stone crushing machine 80's song

getting to know the stone crusher

getting to know the stone crusher

Stone crushers have played a pivotal role in the history of America since its creation in the mid-1800s. Since then millions of tons of stone have been crushed to make everything from houses to roads and everything in between.

The first stone crusher was invented by Eli Whitney Blake, the nephew of Eli Whitney, the creator of the cotton gin. After five years, Blakes stone crusher roared to life, thanks in part to a challenge laid before him by the town of Westville, Conn. The purpose was to put down a rock surface on the roads so wagons wouldnt get stuck in the mud. Blake went further with the design and developed it for the railroads to create ballast.

Its no easy feat turning giant walls of stone into small, uniform rocks. Take the Metso Minerals 4265 Superior Gyratory Crusher, for example. Its total weight of 264,000 pounds is housed in a 10-story high reinforced steal tower. The powerhouse is pushed by a 500-horsepower electric motor. Because of that, the gyratory crusher is capable of handling 2,557 tons of stone per hour.

In 1881, Philetus W. Gates was granted a patent on the gyratory crusher. Its given that name because of the motion that actual does the crushing. A relentless back and forth gyration compresses the stone against the chamber walls.

You have two hard surfaces closing together with a soft surface in the center in this case, the rock is the soft surface. So, the two metal parts come together and compress the rock into a smaller size.

All of the crushers are designed to work in the choke-fed position because the rocks on top of the crusher help push down the rocks through the crushing chamber. The rocks will actually crush against themselves. Thats called rock-on-rock crushing. Larger crushers can handle rocks up to 3 feet in diameter. Anything bigger gets broken up by a hydraulic hammer.

The main shaft of the Metso 42X65 crusher weighs 52,000 pounds. As the main shaft rotates, it moves in an eccentric pattern, which crushes the rocks. It rotates 170 times a minute against the chamber walls which are solid, reinforced steel.

Today, some of the technology thats available is quite amazing, said Blake. The technology today checks the temperature of bearings and measures the overall force of the crusher. One dangerous event is when uncrushable materials - such as a piece of wood, rubber, or steel - enters the crusher. When that happens, today's crushers have a built-in safety mechanism as to not damage a shaft or bearing."

should know all about stone crusher plant - machine thug

should know all about stone crusher plant - machine thug

In the market, various kind of crusher plant is there and used in different industries for fulfilling the crushing needs but here we will talk all about the stone crusher plant. How stone crusher plant is working, what are the stone crusher machine is available in the market. Types of stone crusher plant available and kind of requirement plant fulfilled.

Earlier crushing plant is one-stop installation activities but nowadays as requirement changes, stone crusher plant technology, design, input, output, capacity changed. International brands continuously updating their product with technology, digitization, and artificial intelligence.

Stone crushing industry engaged in producing a crushed stone that used as a raw material for infrastructure projects like, road, highway, bridges, building canals, etc. All projects are considered as the core infrastructure work that gives the economy boom.

Stone crusher units are not alone. Along with these plants, stone mining also associated. In fact, stone mining is the primary activity, and the crushing plant is the secondary activity that can be considered.

The stone crusher plant will available from 50 TPH to 600 TPH (ton per hour). The plant can produce the 8 variants of material. Just to get the different variant material you also need to put the screening plant that just separates the different materials according to client or market demand.

Raw Material processed through the vibrating feeder to crusher gradually and crusher crushed the material into respective pieces. From Crusher material conveyed to belt conveyor for secondary crushing before went on vibrating screen plant. Vibrating screen plant separates the quality and qualified material to final products.

And unqualified material carried back to stone crusher and reprocesses it. Then again material went through the above process. The customer gets the required material according to the standard quality and different sizes.

To get the fine product from the crusher. We need to pass it through three types of crushers in stage-wise. First Primary Crusher in that direct material comes from mines. Secondary crusher process the primary crusher material that already crushed at material size reduced and tertiary crusher which reduces the material size further. The manufacturer gets the desired size. That can be further supply to users.

A jaw crusher is the compression kind of crusher and used for crushing rock between two heavy steel jaws. The movable jaw compresses the material against the fixed jaw and crushes material at the desired size. Material exits from the bottom of jaws.

Double toggle jaw crusher is heavier and lots of moving parts than the single toggle jaw crusher. The main difference is the position of eccentric between both of them. Jaw crusher available in three variant mobile, stationary, and portable design whatever customer suits and full fills there need may consider it.

Cone Crusher also called a gyratory crusher. Cone crusher also a compression kind of machine that reduces, squeezing, or compressing the material between a moving piece of steel and a stationary piece of steel. The material passed it through the bottom of the machine after passed the cavity.

The material gets in the feeder from the upper side and material output from the bottom. Cone crusher generally delivers the material 4:1 or 6:1 ratio. The below picture will clear more you about the Cone crusher.

It consists the two opposite direction driven cylinders that mounted on horizontal shafts. The gap between the both cylinders can be adjusted according to desired results. Generally both cylinders cover with the manganese steel liners.

There is two kinds of roller crusher 1, Double roll crusher. 2, Single roll crusher. Name itself clears you both work. In double roller two cylinders are set up while in single roller crusher only has a cylinder that move at one place attached with horizontal shaft and material grind between the cylinder and inside body.

Impact crusher is process the material by compression & force between two surfaces towards one another to crush the material caught between them. Material contain in the chamber that open according to desired result from bottom.

Vertical Shaft Impact Crusher is generally used in the last phase. VSI looks like a cone crusher from outside but working style different in both of them. In vertical shaft crusher, shaft putted in vertical way.

