Right at the top sits John Farnham’s “Age Of Reason”. Written by Todd Hunter and Johanna Pigott, produced by Ross Fraser, it hit number one for three weeks in August and became the defining anthem of resurgence. Farnham’s voice — powerful, emotive — turned it into more than a hit; it was a statement. Paired with “Two Strong Hearts”, the album Age Of Reason ruled the charts and reminded everyone why he was untouchable.

Crowded House followed closely with “Better Be Home Soon”, Neil Finn’s heartfelt ballad of longing. Produced by Mitchell Froom, its warm melodies and emotional honesty made it a radio staple and a sign of the band’s maturing songcraft.

1927’s “If I Could” was the sleeper — written by Garry Frost, produced by Charles Fisher and Jim Bonnefond, it charted for an astonishing 30 weeks and peaked at number two. That soaring chorus captured the year’s romantic side perfectly.

INXS delivered double trouble with “New Sensation” and “Devil Inside” from Kick — slick, groove-driven tracks produced by Chris Thomas that kept the band at the forefront of international rock. Their charisma and tight sound made them Australia’s biggest export story.

Jimmy Barnes roared through Percy Sledge’s “When A Man Loves A Woman”, turning the classic into raw, barnstorming soul with his unmistakable grit. James Reyne’s “Motor’s Too Fast” brought cinematic urgency and that signature drawl to his solo era.

Little River Band’s “Love Is A Bridge” offered classic harmony-rich soft rock, while Daryl Braithwaite’s “As The Days Go By” gave us smooth, reflective pop. Noiseworks’ “Touch” aimed straight for the arenas with its big-hearted chorus, and Chantoozies’ “Wanna Be Up” kept dance floors moving with bright, harmonious fun.

Big Pig’s “Breakaway” stood out with its tribal percussion and bold energy — nothing else sounded like it on the radio. Mental As Anything had a blast covering Chuck Berry’s “Rock And Roll Music”, injecting their quirky charm into the classic.

Johnny Diesel & the Injectors burst in with “Don’t Need Love”, a gritty debut that promised more pub-rock fire ahead.

Taken as a whole, 1988’s hits blend power ballads, rock grooves, pop polish, and soulful covers. It was a year when Australian artists weren’t just competing locally — they were setting the pace, filling stadiums, and eyeing the world. These fifteen tracks capture that moment of peak ambition and pure enjoyment.

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At the very top of my list is Little River Band’s “Help Is On Its Way”. With Glenn Shorrock’s warm lead vocal and those trademark layered harmonies, it spent weeks at number one and became the soft-rock template for a generation. LRB were already making waves overseas, but this track felt like it was written for Australian summer afternoons — uplifting, melodic, and impossible not to hum.

Just behind it, Peter Allen’s “I Go To Rio” turned pure celebration into a chart-topping carnival. Samba rhythms, bright horns, and Allen’s irrepressible energy made it the feel-good anthem of the year. It’s the song you play when you want everyone smiling and moving.

Andy Gibb’s “I Just Want To Be Your Everything” gave us silky disco-pop perfection. Written by brother Barry and produced with that Bee Gees sheen, it dominated the charts longer than almost anything else in 1977 and launched the youngest Gibb as a global heart-throb — while proudly flying the Australian flag.

The Ferrets burst onto the scene with “Don’t Fall In Love”, a jangly, urgent debut that hit number two and announced a new wave of sharp Australian rock-pop. Sherbet kept their winning streak alive with the glossy “Magazine Madonna”, proof they could evolve from teen-pop darlings into sophisticated hit-makers. Marcia Hines brought pure vocal class to “What I Did For Love”, turning a show tune into soulful radio gold, while John Paul Young kept the dance floors full with the Vanda-Young gem “I Wanna Do It With You”.

Further down, Ted Mulry Gang delivered double the fun with “My Little Girl” and “Jamaica Rum” — straightforward, beer-raising pub rock that crowds loved to shout along to. Jeff St John reminded everyone of his gravelly power on “A Fool In Love”, Marty Rhone surprised with the cheeky disco-pop of “Mean Pair Of Jeans”, and Dragon kept building momentum with the swinging “Get That Jive”.

Split Enz scored their first real Australian hit with the quirky bounce of “My Mistake”, Ol’ 55 kept the retro rock’n’roll flame alive with “Stay (While The Night Is Still Young)”, and Renee Geyer closed the list with the smouldering soul of “Stares And Whispers” — classy, deep, and utterly commanding.

