18
Jan 10

BERLIN – “Take My Breath Away”

FT + Popular55 comments • 8,312 views

#579, 8th November 1986, video

“Take My Breath Away” is hardly the first soundtrack ballad to get to #1. But even so it feels like the start of something, a harbinger of the soon-come glory age of the film tie-in, when balladosaurus rex bestrode the charts, roaring and beating its chest and weeping for week upon emotional week. Of course the evolution of this sonic megafauna was gradual. Play “Take My Breath Away” next to something later, and functionally similar, like “I Don’t Wanna Miss A Thing”, and “Breath” seems thoughtful, almost delicate.

But the key species characteristics of the titan song are present: the stateliness, the sense of scale, the yearning, most of all the epic abstraction. In the parent films, after all, specific situations – fighter pilots, car racers, asteroid drillers – are just skins for archetypal ideas of Heroism and Love and Sacrifice. So the songs can drop the skins completely and just wallow in those feelings – which means you get guff like “never hesitating to become the fated ones”, but also makes criticising the lyrics feel more beside the point than usual.

What makes “Take My Breath Away” interesting, for all its bombast, is the Giorgio Moroder production. Those four-note keyboard figures, suspended placidly over its synth beds, give the song a calm, weightless feel. It reminds me slightly of Julee Cruise’s “Falling” in its sense that love is a dreamstate, a suspension of time, and for all that the lyrics evaporate on attention, their string of present participles – watching, turning, returning, watching, again and again – reinforce this. The value in “Take My Breath Away” isn’t in its weight but its stillness.

5

Comments

  1. 1
    Tom on 18 Jan 2010 #

    NB:
    i. I have never seen Top Gun (all the way through)
    ii. I have never heard anything else by Berlin, so didn’t feel able to comment on their new wave incarnation.

  2. 2
    Steve Mannion on 18 Jan 2010 #

    It really bothered me how sad (mournful?) the song sounded, much like The Cars ‘Drive’ (or even ‘Boys Of Summer’ altho with that you get a more positive euphoric release) so I found the success of this a real drag. I guess I preferred Kenny Loggins in his danger zone (maybe not now).

  3. 3
    rosie on 18 Jan 2010 #

    I have, although not for many years after its release so I didn’t make the connection between the film and the then-ubiquitous song.

    What I do remember is the cold, arrogant eyes of Tom Cruise apparently scrutinising me from a huge poster opposite my favoured boarding point for the Central Line at Bank (the spot just perfect for getting off at Notting Hill Gate before being swept away). I think he was supposed to send shivers down my spine but he didn’t look like my kind of man and it didn’t look like my kind of film. When I did see it, it was better than I expected (but not that great).

  4. 4
    logged out Tracer Hand on 18 Jan 2010 #

    This is the song that you hear while Tom Cruise makes the tasteful sex with Kelly McGillis in a room slashed by the shadows of venetian blinds – the fusion of sex and melancholy was a weird one for an impressionable adolescent like myself, and I never quite understood it. Especially following the to-me inexplicable scene where they fight and almost storm off, only to turn back at the last minute and angrily smooch each other’s lips off.

    Berlin’s earlier “Sex” on the other hand (which I was not to hear til years later) is a hell of a lot more fun – sex as dress-up play time woo hah.

  5. 5
    Tom on 18 Jan 2010 #

    A very quick hypothesis: Blockbuster movie sex kind of has to appeal both to people who are getting sex and people who aren’t, which I guess is part of why it’s so often laced with melancholy or laffs or abstract prettiness.

  6. 6
    lonepilgrim on 18 Jan 2010 #

    just as MTV showed videos that aspired to be movies (and where a generation of movie makers developed their craft and profile) so movies began to look like extended music videos.
    this sounds like a perfect 5 for me I don’t actively dislike it but I lose interest in it very quickly

  7. 7
    Erithian on 18 Jan 2010 #

    And another piece of the modern world falls into place. Two days after this reached number one, Alex Ferguson was appointed manager of Manchester United…

  8. 8
    Andrew on 18 Jan 2010 #

    This would be, in my opinion, a pretty decent choice for the most underrated pop song of the 80s. I think it’s absolutely perfect.

  9. 9
    tonya on 18 Jan 2010 #

    I remember refusing to believe this was by Berlin. All their other songs were jittery (the sound of cocaine?) and this song is stately to the point of stasis. While it’s playing, it feels like it will never move and never end.