Production Requirement What actually production requirement you have. Many a time companies setup the plant especially for specific projects only. So you need to consider your whole project requirement.

Ore Characteristics Material you want to crush or output you want. That really impacts your decision like if you need the fine product then you may go for the roller crusher. So according to need of material you need to setup the plant.

Operational Considerations Operational consideration means you might have constraint in operation like location. Location might be the operational constraint or labour constraint. Plant may near to your mining that reduce your transpiration cost but you may not allow doing so.

Disclosure: We are a professional blogging site that receives compensation from the companies whose products we review. We test each product thoroughly and give high marks to only the very best. We are independently owned and the opinions expressed here are our own.

sand making machine | artificial vsi crusher equipment - jxsc mine

sand making machine | artificial vsi crusher equipment - jxsc mine

Sand making machine is used to manufacture artificial sand. Also, it is requisite equipment in the sand plant. Manufactured sand can not only solve the problem of lack of sand in building engineering, but also has the characteristics of heat insulation, lightweight, fireproof and earthquake resistance. The crushed-stone is an ideal building material.

JXSC china sand making machine(VSI crusher) is a piece of high-performance crushed sand equipment with foreign technology. Our company sand maker perfect combination of the unique design of rotor structure, wear-resisting material process, crushing speed optimization and hydraulic design. Also a typic of professional fine grinding technology and machinery manufacturing which embody new technology and new process.

Our vertical shaft impact sand making machine is designed to produce sand gravel aggregate for the highwayhigh-speed railway, high-rise buildings, municipal engineering, hydropower dam construction, and aggregate concrete mixing station. sand manufacturing machine is a rock fine crusher equipment that plays a tertiary crusher role in the sand processing plant. It is the best choice of manufactured sand stone crusher equipment.

JXSC sand crushing machine has good effects on crushing dry materials and wet materials. However, it is not suitable for crushing semi-dry and semi-wet materials. Because there are many muds in the semi-dry and semi-wet mud materials, it is easy to agglomerate and stick, block the crushing cavity, and block the material. For semi-dry and semi-wet materials, the mud can be washed off with more water, but the artificial manufacturing machine wear will increase.

2. Consumable parts consume low. The optimal crushing chamber material impact angle design has less friction with the wear parts. 40% lower operating cost than traditional equipment, directly reducing the cost of equipment.

3. Excellent product size. The product is cubic, the shape is good, the gradation is reasonable, and the fineness modulus can be adjusted. It is especially suitable for artificial sand making and stone shaping.

4. Hydraulic device, easy to maintain. The hydraulic opening device makes the repairing and disassembling of the broken internal parts convenient and quick, shortening the downtime, saving time and effort.

5. Thin oil lubrication, automatic maintenance. The imported oil lubrication station is used, and the double oil pump complements the oil supply. It stops automatically when there is no oil flow or oil pressure.

6. Easy to install and operate. The device is light in weight and has a variety of installation methods and can be installed in a mobile manner. Easy to repair and maintain. Once the specific application is clarified, the VSI sand making machine can be used to maximize its outstanding performance with only minor adjustments.

7. A multi-purpose machine, flexible use. The unique feed crushing structure has a variety of crushing chamber types, which can easily realize the conversion of "stone hit stone" and "stone hitting iron", thus solving the problem of multi-purpose of one machine. If you need to change the application of the VSI sand making machine, you don't need to make big adjustments to adapt to the different needs of users. Such as sand making, shaping, grinding materials, etc.

8. International quality assurance. The application of the latest technology and advanced riveting technology in foreign countries and the appearance of automotive technology. Which greatly improve the equipment's internal quality and appearance quality. The core components are selected from international famous brands (bearings adopt high-precision rolling bearings) to ensure low failure rate of the system.

9. Pay attention to environmental protection. Our equipment works with low noise and no pollution. The unique air self-circulation system greatly reduces the amount of air discharged, reduces dust and is environmentally friendly. In addition, the VSI crusher is reserved and suitable for installation of various sizes of dust removal equipment.

Material vertical fall into impeller which high-speed rotating from the machine top. Then, under the action of centrifugal, crushed by shunt impeller around material generate high-speed impact with the other part of umbrella-shaped. After hitting each other, the material will form an eddy between the impeller and casing, and repeatedly hit, friction and shattered each other. Material discharged vertically from the bottom, screening out the required finished product granularity by screening equipment.

Whole Center Feeding The material falls into the impeller through the center of the feed tray, and the initial lateral acceleration is given through the distribution cone, and is uniformly distributed into each flow passage to further accelerate the throwing. After the material is thrown, it will directly hit the material layer on the perimeter guard and the guard plate, or collide with the bounced material. This collision point is relatively close to the casing. The whole center feed has a stronger impact on force and longer stroke. Some materials impact the material layer of the peripheral guard plate and the peripheral guard plate, or the material is hedged, which is a hard landing, so it is advantageous for fine crushing. The whole center feed sand making machine is often applied to the processing of mechanism sand, and the sand formation rate is higher.

Center And Ring Feeding The waterfall flow feed is materials are processed by the distributor or points, and a part falls from both sides, and after falling, a continuous material waterfall is formed around the impeller. If only the material waterfall does not make any sense, which cooperates with the center feed. The accelerated material in the impeller is thrown out at a speed of 70-80 m/s, and the material falls into the material waterfall, causing the material to be milled. Of course, after the materials are exchanged for kinetic energy, some of the materials impact the perimeter guard or the material layer, and another part of the material falls. However, because the object of the first strong impact is the material waterfall. Therefore, the crushing ability is much lower than that of the whole center feed. But the friction and impact between the materials are increased. The center feeding with annular waterfalls falls feeding way is more suitable for shaping the aggregate and less wear.

