The 1980s gave us shoulder pads, hair that defied the laws of gravity, and some of the most enduring music ever pressed to vinyl. But here’s the funny thing about "iconic" tracks: at the time, even the professional critics couldn’t decide if they were hearing a revolutionary masterpiece or a total dumpster fire in a neon suit.
This is my deep dive into the love-hate relationship between music critics and the songs that defined a generation. Think of this as the follow-up to my look at the "Worst Songs of the 80s"—only this time, we’re celebrating the good stuff and wondering what the reviewers were drinking.
Before we get to the heavy hitters, let’s set the stage. The '80s were a wild neural network of genres. You had the Superstars (MJ, Madonna, Prince), the Hip-Hop Pioneers (N.W.A., Public Enemy), and the New Wave brooding types (The Smiths, The Cure). It was a decade where synth-pop and gritty rap somehow shared the same radio dial without the universe imploding.
Buckle up, because we’re counting down Rolling Stone’s top five. Let’s go!
1. Prince – "Kiss" (1986)
Most criy loved how Prince stripped everything away. Just a guitar, a few keys, and that voice. It was minimalism at its peak.
One reviewer apparently woke up with an attitude that morning, declaring the song "overrated" and Prince’s signature falsetto "annoying as all hell." They even suggested this song was the "beginning of the end" for the Purple One.
Calling that falsetto annoying is like complaining that the sun is too bright. It’s Prince!
Today, "Kiss" is a permanent resident on every "Best Of" list, while that critic’s opinion is... well, experiencing technical difficulties.
2. Madonna – "Like a Prayer" (1989)
Rolling Stone called it "as close to art as pop gets." (Which feels a bit like saying, "You’re pretty smart for a squirrel.") They praised her evolution from pop princess to a serious artist.
The Vatican wasn't a fan. Pepsi pulled a $5 million ad campaign. Some critics complained the video was "vague." Honestly, with all that fuss, you’d think she’d tried to jaywalk behind a sheriff's SUV.
Controversy is just free PR in a short skirt. Madonna kept Pepsi’s millions, the song hit Number One, and getting condemned by the Vatican is basically the ultimate badge of honor for a pop star.
3. Grandmaster Flash & The Furious Five – "The Message" (1982)
It was as close to pure consensus as it ever gets. Critics hailed it as a searing protest and a brilliant funk track. It was like they’d finally discovered that rap had a soul.
The surprise for music fans is that Grandmaster Flash himself didn’t want to do it! He was worried about moving away from "party rap." Imagine being skeptical of your own legendary contribution to history.
The song is now in the National Recording Registry. Flash was eventually convinced, proving that even the artist can occasionally misread the map on the Circular Journey.
4. Michael Jackson – "Billie Jean" (1982)
Another song met with universal acclaim. Sleek, post-soul pop that turned Jackson into a Gen-X Elvis.
This time, the surprise floors me: the legendary Quincy Jones actually wanted to cut that 29-second bassline intro. He thought it was too long. Michael had to fight for it, saying, "That’s what makes me want to dance."
When the King of Pop tells you it's what makes him dance, you listen. If Quincy had won that round, we’d be missing one of the most iconic openings in history. Always trust your gut (in this case, your feet) over the producer’s stopwatch.
5. Public Enemy – "Bring the Noise" (1987)
This song is credited with validating rap as a "legitimate" art form for the rock-and-roll crowd. It was like getting the HOA to admit your river tour boat actually adds that certain something that makes the Riverwalk a classic destination.
A few listeners did find the sound "abrasive" or "scary." But isn't that the point? If your art doesn't make someone a little uncomfortable, are you even trying?
The song clocks in at a blistering 109 beats per minute and changed rhythm forever. It paved the way for metal-rap collaborations and proved that "noise" is often just music the critics haven't learned to dance to yet.
The Pattern Emerges
The songs that aged the best are the ones that took the biggest risks. The critics who aged the best were the ones who were willing to admit, "Hey, I might have missed the boat on this one."
Forty years later, we’re still listening to these tracks regardless of what the critics wrote in the music magazines. That’s the ultimate review: the one written by time itself.
Watch for Part 2 of this report, where we’ll tackle the New Wave revolution and find out why critics had stronger opinions about synthesizers than I do about my choice of coffee shops.


