Taken together, these fifteen songs paint a picture of a confident, diverse Australian scene. We had harmony kings, disco converts, soul queens, pub rockers, and showmen — all making music that sounded world-class while feeling completely local. 1977 wasn’t just a great year; it was proof that Australian artists could dominate at home and start eyeing the world stage.

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Chad Morgan OAM (January 1, aged 91) Chad Morgan, born Chadwick William Morgan on February 11, 1933, in Wondai, Queensland, was the Sheik of Scrubby Creek—a country music icon with a 70-year career. Known for comedic hits like The Sheik of Scrubby Creek and The Ballad of Bill the Bastard, he was inducted into the ARIA Hall of Fame and received an OAM. His humor and storytelling defined Aussie country.

Lance “Link” Smith (January 5, aged 65) Lance Smith, born December 16, 1959, was a versatile musician in The Generation and The Chimps From CHUMP. His contributions to Aussie rock were quiet but essential, leaving a legacy in the scene he loved.

Gordon “Snowy” Fleet (February 17, aged 79) Gordon “Snowy” Fleet, born August 16, 1945, in Liverpool, UK, was The Easybeats’ founding drummer. Playing on Friday on My Mind, he helped put Aussie rock on the global map. His beats defined a generation.

Carlton Spencer (March 17, aged 70) Carlton Spencer, born July 15, 1954, was a keyboard maestro in The Silver Studs, The Stevie Wright Band, Andy Gibb Band, Stevie Wright and Hard Rain, and The Bleach Boys. His work spanned rock and pop, always adding that special touch.

Roger McLachlan (April 17, aged 71) Roger McLachlan, born January 15, 1954, in Riverton, New Zealand, was a bass player for Pyramid, Little River Band, John Farnham Band, and Stars. His grooves on hits like Reminiscing made him a backbone of Aussie rock.

James Baker (May 5, aged 71) James Baker, born March 7, 1954, in Perth, was a punk and rock trailblazer drumming for The Victims, The Scientists, Beasts of Bourbon, and Hoodoo Gurus. His raw energy helped define Australia’s alternative scene.

Col Joye (August 5, aged 89) Col Joye, born Colin Jacobsen on April 13, 1936, was a pop pioneer with Col Joye and The Joy Boys. Hits like Oh Yeah Uh Huh made him the first Aussie to top local charts. ARIA Hall of Famer, he was a trailblazer.

Alan Ingham (September 17, aged 87) Alan Ingham, bass player for Jeff St John and Copperwine, was a key figure in ’60s/’70s rock. His work helped shape the sound of an era.

Chris Doheny (September 19, aged 64) Chris Doheny, vocalist for Geisha, died in a car accident. He sang the AFL Footy Show anthem More Than a Game, leaving a mark on ’80s rock.

Chris Turner (October 22) Chris Turner, guitarist for Buffalo, Scattered Aces, Peter Wells Band, Rose Tattoo, and Chris Turner’s Big Rock Band, was a mainstay in Aussie hard rock.

Robert Taylor (November 4, aged 74) Robert Taylor, guitarist for Dragon, played on hits like Are You Old Enough. His riffs defined ’70s/’80s rock.

Ian Lees (November 23) Ian Lees, bass player for Moving Pictures, contributed to Days of Innocence and What About Me. A quiet force in ’80s rock.

Bob “Bongo” Starkie (November 29, aged 73) Bob “Bongo” Starkie, guitarist for Skyhooks, played on Living in the 70’s and hits like Horror Movie. He died from leukaemia, leaving a glam rock legacy.

Peter McFarlane (December 6) Peter McFarlane, drummer for Finch/Contraband, Swanee, and Kakadu, was a key player in ’70s Aussie rock.

These artists shaped Australian music—may they rest in peace. Thanks for watching; share your memories below.

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At the top of the list sits John Farnham’s “You’re The Voice”, a song that changed the trajectory of Australian pop music. Released after Farnham had been largely written off by the industry, the track became a 26-week chart monster and a national anthem. Its blend of social awareness, emotional power, and mass appeal made it one of the most important songs ever produced in Australia.

Right behind it came Pseudo Echo’s synth-driven cover of “Funky Town”, which showed how Australian bands could reimagine international classics and turn them into chart-topping local hits. Their success in 1986 also extended to “Love An Adventure,” cementing them as one of the defining electronic pop acts of the era.

Bands like Wa Wa Nee broke ground with sleek, American-influenced funk pop. “Stimulation” wasn’t just a hit — it was a statement that slick production and international-sounding pop could be made right here in Australia. At the same time, INXS and Jimmy Barnes delivered “Good Times,” a collaboration that bridged mainstream rock and commercial pop with ease.