Due to the natural resources is finite, many countries come to be a shortage of river sand. But construction industries need it. And nowadays various countries have issued documents banning the digging of river sand. So, artificial sand appearance not only solves this problem but also protect the environment.

The large rocks feed into need primary crusher(jaw/impact/hammer crusher) to reduce the size by vibrating feeder. But the crushing materials aren't enough fine, so they need to secondary crushing by sand making machine. In order to make full use of rocks, the sand making plant has a recycling system in primary and secondary crushing.

The artificial sand discharge by VSI sand making equipment should transport to sand washing plant to washing and screening, then dewatering and drying. Finally, we get the good manufactured sand for building materials, highway, railway, and concrete mixing plants. How to improve the artificial sand production? Please contact us, our engineers will design the sand plant on the basis of your information.

Jiangxi Shicheng stone crusher manufacturer is a new and high-tech factory specialized in R&D and manufacturing crushing lines, beneficial equipment,sand-making machinery and grinding plants. Read More

used stone crusher for sale. white lai equipment & more | machinio

used stone crusher for sale. white lai equipment & more | machinio

Small/mini mobile ming crushing equipment PE250X400 jaw crusher/stone jaw crusher for sale in india This small size PE series jaw crusher max. feeding size is 130-210mm, output size is 10-60mm, capacity is 1-20 t...

Aggregate stone crusher stone crusher plant price in india Product Description New design! Factory supported mini portable crushing plant is mainly composed of feeder, jaw crusher, belt conveyor, the machine prod...

Powder stone crusher portable stone crusher machinery Product Description Automatic mobile stone crusher plant price is mainly composed of feeder, jaw crusher, belt conveyor, the machine production is from 85 to ...

Small scale portable 250 400 mobile diesel engine limestone quartz rock jaw crusher mini-mobile-stone-crusher-plant for sale 1.Mini Jaw Crusher Baichy small stone Jaw Crusher , PE series mine Jaw Crusher is one...

Mobile stone crusher machine stone crusher conveyor belt price Product Description With CE movable type stone crusher plant is mainly composed of feeder, jaw crusher, belt conveyor, the machine production is from...

Mining stone crushing plant, 40-60tph granite crushing production line,This production line is a common 40-60t/h stone crushing production line equipment, safe and reliable production operation, excellent power s...

Mining stone crushing plant, 40-60tph granite crushing production line,This production line is a common 40-60t/h stone crushing production line equipment, safe and reliable production operation, excellent power s...

1.We are factory and be able to give you the lowest price than market one; 2.Our products have been exported to over 80 countries and widely used in global mining and construction industry; 3.we have a prof...

Mining stone crushing plant, 40-60tph granite crushing production line,This production line is a common 40-60t/h stone crushing production line equipment, safe and reliable production operation, excellent power s...

Small mobile stone crusher plant stone crusher plant set Product Description Small mobile stone crusher plant stone crusher plant set is mainly composed of feeder, jaw crusher, belt conveyor, the machine producti...

40-60Tph Stone Crusher Quarry Plant, Small Crusher Line Crushing Plant The capacity mainly vary between 50-500thp. And in order to meet the different demands of customers, the production line can equip with cone ...

Large capacity mining quarry granite marble limestone rock crusher production line Low price Full set gravel stone crusher plant Mining stone crushing plant, 40-60tph granite crushing production line,This product...

8 ways the 808 drum machine changed pop music - rolling stone

8 ways the 808 drum machine changed pop music - rolling stone

Its almost impossible to imagine the modern musical landscape without the distinctive sounds of the Roland TR-808 drum machine. When the Japanese electronics company Roland started releasing the 808 in the Eighties, the device quickly became indispensable within the burgeoning genres of hip-hop and dance music, while also adding a new texture to the world of R&B.

Today, the sound of the 808 is everywhere. Its kind of like milk, or water, Bomb Squad producer Hank Shocklee says in the new documentary 808, available on Apple Music starting Friday. You cannot make a record without having that 808 sound, he continues. Its just not hip-hop. Whatever record I was making, it wasnt complete unless: Yo, we gotta put the 808 in this shit. Bang! Now the records finished. I dont care if it was a ballad. Its not complete. Put the 808 in it. OK, its hot now.

Related Kanye West Turns '808s & Heartbreak' Into High Art at Hollywood Bowl Related 'Silence of the Lambs': 'It Broke All the Rules' The Private Lives of Liza Minnelli (The Rainbow Ends Here)

Alex Noyer produced808, which aims to track the machines remarkable rise. I very much see the 808 as an underdog, Dunn tells Rolling Stone. It gets name-dropped as sort of a generic name for a beat. What perhaps is less known is the story: where it started from, some of the key records and how that sound changed everything. We sometimes take the 808 for granted. Its one of the most magical stories in music.

The film is a testament to one machines wide-ranging appeal. It includes interviews with a multi-genre collection of heavy hitters, from the Beastie Boys to Jam and Lewis to Phil Collins; Arthur Baker, who produced Afrika Bambaataas iconic 1982 single Planet Rock and helped craft records for Hall and Oates and New Order, served as the films co-executive producer.

1. It allowed anyone a chance to become a producer.You didnt have to have any special musical training to program an 808 you just had to be willing to take a risk and program the hardest, strangest beat around. Ayoung Rick Rubin produced one his first records, T La Rock and Jazzy Js Its Yours, using an 808. I was a fan of hip-hop, Rubin notes in the movie. The hip-hop records I was hearing at the time didnt really reflect what was going on at the club. So he decided to make his own. I really didnt know anything at all, he says, but thanks to the 808, he didnt need to.