  10. 10
    thefatgit on 18 Jan 2010 #

    TMBA feels like a New(old by now)Pop Power Ballad. Moroder’s layers of synth allow the song to glide smoothly into your headspace. The lyrics don’t matter, they could be a shopping list, as long as that “Take My Breath Away” chimes through at the end of each verse. The song builds and grows, but here we have no orgasmic payoff a la “The Power Of Love”. Instead, Terri’s voice is multitracked and smoothed out, rising and falling, never climaxing like an unfulfilling blockbuster sex scene (nice hypothesis @5 Tom). So Berlin are sat on the edge of the bed at the end of the song, clumsily explaining to their baffled partner (listener) “So sorry, but it never happened to me before, I must be tired or stressed out or something”.

    5 is about right.

  11. 11
    thefatgit on 18 Jan 2010 #

    One more thing, Terri’s soiled jumpsuit in the video is intensely annoying. Did she have an accident in the kitchen? Is she a messy eater? Has she indulged in some coprophilic sex act? Did she simply run out of Vanish Stain Remover? What???

  12. 12
    Mark M on 18 Jan 2010 #

    Always seemed staggering dull to me, appropriate for what I reckon is a very solid contender for the most boring film ever made. However, I take Tom’s point that Take My Breath Away has something that makes it notionally more interesting that the action movie ballads to come.

    Am mildly fond of Berlin’s jittery electropop incarnation.

    Re 3: I’ve always been mystified by Cruise’s movie star status because he seems so thoroughly unlovable. As per my it’s not so much acting as the use that actors are put to theory, Cruise himself does little different in his acclaimed turn in Magnolia than in say Jerry Maguire; it’s just that the film characterises that mode as demagogic and neurotically Nietszchean rather than inspirational and oddly touching.

  13. 13
    TomLane on 18 Jan 2010 #

    A big power ballad right in the middle of a very loud movie. Also, a #1 in the States. Not my favorite movie power ballad of the 80’s, and definitely not my favorite Berlin song. I give this a 7.

  14. 14
    MBI on 18 Jan 2010 #

    I always thought this was pretty terrible. Boy, that synthy rubber-bass has not aged well. It actively needs that bombast that Tom notes that it doesn’t have, it just sounds thin and inert otherwise.

  15. 15
    Paulito on 19 Jan 2010 #

    Over-identification of this song either with ‘Top Gun’ or with the power-ballad genre is unfair. ‘Take My Breath Away’ deserves be taken on its own merits and, to my ears, it’s simply a stunningly-produced, ethereal synth classic. As Tom kind-of concedes, it’s a world away from the trite, turgid luuurve ballads that were to bedevil the charts thereafter. Terri Nunn’s vocal is (rather like Terri herself, phwoar!) a thing of beauty, hitting all the right notes of tenderness, vulnerability and genuinely-felt passion, but without ever coming close to histrionics. Similarly, Moroder’s production is, thankfully, free of the overproduced bombast (#14 – no, it really DOESN’T need it) that inflates and dates so much popular music from the mid to late 80s. I’ll concede that the lyrics are a bit contrived, but that really matters little when they’re set to music as scrumptious as this.

  16. 16
    Paulito on 19 Jan 2010 #

    Though, @11, I too always hated that shredded jumpsuit with the ‘burn marks’ that instead looked like skidmarks. It didn’t become the lovely Terri!

  17. 17
    Billy Smart on 19 Jan 2010 #

    WUUUNNNG! WUURR-WUUNNG!

    Sometimes all it takes is a simple bit of striking arrangement to make a record stand out.

    I really liked this at the time, completely buying into the heroic aspirations. Actually, I rather enjoy this now, though in a kind of karaoke ersatz-emotional way. But oddly, I really hated this during its second outing in 1990, as high as number 3 on the back of either a Guinness advert or a TV screening. I wonder what changed my mind between 14 and 18? I imagine that it was some surly association on my part.

  18. 18
    Billy Smart on 19 Jan 2010 #

    Number 2 watch: Two weeks of Kim Wilde’s unnecessary ‘You Keep Me Hangin’ On’ – a poor relation to her astonishing run of 1981/2 singles.