But 1986 wasn’t just about polish and gloss. Midnight Oil’s “The Dead Heart” brought Indigenous history and political reality into the mainstream charts, proving Australian music could be socially responsible and commercially successful. Hunters & Collectors’ “Say Goodbye” captured emotional weight and raw honesty that resonated deeply with Australian audiences.

Then there were the artists working in more personal, reflective spaces. Crowded House’s “Don’t Dream It’s Over” became one of the most internationally recognisable songs to come from Australia — a song that has never left rotation and still feels timeless decades later. Songs like Paul Kelly’s “Before Too Long” introduced a new kind of Australian storytelling — observational, gritty, and deeply real.

What makes 1986 so powerful in hindsight is its balance. You had stadium anthems, socially conscious rock, sophisticated pop, and emotionally raw ballads all coexisting in the same charts. It wasn’t a manufactured sound — it was a genuine reflection of Australian identity in music.

1986 wasn’t just a good year. It was a turning point.

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We kick things off with GANGgajang’s timeless anthem “Sounds of Then (This Is Australia).” Few songs capture the feel of this country so vividly, and its staying power in ads, films, and culture shows just how deeply it resonated. From there, we dive into 1985’s rich variety: Olivia Newton-John reinventing herself with glossy, modern pop; Redgum continuing their tradition of politically charged storytelling; and the Dynamic Hepnotics keeping Australia funky with soulful, brass-driven grooves.

New wave and polished synth-pop were still huge in ’85, and bands like Eurogliders, Kids In The Kitchen, and Uncanny X-Men delivered some of their most enduring singles at this point. These songs weren’t just hits — they were part of the soundtrack of suburban bedrooms, school dances, and late-night music TV. Their chart performances (many spending 13–20 weeks in the Top 20) prove how widespread their appeal was.

The list also highlights bands who were sharpening their edge in preparation for even bigger things. INXS’s “This Time” sits right on the cusp of their global breakthrough, blending melodic confidence with the stadium-ready swagger they’d soon become famous for. Hoodoo Gurus appear twice in this countdown, and for good reason — 1985 was a peak creative period for them, and songs like “Bittersweet” and “Like Wow – Wipeout” show both sides of their personality: introspective depth and explosive, joyous rock.

Of course, no list from 1985 would be complete without a dash of Aussie oddity, and Mark “Jacko” Jackson certainly provides it. “I’m an Individual” was loud, cheeky, and impossible to ignore — a novelty hit that somehow captured the mood of the era.

Jimmy Barnes turns up with “Daylight,” a gritty track supercharged by Journey’s Neil Schon, while Eurogliders make a second appearance with the uplifting “Can’t Wait to See You.” And finally, we crown Dragon’s “Speak No Evil” as the number one song that missed the main countdown. Sleek, punchy, and wildly underrated, it’s a perfect example of the band’s under-appreciated mid-80s renaissance.

These songs may not have made the original Top 15, but together they paint an even fuller picture of what made 1985 such a landmark year in Australian music. They bring back memories of Countdown, live pub gigs, milk-bar cassette racks, and the raw excitement of a music scene overflowing with creativity. If the main list showed the year’s biggest hits, this one reveals its deeper treasures.

I’ve put together a playlist with all the full songs — check the link below and enjoy diving back into one of the richest years in Aussie music history.

The post The Ones That Missed the Cut: 15 More Essential Aussie Songs from 1985 appeared first on Australian Music History.

The year kicked off with Mental As Anything’s witty pop gem “You’re So Strong”, a reminder that clever songwriting could still win hearts. Then came the sultry danger of Divinyls’ “Pleasure & Pain”, a song that captured the seductive tension of love and heartbreak.

Australia was also discovering a more sophisticated pop sound. I’m Talking delivered the funky, polished “Trust Me,” introducing Kate Ceberano as a major voice. Meanwhile, Jimmy Barnes balanced grit and tenderness with “I’d Die To Be With You Tonight,” proving he could do more than just shout — he could truly sing.

The Eurogliders ruled the airwaves with two huge hits that year — “We Will Together” and later “Can’t Wait To See You.” Their bright, hopeful pop anthems perfectly captured the mid-’80s optimism. The same could be said of Koo De Tah’s “Too Young For Promises,” which combined mystery and melody into one of the most cinematic tracks of the decade.

On the edgier side, Do.Re.Mi’s “Man Overboard” tackled gender politics with fearless honesty, while Uncanny X-Men’s “50 Years” brought pop-rock energy and suburban angst to the charts.