2. It attracted producers willing to break pops rules.It took outside-thinking producers to want to use it, Baker says. A lot of producers would hear the 808 and say, That doesnt sound like a drum, why would we do that? But the people who made the records with the 808 thought, It doesnt sound like a real drum thats cool.'

3. It injected a new level of power into pop music.One of the first hits to incorporate an 808 was Planet Rock. [The 808] has this low end that couldnt really hear, Baker says in the film. You didnt know it was there, and then it would just blow up a speaker. By channeling this potent sound into Planet Rock, he immediately felt he had helped create something remarkable: I went home and I told my wife at the time, We made musical history,' he tellsRolling Stone. That was before the rap was on it. I just knew that it was something different we had done. I was really confident about it.

4. It altered pops sense of sonic space.At a lecture in 1979, Brian Eno discussed a transition point in the composition of pop music. If you listen to records from the Fifties, he explained, youll find that all the melodic information is mixed very loud your first impression of the piece is of melody and the rhythmic information is mixed rather quietly. Then, from the time of Sly and the Family Stones Fresh album, theres a flip over, where the rhythm instruments, particularly the bass drum and bass, suddenly become the important instruments in the mix.

When producers started using drum machines, the importance of rhythm was further intensified. It created a different space sonically in music, Damon Albarn asserts in 808. The relationship between the bass and the snare became something entirely different.

The low end of the 808 is so low, Baker adds. But I would be on the beach the summer we put [Planet Rock] out; a mile away you would hear the hi-hat. It would travel. The first thing you would hear you wouldnt hear the low end, you would hear the hi-hat. It cut through everything else.

5. It was endlessly adaptable.The 808 could make a variety of sounds, and each of these could be adjusted in various ways. One year my favorite sound was the rimshot, Baker says. A year later, it could be the toms. Each sound is so unique. They come into vogue and out of vogue. For a while you couldnt use the cowbell. Just when you think youll never hear a record using that cowbell, a record will come out [with it] and blow your mind.

Initially, producers focused on the 808 as a source of percussion. But by tuning the drum sound to full decay, Rick Rubin discovered that the 808 could be used to create bass lines. This technique was taken to new levels by the rap group Original Concept, and then by Miami Bass producers.

6. It was relentlessly repetitive.But just as the machine could produce a myriad number of strange sounds, it could also just play the same thing over and over. You try to get a drummer to play something simple for 10, 15 minutes, he wont do it, Phil Collins says in 808. We get bored [drummers] want to show they can do more than that. A drum machine, as long as you turn it on and turn it off, itll just play that forever. This helped hip-hop perfect the art of the loop, just as it made it easier for techno and house producers to program unwavering tracks that lasted far longer than your average pop song.

7. It inspired rappers to change their flow.The MCs involved in Planet Rock were stymied by the 808-driven instrumental. The rappers hated it, Baker remembers. They didnt know what to do with the beat. They had to go back home and rewrite [lyrics]; thats why we had no vocal on it the first night. They couldnt rap over it, because it was really uptempo. They ended up having to rap half-tempo. Everyone does that now; at the time that was very different. Run-DMC totally copied that on their track Its Like That. Same style of rap.

8.It helped break down the walls between genres.As the 808 helped define various branches of pop, it also served to bring these disparate camps together. Lil Jon appears in 808 to discuss his production on Ushers smash hit Yeah. It was an R&B singer singing over an 808 and, really, a dance single, Jon notes. Nobody had bridged those worlds before me. It appealed to people in the hood, ghetto motherfuckers, [and] to pop motherfuckers. Thats a wide variety of people to appeal to. To appeal to super-pop and super-hood? Thats amazing.

50 best 80s songs you should add to your playlist

50 best 80s songs you should add to your playlist

Our sonic roundup of the era that brought us Miami Vice, mall culture and more awesomely cheesy entertainment than any sane person can handle is wonderfully diverse. Theres hair metal, sure, and more than a smidge of synth-pop, but there are also some killer rockers, diva jams, new-wave classics, hip-hop standouts, lovelorn ballads and even a bit of indie rock.

Robert Smiths un-merry men spent roughly half of the 80s making desperately sad goth rock, and the other half writing some of the best pop songs of all time. Naturally, there was a certain amount of leakage between the twowhich is why 1985s Close to Me is a strong contender for the bands best song, with its yearning lyrics matched by ultra perky brass riffs (inspired by a New Orleans funeral march, obvs). Theres also an album version of this without the trumpets, but why would you even want that?

Bowie was all over the place during the 80s: duetting with Jagger, clambering into spandex for Labyrinth, getting buried alive for Merry Christmas, Mr. Lawrence and ultimately embarking on a midlife crisis that resulted in a worrying beard and Tin Machine. But before all that, he managed to lay down some of the decades best tracks, including this nihilistic, Nile Rodgersassisted soul boogie from 1983. We defy your feet to stay on the floor as that cyclical, cynical, irresistible chorus hurtles on.

In 1987, Houston was still very much a fresh-faced siren with the crystal-clear voice and a world of possibilities at her feet. Her approach to this songwhich, when you break it down, is more about loneliness than lovesays a lot about her ability to radiate warmth and positivity through her singular sound. It's miles away from the struggles the singer would face later in her career. Always a party starter and roof-igniting karaoke jam, the song become a bittersweet rallying cry in the years since her death. You can practically hear 23-year-old smiling through the chorus, urging every last wallflower on to the dance floor. Who can resist?