  19. 19
    swanstep on 19 Jan 2010 #

    Good catch by 2, Steve Mannion above about this song resembling the Cars’ ‘Drive’ – there’s an identical keyboard part in the background squelching everything along. I much prefer the Cars’ song tho’. ‘Take my breath’ is an ugly channel-changer for me, as is Top Gun in its medium. I saw TG on campus somewhere about a year after its first release, and it was the first movie I was ever bored enough by to just drop off to sleep in.

    No Doubt’s bunnyable song, Don’t Speak, reminded me a bit of ‘Take my Breath away’, when it came out. But again the comparison doesn’t work in Berlin’s favor (Gwen S. in polkadots is a lot more phwoar-worthy than Terri N. in whatever the hell that is in this vid. too). Next (oh no…).

  20. 20
    weej on 19 Jan 2010 #

    I always quite liked this, though I’ve also never seen the film (or Eastenders for that matter… is there a club we can join?) and can’t stand power ballads as a rule. It’s the Moroder production that does it for me, though it’s still only good enough to be pleasant background noise for me.
    Incidentally, I suggest people check out V/VM’s remix “Take my Beef Away” in which it sounds like Terri Nunn is actually being strangled as she sings – http://www.youtube.com/watch?v=6eFgRXy432U

  21. 21
    Pete on 19 Jan 2010 #

    I believe its recharting was due to use in a equally famous baffling Peugeot 405 advert where the somewhat unbreathtaking car drives past a burning cornfield whoofing up in flames. One of the most memorable peaks in the long history of bizarrely off topic car ads which continue to this day.

  22. 22
    MikeMCSG on 19 Jan 2010 #

    On paper it seemed like an odd pairing- a band of Anglophile synth rockers for the most Reaganite xenophobic movie. I assumed it was Terri Nunn’s on/off second career as an actress (she was briefly in Dallas early on) that got them the gig. However it is really a Giorgio Moroder record and Terri’s approximation of a soaring Donna Summer vocal is what counts. I’d be a bit doubtful whether the rest of the band ( who were pretty washed up at this point and split less than a year later) actually feature on the record.

    Is this actually Giorgio’s last chart-topper – can’t readily think of a subsequent one ?

    I remain indifferent to it. Very heavy debt to “Drive” and after a minute or so it doesn’t go anywhere.

  23. 23
    punctum on 19 Jan 2010 #

    With Top Gun, American cinema finally located its equivalent to Leni Riefenstahl. There is such finely-angled, cold beauty to the monoliths of technology which are the film’s real stars that it’s scarcely surprising that director Tony Scott didn’t find much use for its human components. Even at a human – or more precisely, an ahuman – level the film is not much more than a homoerotic paean to machines and the power and destruction that they can wield. What use has Top Gun for its women? Did Kelly McGillis’ career ever really recover from playing fourth fiddle to Tom Cruise, his rookie buddy and several dozen magnetically exploding rods of harsh metal?

    As a film it is a foolish, smug, alienating endeavour so utterly in love with the cold rationalism of technology in and of itself that it imagines “beauty” is enough. It is directed by the kind of mindset which locates beauty in the bodies purposely falling to their deaths from the Twin Towers, preferring to be broken in death than incinerated – and in the malabsorbed wargames which lead to such disasters in the first place.

    And yet its “love theme” is one of the great number ones, with a futurism which could properly define awe. It is hardly surprising that the man behind “Take My Breath Away” was Giorgio Moroder, the electronic musician who above all others understands not to discard the human heart at the machine’s centre, and so there is a very natural grace about the huge, rising bass line which emerges like the gleaming corner of the apex of the newly-built Canary Wharf into the unwary lower right eye of the helicopter passenger. It stuns but does not flatten. The musical model is the OMD of “Stanlow” and “Sealand,” odes to semi-abandoned mountain ranges of technology marooned somewhere in a vanishing sea, as though a torch had newly been shone upon its remoter corners, with perhaps a nod to H20’s 1983 Top 20 hit “I Dream To Sleep.”

    Its power, however, is centred in the extraordinary vocal performance of Terri Nunn, who negotiates Tom Whitlock’s rather arcane lyric (“Watching every motion/In my foolish lover’s game/On this endless ocean”) as though it’s the most important message on Earth, with the tonal purity of Olivia Newton-John (“If only for today, I am unafraid”) and also a desperate urgency when required (“When the mirror crashed, I called you!”), finally dovetailing into her own harmony as the song moves up a key for the final verse, where happy closure is attained; there is blissful wonder in Nunn’s last “Watching in slow motion/As you turn my way and say” before sighing “Take my breath away, my love” into herself, in that it is a request rather than an observation; her voice climbs higher to little death heaven as the song disappears into the blue vapour. It is a shame that Nunn’s voice has not been put to the extensive use it deserves – her equally extraordinary contribution to the Sisters of Mercy 1993 hit “Under The Gun” is the only other example which immediately springs to mind – but at least Moroder knew how to find the humanity which Top Gun, as a film, seemed to find something of an inconvenience.

