and booming voice. Even though everyone raves about "Temple of Love" and "Lucretia My Reflection," let's put some respect on "Walk Away," which is off the group's 1985 debut album, "First and Last and Always." The track is way ahead of its time, as it lays down the prototype of what would become the drum-machine-driven industrial rock of later years. It's all about creating the atmosphere here, rather than relying on blistering electric guitar solos or complex bass lines to capture the attention.

"Walk Away" might have been recorded in the '80s, but it contains a high production quality that's evocative of the modern era. As a matter of fact, listen to the ringing chorus that makes full use of duplicate vocal tracks to highlight the highs and lows of Eldritch's enviable range. Seriously, this is the type of song that wouldn't feel out of place in a vampire movie or TV show nowadays.