Is there anyone who doesnt like this song? The famously cantankerous Lou Reed loved it, as did Tom Cruises go-get-em titular character in Jerry Maguire (who, no disrespect, doesnt seem like the mostscrutinizingmusic listener). And to this day, were betting the fanbase for the breezy sing-along fave (co-written by Jeff Lynne) still runs the gamutfrom get-me-out-of-here teens to the dads they think are lame, and from snobs who wouldnt be caught dead doing karaoke to people who live for it.

Nineteen eighty-nine The first five syllables of Public Enemys most zeitgeisty hit, made at the request of Spike Lee for his groundbreaking film Do the Right Thing, pack a ton of punch. And it only gets moreintense from there, building a manifesto of what to take swigs at, including this gem: Elvis was a hero to most / But he never meant shit to me / You see, straight-up racist that sucker was / Simple and plain / Mother fuck him and John Wayne / 'Cause I'm black and I'm proud. And thats the truth, Ruth.

As a cocksure teenager, Prince passed on four major-label record deals, demanding artistic autonomy until Warner Bros. granted it. Years later, he would infamously scrawl slave on his cheek, and emancipate himself from his given name, referring to himself by a proto-emoji. And yet, the sharp crack of a proverbial whip yielded some stunning results in 1984. The Purple Rain soundtrack was thought to be complete, but the director needed a power ballad to lay over a montage of domestic discord. Prince whipped up two tunes overnight, the winner being When Doves Cry. With such little time, he didnt bother with a bassline. Debussy once noted, Music is the space between notes. Prince decked the emptiness with eyeliner and silk. It would be the pinnacle of his career. Theres something to be said for having a boss.

Gaye already gifted the world arguably the greatest song about sex ever, "Lets Get It On," in 1973. Nine years later, though, he came awfully close to outdoing himself with "Sexual Healing," his first non-Motown single (released just two years before he was fatally shot by his father). The steamy track is decidedly more 80s, with a drum-machine propulsion, busy guitars and a pleasing base of synths. It also boasts perhaps the most fitting last line in a sex song to date: Please don't procrastinate / It's not good to masturbate.

The Boss pinched the title of an old crooners standard to write his own classic, the finest single from his massive Born in the USAalbum in 1984. Bursting with ambition, frustration and sex, Dancing in the Dark is also Springsteens dance-floor peak, with a typically stunning sax solo by the late Clarence Clemons to top it all off. And there arent many songs from the era that come with an important warning about fire safety in the chorus.

In 1984, Tina Turner was 44 years old and on the comeback trail. Having finally split from her abusive husband and artistic Svengali, Ike, shed spent years in a limbo of cameos, Vegas shows and dud solo albums. But the hit album Private Dancer and its chart-topping single, Whats Love Got to Do with Ither first top-10 song in more than a decademade the tough soul icon a solo superstar. The video found her strutting around New York City in a jean jacket, leather miniskirt and feather-duster haira bruised but defiantly happy paragon of independence. The message was clear: Turners career still had fabulous legs.

We may dismiss the '80s as an era of musical cheese, light on substance and heavy on excess. But the decade delivered some of musics most emotional, teary moments, the more affecting for the fact that the vehicle is pop. This 1985 hit by Tears for Fears is one such song, an existential meditation of sorts, opening with the line, Welcome to your lifetheres no turning back. Its a serious pop song, as bassist-singer Curt Smith remarked: It's about everybody wanting power, about warfare and the misery it causes.

We get so used to the sleek, funky side of Michael Jackson that it's easy to forget how hard "Beat It" actually legitimately rocks. And it's not just Eddie Van Halen's famous finger-busting solo; it's that perfectly formed sneer of a guitar riffconceived by Jackson and played by session ace Steve Lukatherthose exaggered downbeats that feel like medicine balls being slammed down on a concrete floor and the raw desperation in MJ's voice as he chronicles the harsh truths of the street-fighting life. As much of a dance-floor killer as it is, "Beat It" is a genuinely heavy song, psychologically as much as sonically.

Roxy Musics most played song on Spotify by a country mile (the runner up, Avalon, draws about half the audience) didnt even crack Billboard's Top 100 in the States upon its release. Listening to it nowand, we assume, thenthats a tough pill to swallow. Writer-singer Bryan Ferrys falsetto during the verse draws you in, his romantic mantra of a chorus absolutely floors you, and the whole thing is shrouded in a plaintive, synthy, beautiful glow.

Though it proved a surprise commercial hit for David Byrne's new-wave art-pop experimentalists, it's easy to forget just how deliciously weird this song sounded back in 1981. Serving up a headyoccasionally otherworldlymixture of Afrobeat, funk, pop, rock, disco and psychedelia, the chorus of this existential anthem is huge enough to have stuck around formore than three decades.

Dont let Puff Daddy ruin this for you. Now that Ill Be Missing You is nearly two decades old (gulp), that steady, ceramic, arpeggiated riff is again property of the Police. Too many people mock the 80s as an age of excess, yet loads of classic singles from the era are studies in cool restraint (see: Phil Collinsno, honestly). Its just that they spent a butt-ton of money on everything. So though Stewart Copeland could be a florid, flashy drummer, and though Sting was known to dash a few extra flicks on his grooves, Every Breath measures each note microscopically, as if arranged with OCD, which makes the stalking vibe that much subtly creepier.