  24. 24
    wichita lineman on 19 Jan 2010 #

    I’m surprised how many people here have seen Top Gun – it never appealed to me so I skipped it, never feeling peer pressure to revisit it (as I was forced to, at gunpoint, with Grease).

    Not associating the song with the film, I’ve always found it to be a piece of very fine slo-mo synth balladry, not quite up there with Sealand or Soft Cell’s Youth, but way above the Tinkerbell-nuances of Drive. It certainly doesn’t suggest a sex scene, or venetian blinds; to my ears it’s another (late in the day) 80s monochrome revisiting of mittel Europ. But maybe I’m as suggestible to the band’s name as most here seem to be to its Top Gun connection.

    Punctum – nice ONJ observation; Tom – Falling is a great shout. Both calls only make me like this more. It moves slowly but purposefully, like Mad Men, and can suggest a dozen different situations depending on which angle you’re approaching it from. That adds up to a 7 for me.

    Didn’t Tom Whitlock get to the world darts final this year, only to be beaten by bunny-baiting Phil ‘The Power’ Taylor?

  25. 25
    Mark G on 19 Jan 2010 #

    This is the Cocteau Twins of Hell!

  26. 26
    a tanned rested and unlogged lørd sükråt wötsît on 19 Jan 2010 #

    haha @25 makes me like it even more!

  27. 27
    Erithian on 19 Jan 2010 #

    I was thinking “Dollar – The Even More Hairspray Years” when I saw the sleeve.

    I tend to associate Top Gun in my mind with An Officer and a Gentleman, since I must have seen the films in fairly close succession. They’re both glossy US forces recruitment ads, Morning in America and all that, from that strain of American politics which had gotten over Vietnam thank you very much and was supremely confident again (you’ll still see their like night after night on The Daily Show with Jon Stewart, most recently Pat Robertson saying the Haitians got their due for their pact with the Devil two centuries ago – but I digress). Whereas “Officer” was one long adoration-fest for Richard Gere, I thought Top Gun at least had some leavening humour about it in the banter between Cruise’s character and the rest of the boys – although having said that I’ve seen them once each a long time ago.

    Anyway, the point is, Top Gun > Officer, and “Take My Breath Away” >> “Up Where We Belong”. The deal is sealed in the opening moments, with that sumptuous opening musical phrase, and the vocal maintains the tone while resisting the temptation to histrionics (I doff my cap once again to the wonderful way Marcello describes Terri Nunn’s vocal upthread).

    Number 2 Watch unimpressive, but further down the chart two of the best singles of the decade were peaking – at 4, Swing Out Sister’s “Breakout”, and at 9, Peter Gabriel and Kate Bush with “Don’t Give Up”.

  28. 28
    Rory on 19 Jan 2010 #

    The bloke on my school bus who was obsessed with Frankie’s “Relax” was also obsessed with Berlin’s “Sex (I’m A…)”, evangelising both to the point where they were inextricably linked in my mind; revisiting the latter, it feels a bit try-hard, but it seemed daring at the time. By the time “No More Words” was a minor hit in Australia (and a number one in New Zealand), Berlin had carved out an electro-rock niche that typefied the North American notion of New Wave. When “Take My Breath Away” came along, so different from their earlier sound, it felt as if they’d abandoned their roots for the quick cash-in. Founder member and main songwriter John Crawford apparently felt the same, which may have hastened the band’s demise the following year.

    My brother owned Count Three and Pray, the parent album, and this felt like a total mismatch for it; the rest was produced by Bob Ezrin, a producer worlds away from Moroder. The song’s movie tie-in nature also prejudiced me against it; I never saw Top Gun at a cinema, only on video some years later, so the tie-in video for the song felt like a meaningless advert. That, and the crazy arm movements Terri Nunn made halfway through looked as if she was trying to flap to the moon.