Two tracks from Jimmy Barnes’s solo debut defined him as a true solo force: “Working Class Man,” written by Journey’s Jonathan Cain, became a blue-collar anthem for generations, and “Daylight” showed his raw power at full tilt.

Synth-pop found its peak with Pseudo Echo’s “Don’t Go” — slick, stylish, and ready for export. INXS pushed further toward global fame with “What You Need,” a confident funk-rock hybrid that made Michael Hutchence a worldwide icon.

Meanwhile, Models scored two massive hits with “Barbados” and “Out Of Mind, Out Of Sight.” The latter topped the charts, cementing the band’s place as one of Australia’s most inventive pop groups.

But topping the year — and doing so on their own terms — were Midnight Oil. Their “Species Deceases” EP hit number one while tackling issues like nuclear arms and environmental collapse. It was proof that political music could also be powerful rock.

1985 was the year Australian music truly came of age. Every corner of the scene — pop, rock, soul, and protest — delivered something unforgettable. Whether it was Jimmy Barnes belting out “Working Class Man” or Midnight Oil raging against the system, these songs remain a vital part of our cultural soundtrack.

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Sydney’s Bluesy Rockers  

Blackfeather, formed in Sydney in 1970, were known for raw, bluesy rock. For *Boppin’ the Blues*, the lineup was Neale Johns (vocals), Warren Ward (drums), Paul Wylde (piano), Billy Taylor (lead guitar), with Gil Matthews (Billy Thorpe and the Aztecs) guesting on drums. The song, a cover of Carl Perkins’ 1956 rockabilly hit co-written with Howard Griffin, was produced by Howard Gable for the *Boppin’ the Blues* album, recorded live at Melbourne Town Hall and the Q Club. Johns’ gritty vocals and Taylor’s driving guitars amped up the energy, making it a pub rock staple. Released in July ’72, it was pure ’70s swagger—no video, just live grit.

Chart Success 

Charting on July 31st, ’72, as catalogue number INK 4721, *Boppin’ the Blues* hit the Kent Music Report. Our infographic shows its top 5 run. On September 18th, it’s No. 4, with *Daddy Don’t You Walk So Fast* at No. 1. September 25th, it’s No. 1, knocking off *Daddy* and tying with Gary Glitter’s *Rock and Roll*. October 2nd, *Boppin’* holds No. 1 solo. October 9th, it’s still No. 1. October 16th, it slips to No. 2 as Hot Butter’s *Popcorn* takes over. October 23rd, No. 2. October 30th, No. 2. November 6th, No. 2. November 13th, No. 2. November 20th, it drops to No. 4, with *Popcorn* at No. 1. It ran 28 weeks and went gold—Blackfeather’s biggest hit.

The ’72 Scene  

In 1972, Australia’s music scene was raw—Daddy Cool’s rockabilly revival, Billy Thorpe’s hard rock, and Russell Morris’ bluesy vibes. Blackfeather’s *Boppin’ the Blues* brought a fresh spin on rockabilly, blending pub rock grit with radio-friendly energy. Heavy airplay on 2SM and 3UZ made it a staple. Unlike Sherbet’s pop polish or Chain’s heavy blues, *Boppin’* was a high-energy singalong that packed pub dancefloors and footy club parties.

Why It Endures  

*Boppin’ the Blues* cemented Blackfeather as Aussie rock heroes. The album hit the KMR top 20, but lineup changes slowed them. The song’s still a classic—revived by cover bands, played on retro stations, and loved by ’70s fans. Neale Johns still performs it occasionally. A ’72 time capsule of raw energy and stomping beats, it takes you back to a garage party, rocking out. Got a Blackfeather memory? Share it below—I’m all ears!

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From Easybeats to Solo Star
Stevie Wright, frontman of The Easybeats, was an Aussie rock pioneer by ’74. Evie (Parts 1, 2 & 3), penned and produced by Easybeats mates Harry Vanda and George Young, was a three-part odyssey—Part 1 a fiery love song, Part 2 a tender ballad, Part 3 a guitar-driven climax. Recorded in Sydney for Hard Road with Albert Productions, Stevie’s raw vocals and Malcolm Young’s guitar made it a pub rock monster. The 7-minute radio edit packed a punch. No video, just grit—my old band t-shirt’s iron-on letters cracked just thinking about it!