The first and biggest hit by the Norwegian electropop trio A-ha, Take On Me, rose to international popularity in 1985 on the strength of its groundbreaking video, a mix of live-action and pencil-drawn animation that starred dreamy lead singer Morten Harket as the hero of an escapist romance between a lonely woman and a comic-book adventurer. (It won six MTV Video Awards.) The songs masterfully infectious synth riff, sampled back to glory by Pitbull and Christina Aguilera in 2013s Feel This Moment, would be enough to secure it a spot on any list of 80s classics. But Take On Me is also distinguished by Harkets improbably octave-spanning vocals, whose seeming effortlessness has inspired countless screeching karaoke wipeouts.

The first four iconicseconds of the Ronette's "Be My Baby"have been sampled again and again over the past 50 years: Billy Joel, the Magnetic Fields, the Strokes, Amy Winehouse, Dan Deacon, Gotyethe list goes on. But only one bandhadtransformed that groundbreaking phrase into a musical piece that defined an era (almost) as deeply as the Ronettes. The Jesus and Mary Chain's "Just Like Honey" captures a certain proto-shoegazey, bittersweet longing that pristinely characterizes the hazy milieu of the 80snot to mention gave Sophia Coppola's Lost In Translation a killer outro a few seconds before the credits roll.

Oh, its so easy to mock U2: the bombast, the shades, the pomp But the bands 1987 opus, The Joshua Tree, contains three of its mightiest songs in a row, of which With or Without You is its most affecting. The songs bittersweet sentiment is perfectly matched by the musicat turns delicate and yearning, then surging and desperate. Anyone whos driven through the desert will recognize its massive vistas in this blown-open sonic landscape. Play it somewhere you can howl along, loudly.

If ever there was a time for an enormous chorus, it was the 80sand this 1984 smash from Foreigner offers an example of this that's at once gleaming, gorgeous and gut-wrenching. The verse is contemplative and blue, an account of how bruised and confused the heart can feel, then the chorus sweeps you up with a heartfelt plea to understand what the hell's going onit's blustery, sure, but also uplifting, featuring the New Jersey Mass Choir, the Thompson Twins and Dreamgirls star Jennifer Holliday. Commented Mick Jones, of the recording process: "We did a few takes, and it was good, but it was still a bit tentative. Then they [the choir] got round in a circle, held hands and said the Lord's Prayer. And it seemed to inspire them, because after that they did it on one take. I was in tears, because my mum and dad were in the studio too, and it was emotional." Sniff.

Sade is just so damned smooth. It would be easy to be consumed by envy if we weren't all being lulled into a dopey, two-stepping, love-drunk stupor. The Nigerian-born, U.K.-raised singer-songwriter is in top form on this hit single from her multi-platinum-selling second album, Promise. When it comes on, you've got no choice but to relax and drift off into the quiet storm.

The meme known as Rickrollingwherein someone baits you with an enticing link, which points instead to the video for this 1987 dance-pop smashalways seemed a little puzzling to us, mainly because, like, who wouldn't want to be surprised with another exposure to this suavely buoyant megajam? Those synthesized strings, that thumping boots-and-pants beat, Astley's weirdly robust croon and his romantic-wooing-as-used-car-salesman-pitch come-on ("You wouldn't get this from any other guy") It all adds up to three and a half of the most effervescent minutes in the 80s canon.

It's impossible to feel bad when this tune's Caribbean-inflected rhythms start pumping from a nearby speaker. The perma-coifed Commodores frontman's 1983 single smashes any attempts to resist its groove. And that bit that sounds like made-up gibberish? It is. Richie attempted to find some suitable foreign phrases but got impatient and invented his own international party language.

This 1982 track and its video offer everything an 80s hit should: a synth intro, tight pants, big hair, overt pelvic thrusting, a scantily clad babe atop a muscle car and, of course, a banging chorus that you just can't help but belt outeven as you cringe at its cheese factor. Listen out for "drifter" in the chorus, which replaced an earlier recording using the word "hobo," after lead singer David Coverdale worried that it sounded too much like "homo." Apparently the aforementioned crotch moves, hot model and fast car weren't enough to assert his manhood. Like we said, the 80s in a nutshell.

Toto was a collection of studio ringers with credits on Steely Dan and Boz Scaggs records. Wrapped in chest hair, sunglasses and terry cloth, these feathery dudes were too anonymous to be deserving of the term supergroup. Africa was their contribution to the wave of telethon pop that clogged the Reagan era, another patronizing plea for charity like We Are the World and Band Aid. A Yamaha GS1 synthesizer is made to sound like a mbira; theres a gong in there somewhere, for some reason. Its Heart of Darkness as told from the tanning deck of a luxury yacht. Thankfully, the lotion-slick groove reeks more of coconuts than crisp money. Oddly, it's become the unofficial theme of the New England Revolution MLS soccer club.

Bush was discovered when barely into her teens, knocking out genius tunes on a piano in her cozy Kent, England, home. Her erudite songs referenced literature by Emily Bront and James Joyce, resulting in knotty and outlandish pop music. But her aching sensuality allowed her strangeness to connect with a mass audience. Like Bowie, she was trained in mime, giving her singles a sense of performance and movement, even if you couldnt see the nifty videos. Running Up That Hill was so huge because it was her most digestiblethough still weird, with its galloping drums and a Fairlight synthesizer hook that sounds like pan pipes from deep space. Few songs from the era are so rich and perfect.

As the 1970s turned in the 1980s, punks and rockers (and there was a difference then) both became enamored with the sounds coming out of New York City. Even the Stones went disco and dabbled with rap. No guitar act better assimilated hip-hop than the Clash, probably because they had so much practice sponging up dub. This final singleor the last that matters, anywaywas a dry run for Mick Joness sampling-loving crew Big Audio Dynamite, a bit of Isley Brothers meets a Bronx boom box. Jones liked it so much he sampled the track a decade later in The Globe.