    Now that its movie and album contexts are safely in the past it feels easier to assess the song on its own merits. Tom’s astute comparison with Julee Cruise’s “Falling” (a song I loved) makes me hear new things in this, as does my greater awareness of its place among Moroder’s productions; and I’m really liking it. Just as it was out of place on the album, it’s a song out of its time, as “I Feel Love” was a decade earlier. I thought I’d give it 5, but it’s at least a 7.

    Given how ubiquitous “Take My Breath Away” was in late 1986, I was surprised to see it reached only number two in Australia – until seeing that late ’86 was when John Farnham’s “Your the Voice” was swamping all competition in its home country.

    What-Might-Have-Been factoid of the day: Terri Nunn auditioned for the role of Princess Leia.

  29. 29
    swanstep on 19 Jan 2010 #

    @erithian,28: What a pain ‘Breakout’ didn’t hit #1! It seems precision-tooled for that spot in the UK. Corinne of Swing Out Sister’s *hair* alone (Best Louise Brooks ever?) should have been worth a week or two at the top. :) And SOS had really nice 12″ mixes too, esp this one Oh well. I guess neither ABC earlier nor Terrence Trent D’Arby later ever got to #1, so perhaps the point is that sophisti-pop or whatever this sub-genre is just never plays that well in the singles market-place (its fans buy albums perhaps).

  30. 30
    punctum on 19 Jan 2010 #

    #29: It’s possible; ABC, TTD and SOS all hit number one with their debut albums – but only had one top three single (“Sign Your Name”) between them.

  31. 31
    Rory on 19 Jan 2010 #

    Arrgh, can’t believe I have a glaring your/you’re typo in my comment and no 15-minute edit window left. The horro’re!

  32. 32
    Rory on 19 Jan 2010 #

    Following the “Giorgio Moroder 1978 interview: Part 1” link in the Related Articles, that “(probably) the best single ever released” you mentioned wouldn’t be one you later gave 9 to, would it, Tom? ;)

  33. 33
    LondonLee on 19 Jan 2010 #

    I’ve never seen Top Gun either, I just remember my Dad telling me he came out of it wanting to invade a foreign country.

    I do like this a lot but it’s bombast does point the way toward the use of loud, thunderous numbers by Celine in Titanic, Aerosmith in Armageddon (?) and Nickleback in Spiderman — perfect soundtracks for the senses-assaulting spectacle of modern Hollywood films.

  34. 34
    MikeMCSG on 19 Jan 2010 #

    30 Possibly Punctum but all sorts of acts scored number one LPs without a chart-topping single – Big Country, Motorhead,Curiosity Killed The Cat, Genesis, Dire Straits etc. Getting a no 1 LP was more of a matter of getting your release date right; no Nick Berry or Lena Martell was going to suddenly appear and screw up the picture.

  35. 35
    johnny on 19 Jan 2010 #

    let us not forget Charlie’s choreographed ballet to this song during the dance off on “It’s Always Sunny in Philadelpha”.

  36. 36
    Tom on 19 Jan 2010 #

    #32 I meant Together In Electric Dreams I’m sure! ;)

  37. 37
    thefatgit on 19 Jan 2010 #

    Punctum @23…I remember Meg Ryan has one of the best lines in the film “Take me to bed or lose me forever!”. Of course, Kelly McGillis’s career falters after Top Gun, but Meg’s is about to er… take off.

  38. 38
    pink champale on 21 Jan 2010 #

    #37 oh god. i received an anonymous valentines card bearing that message while at sixth form (needless to say, this is the single most exciting thing that has ever happened to me) i am very glad i didn’t know it was a top qun quote!

    i’m with punctum and others in liking ‘take my breath a way’ a lot – for me it’s the stateliness and the enormous booming grandeur of the arrangement. good call on ‘falling’ but i think it’s ‘i’m not in love’ that it most reminds me of, along with the above mentioned ‘don’t give up’. i remember first really falling for this when i heard it really loud while on a fairground ride – always a good way to hear music. i’m also with witchita lineman in falling for berlin’s dastardly subliminal marketing/wish fulfilment and being surprised anew each time that they aren’t central european – the singer’s odd polecat hairdo surely helps in this regard too.

  39. 39
    Elsa on 22 Jan 2010 #

    Interestingly, Terri Nunn as a teen actress dances to Donna Summer in the film Thank God It’s Friday (1978).