It wasn't just a souped-up DeLorean that safely spiritedBack to the Future's Marty McFly home to the '80s: He was also aided by this ditty from harmonica-blowing everydad Huey Lewis, who penned the song for the 1985 blockbuster's soundtrack. It's about as sappy as they come, but Baby Huey smartly slips in a line about how love doesn't require a credit card, which, as anyone who's gone on a date in the past 50 years can tell you, is totally bull. But it's a sweet thought.

Those who grew up in the '90s should know this from two awesome movie dance scenes: a sexy one in Baz Luhrmanns Strictly Ballroomand a silly one in Romy and Micheles High School Reunion. But for the '80s crowd, its a classic slow dance that stands up as one of the strongest songs of the decade. Cyndis mad orange hair might be dated like lukewarm milk, but Time After Time still smells fresh to us.

Maybe not surprising, coming from a band named after an amphetamine, but the U.K. group propels the juddering rhythms of its classic 1982 single like a dynamo, chugging through tempo changes while picking up steam for the big finish. The lyrics, about songwriter Kevin Rowland's youth as a sexually repressed Catholic kid, verge on dirty while remaining innocuous enough for your work-party karaoke sing-along.

Fine Young Cannibals were so much weirder and cooler than you remember. The trio, a splinterfrom the English Beat, had its roots in ska, but over two albums chiseled a new pop sound that would echo onward from Massive Attack to TV on the Radio. But you could still smash faces at the roller rink to it. The arrangements on the sophomore album, The Raw & the Cooked, are spare and inflated, like punks playing to Wall Street. In this opening cut, big sloppy washes of distorted guitar crashes over a rigid drum machine, as Roland Gift lifts it to the sky with his helium falsetto.

No 80s list would be complete without British synth-popsters the Pet Shop Boys. While the duo achieved its greatest success on home turf, this 1985 ode to London street life was written and recorded in New York, as the pair recalls in our interview, and bristles with urban seediness (note: Its partly inspired by T.S. Eliots The Wasteland). Thats thanks in no small part to Neil Tennants coolly annunciated delivery, a hypnotic take on the hip-hop flows of the era.

Thats great, it starts with an earthquake, begins Michael Stipeand the rumbling and rambling get crazier from there in R.E.M.s ironic beat poem. The lyrics pour out in a nervy jumble of apocalyptic imagery, military danger and mass-media frenzy, with pointed name-drops of pop-culture figures (Lenny Bruce, Leonid Brezhnev, Leonard Bernstein and Lester Bangs) united only by their initials. Unlike its evil twin in 1980s rock, Billy Joels We Didnt Start the Fire, the song was not a huge pop hit; on its 1987 album, Document, R.E.M. was still emerging from the niche of college rock. But its cut-through-the-chaos message still connects with anyone aiming to clear out a polluted stream of consciousness.

Oh, that ill-fated bassline. Before Vanilla Ice famously ripped off, er, was inspired by the work of Queen bassist John Deacon, that subtle, infectious plucking heralded the meeting of two wildly influential rock icons. Considering the titanic forces at work in this tune, it's relatively understated, but it does ultimately climb to the sparkling heights that both Bowie and Mercury inhabited with such ease.

Hip-hop hit its golden era in the 80s. Biz Markie was both emblematic of the genres giddy charms and the man responsible for its ultimate downfall. As critics continued to peg rap as a passing novelty, this big, lisping teddy bear from Long Island thumbed his nose at such stuck-up stupidity. He overtly recycled refuse from pops past and amped up the humor, daring haters to resist his charms. His records were as much comedy albums and demonstrations of sampling as pretentious works of art, which made them even greater works of art. Eventually, he had the shit sued out of him, and hip-hop was forever changed. But the greater loss is Bizs sense of self-deprecation. Just A Friend is the opposite of braggadocio.

Has a drum introduction ever sounded this big? Those unforgettable snare snaps comes courtesy of producer Steve Albini, and its one of the many touches the bands most popular song (one that wasnt even released as a single in 88) has going for it: Among the many others, theres Kim Deals haunting, reverb drenched backing vocals that so many indie-rock groups would go on to ape, a cracked-voiced Black Francis spitting out cryptic-cool lyrics, and deceptively simple lead guitar and bass combo that still gives us goosebumps.

This 1981 platinum-certified single is essentially Australia's unofficial national anthem, incorporating country pride, lots of local slang ("fried-out Kombi," "head full of zombie") and even the tune of a popular Aussie children's song, "Kookaburra," for the flute part. Insanely popular in its home country, the song also made waves internationally, shifting millions of copies and becoming an instant karaoke classic. We'll still pass on that Vegemite sandwich, though, thanks.

One-hit wonderful, I Cant Wait is Nu Shoozs only real smash, topping the charts around the world in 1986. In 1984, husband and wife duo John Smith and Valerie Day recorded the tune, which was remixed in the Netherlands a couple years laterand its this clean, clipped, super funky version of the song that landed the Shooz their record deal and influenced a generation of chillwave aspirants some 25 years later.

By this point, you know where you stand on this one: You hear Jonathan Cain's piano intro, and you either swell up with joy or wince in pain. Whatever your take, you're about to get flattened by an emotional steamroller: four minutes of undiluted underdog yearning and a portrait of anonymous lost souls praying for luck and love on the streets of nonexistent South Detroit, starring Steve Perry's scarily, swoopingly elastic voice. This song represents the apex of scream-along arena-scale pop-rock.