  40. 40
    swanstep on 22 Jan 2010 #

    duhduh dah daaah, duhduhduh dah daaah….

  41. 41
    Tom on 22 Jan 2010 #

    #40 – really sorry for the delay on this, double column deadline week but even so I should have diverted some of my faffing about time into Popular.

  42. 42
    swanstep on 22 Jan 2010 #

    @Tom. Whoops, my apols.. I hadn’t thought about how my note might come across as snarky. I was just amused by the possibility (unrealized!) that I might be able to get others to chime in and continue my silly phonetic transcription. That and, well, we’ve had lot of discussions about intros before (how appendage-like they can be etc.), and I already hinted at #19 that I’m unenthused about this one, and…. oh, hell. My bad.

  43. 43
    Billy Smart on 25 Jan 2010 #

    Light Entertainment Watch: Just the 2 TV appearances;

    THE MONTREUX ROCK FESTIVAL: with A-Ha, Bananarama, The Beastie Boys, Berlin, The Blow Monkeys, Boy George, Club Nouveaux, Cock Robin, The Communards, Curiosity Killed The Cat (1987)

    THE TUBE: with Jools Holland, Paula Yates, Pepsi & Shirley, Berlin, Julian Cope (1987)

  44. 44
    Tom on 25 Jan 2010 #

    #42 Swanstep, absolutely no apologies needed!! There is actually a long-ish tradition on Popular of giving me gentle reminders (in the form of lyrical puns usually but a version of the intro does fine) when there’s an unannounced delay so I assumed that’s what it was and popped in to say “sorry! on its way!”

  45. 45
    MikeMCSG on 27 Jan 2010 #

    #7 And another piece of the old world fell away Ian with the peaking of “Ask” the last worthwhile Smiths record. I know not everyone agrees with this but the last few singles and “Strangeways Here We Come” LP were piss-poor bordering on self-parody.

    Also worth mentioning that Madness checked out (for a while at least) with “Ghost Train” around this time.

  46. 46
    HornchurchJohn on 11 Feb 2010 #

    For some illogical reason, I can’t stand this song. It’s just a dirge!

  47. 47
    George on 6 Nov 2011 #

    Intrigued like many on here I trawled the internet to find out what machine created that distinctive synth bass, and with it coming from the mid-80’s it should surprise no one that the most likely culprit was the DX7*. Is there anything from that period which doesn’t have it’s fingerprints on it?

    It seems Nunn was the only individual in Berlin who had any role in the creation of this song. The other members reduced to running minor errands for Morodor and Arthur Barrow**.

    *See also ‘Night Train’ by the Commodores.
    ** See also Trevor Horn’s Tea Boy/Car Valeter/Dog Walker circa 1984 (aka – every member of FGTH who wasn’t Holly Johnson).

  48. 48
    thefatgit on 20 Aug 2012 #

    Sad news from LA. Tony Scott has only gone and chucked himself off a bridge.

  49. 49
    enitharmon on 20 Aug 2012 #

    Is there a Tony McKenzie in the house? Don’t push your luck, lad! ;)

  50. 50
    Jimmy the Swede on 20 Aug 2012 #

    #48 – Naw! You’re getting confused with Billy Joe McAllister!

  51. 51
    thefatgit on 20 Aug 2012 #

    I knew there was a Bobbie Gentry song in there somewhere.

  52. 52
    creation site internet marseille on 31 Aug 2012 #

    Hi there, I discovered your website by way of Google at the same time as looking for a related matter, your site came up, it seems good. I have added to my favourites|added to bookmarks.

  53. 53
    Auntie Beryl on 1 Feb 2013 #

    Berlin’s follow up, You Don’t Know, was excellent but barely played and only scraped the top forty the following January. I remember being confused and bitter at this result, but then I was 13; everything made me confused and bitter at that stage.

  54. 54
    hectorthebat on 19 Jan 2015 #

    Critic watch:

    1,001 Songs You Must Hear Before You Die, and 10,001 You Must Download (2010) 1002
    Bruce Pollock (USA) – The 7,500 Most Important Songs of 1944-2000 (2005)
    VH-1 (USA) – Nominations for the 100 Greatest 80s Songs (2006)
    Giannis Petridis (Greece) – 2004 of the Best Songs of the Century (2003)

  55. 55
    Gareth Parker on 1 May 2021 #

    Just feels all a tad too ponderous to me. I’ll go with a 4.

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