The 80s were not a time of subtlety. When it came to hair and emotion, bigger was always better. The Cure frontman Robert Smith had both, and wielded the latter to devastating effect in this single from the bands 1989 masterpiece, Disintegration. Smiths poignant songwriting was like a baptism inviting the lovelorn to let the layers of reverb-laden guitar spill over their heads and wash their pain away.

Turning jaunty Motown influences into icy synth pop may sound like sacrilege, but that's exactly what English duo Soft Cell did when it covered Gloria Jones's 1965 funky stomper in 1981. Ditching the original's energy for Marc Almond's cut-glass tones and unashamedly machine-driven melodies, Soft Cell's version soon became huge, paving the way for the 80s synth-pop explosion that followed.

Nobody writes grandiose heartbreak like Jim Steinman, and hes never done it better than in this smash 1983 epic ballad for the raspy-voiced Welsh belter Bonnie Tyler. Total Eclipse of the Heart was originally conceived as a song for a vampireit even showed up later in Steinmans 2002 Broadway fiasco, Dance of the Vampiresand its gothic underpinnings are front and center in the songs lurid video. This is longing on a supernatural scale, and Tyler holds her own against the thundering arrangement as she roars out some of the least quiet desperation ever known to pop music.

If you're in an '80s cover band and you're not playing this song on a nightly basiswell, there's just absolutely no way you're not. Of all of the iconic guitar riffs on this list, the opening line from "Sweet Child o' Mine" takes the air-splitting cake. The third single from Guns N' Roses' shining debut, 1987's Appetite for Destruction, it was the band's first and only number one single. More than three decades on, it never fails to make us sing our fool hearts out on the dance floor.

You could be forgiven for thinking Janet Jackson appeared as a fully-formed superstar, but in actuality her first two albums were met with mixed reviews and achieved only modest success. All of that changed with "What Have You Done for Me Lately," the lead single from her third effort, Control. With a no-nonsense attitude and some killer dance moves (the video was choreographed by Paula Abdul), Jackson established herself as one of R&B's leading innovators and a woman who wasn't afraid to demand what she deserved.

Catchier than a flytrap, more sordid than your craziest night out, Rick James hit the summit of his career with the wild funk of "Super Freak." A global hit in 1981, the star's signature song finds him joined by the mighty Temptations on backing vocalsincluding James's uncle, Melvin Franklin. Even that sampling by MC Hammer can't diminish its greatness.

The first single ever recorded by the indie-rock outfit, Tugboat consists of only two chords, some scant lyrics about not wanting to do much of anything, save being a tugboat captain (a reference to the Velvet Underground's Sterling Morrison, a clear hero), and...thats about it. Yet within those self-imposed limitations lies something truly dreamy, with the song rising and falling like the sea, propelled and subdued by the trios delicate chemistry.

Rapture. Thats Everywhere in a nutshell. Sung by Christine McVie, this delectable swoon of a song appears on the bands 1987 albumTango in the Night, and its the kind of track that needs to be played at least three times in a row, preferably on a roadtrip involving lots of singing along, to reach satisfaction saturation.

You'd think that Mike Tyson air-drumming to Phil Collins's 1981 signature hit in The Hangover would've somehow sapped "In the Air Tonight" of its eerie potency. But no, the song, shot through with the Genesis-drummerturnedsolo-hit-maker's post-divorce bitterness, still unfolds with a dramatic tension worthy of Stanley Kubrick, layering haunting guitar wisps, pillowy synth chords and Collins's ghostly vocodered lead turn over a rudimentary Roland CR-78 beat. Oh, and there's also the little matter of the greatest drum fill in pop history at the 3:40 mark.

Complexity, be damned! Sometimes all you really need for a truly memorable hit is economy, as proved by this stone-cold classic from 1988. On "Push It," all-gal Queens hip-hop trio Salt-N-Pepa made pop magic via a seemingly simple combination of Casio beats; a few big, dumb keyboard stabs; and a lot of impassioned, steamy cries of "Ooh, baby baby."

For a good decade there, it seemed as though "Born to Run" was the absolute final word in blue-collar rock & roll mythmakingbut then along came the Boss's fellow Jerseyans Bon Jovi, who slathered the old story of two hard-luck dreamers longing for escape with a thick coat of glam-era bombast. Whether you take this 1986 hit as a cheesy relic or the apex of steroidal FM rawk, Bon Jovi's tale of guitarist turned dock worker Tommy and his diner-waitress main squeeze, Gina, is essentially flawless, right down to guitarist Richie Sambora's iconic talk-boxassisted opening hook and that vertigo-inducing key change after the bridge.

A sleeper hit for the English heavy-metal band in 1987 (it didn't get much play until the band recorded a promo clip for its North American release), Pour Some Sugar on Me is among the groups finest efforts. The sexual innuendo is awesomely over-the-top (did any teen couple in the '80s not make out to this song?), but in reality the chorus was penned while singer Joe Elliott and his producer were sharing a cup of teawith sugar. So there's that.

Everything in a New Order song is a percussion instrument, from the metronomic drumming to Peter Hooks bass lines to the synth fills to Bernard Sumners rhythmic sigh-singing. Thats why the band will be a dance-floor killer until a comet demolishes us. Each and every element in the song is dancing. By the middle of the decade, the band was mining house music heavily enough to join a union in Chicago though always balancing disco ecstasy with melancholy in true Mancunian fashion. A New Order single is like if architecture was flush with hormones.

Weve assembled a list of the best karaoke songs ever, from raucous party songs you can sing while tipsy to tender love songs for serenading your boo. Sograb the mic, knock backa drink and prepare to belt out one of these surefire hits.

Related Equipments