Chart Success
Charting on May 27th, ’74, as catalogue number AP 10468, Evie hit the Kent Music Report. Our infographic shows its top 5 run. On July 22nd, it’s No. 5, with Billy Don’t Be a Hero at No. 1. July 29th, Evie climbs to No. 2, Billy still on top. August 5th, it’s No. 2, pushing hard. August 12th, Evie hits No. 1, knocking off Billy Don’t Be a Hero. It holds No. 1 through August 19th, 26th, September 2nd, 9th, and 16th—six weeks at the top. September 23rd, it slips to No. 3 as The Night Chicago Died takes over. By September 30th, it’s No. 4, still kicking. It ran 26 weeks and went gold—a massive solo win.

The ’74 Scene
In 1974, Australia’s music scene was raw—Sherbet’s pop shimmer, Skyhooks’ glam shock, and AC/DC’s early riffs. Evie stood out as a bold, three-part epic. Vanda & Young’s Easybeats cred gave it weight, and Stevie’s wild stage presence lit up pubs. Heavy radio play made it a fist-pumping anthem for working-class blokes and rock fans. Unlike Hush’s covers or Skyhooks’ theatrics, Evie was pure, unfiltered Aussie rock, perfect for sweaty pub crowds.

Why It Endures
Evie made Stevie Wright a solo star, proving he could shine beyond The Easybeats. Hard Road hit the KMR top 5, but Stevie’s battles with heroin, alcoholism, and rehab cast a shadow. I did sound for one of his late ’80s comeback tours, and he was struggling then. He passed in 2015, but Evie lives on—pub jukeboxes, classic rock stations, and cover bands keep its raw energy alive. A ’74 time capsule of grit and heart, it takes you back to a smoky pub, air-guitaring with mates. Got an Evie memory? I’ve got my t-shirt story—share yours below!

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Farnsey’s Comeback Continues
John Farnham, a legend since his Sadie days in the ’60s, roared back with 1986’s Whispering Jack. By ’88, he was Australia’s voice. Age of Reason, penned by Dragon’s Todd Hunter and Johanna Pigott (who wrote Dragon’s Rain and played in XL Capris), tackled life’s big questions with a soaring melody. Recorded in Melbourne for the Age of Reason album with Ross Fraser, Farnsey’s powerful vocals, punchy guitar, and synth touches gave it arena-sized energy. The video—big hair, bold suits, Farnham’s charisma, and the Victorian Children’s Choir—was pure ’80s.

Chart Success
Charting on July 18th, ’88, as catalogue number 104904, Age of Reason hit the ARIA Charts. Our infographic shows its top 5 run over six weeks. On July 25th, it’s No. 3, with Got To Be Certain at No. 1. August 1st, it hits No. 1, knocking off Kylie. It holds No. 1 on August 8th and 15th, ruling strong. August 22nd, it slips to No. 2 as Fairground Attraction’s Perfect takes over. By August 29th, it’s No. 3, still hanging tough. It ran 20 weeks, went platinum, and was Farnham’s first No. 1 since You’re the Voice. The B-side, When the War Is Over, kept the anthemic vibe.

The ’88 Scene
In 1988, Australia’s music scene was electric—INXS conquered globally, Kylie Minogue went pop, and Jimmy Barnes’ star was rising. Farnham, riding Whispering Jack’s wave, brought a mature, anthemic sound. Age of Reason’s introspective lyrics and polished production clicked with old and new fans. Its video was everywhere, and Farnsey’s everyman charm made him a national hero. Unlike Kylie’s bubblegum pop or INXS’s sleek rock, Age of Reason was a singalong for footy club bars and city pubs.

Why It Endures
Age of Reason cemented Farnham as Australia’s rock king. The Age of Reason album topped the ARIA Charts, selling over 500,000 copies, and he toured arenas worldwide. A staple on classic stations, pub jukeboxes, and ’80s playlists, its soaring melody is Farnsey magic. Farnham performed it until his 2022 cancer diagnosis, making it a setlist highlight. A ’88 time capsule of big dreams and bigger vocals, it takes you back to a mate’s barbecue, belting it out. Got an Age of Reason memory? Share yours below!

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From Pub Rock to Synth Glory
Icehouse, formed in Sydney in 1977 as Flowers, were led by Iva Davies (vocals, guitar), with Keith Welsh (bass), Ashley Sharpe (guitar), and Don Brown (drums). By ’87, they’d shifted from pub rock to slick synth-rock. Electric Blue, a shimmering love song co-written with John Oates, had a hook that grabbed you. Recorded for Man of Colours in Sydney and Melbourne with David Lord, Davies’ soaring vocals and lush synths made it a radio and club hit. Its glossy video—moody lighting, ’80s cool—was pure nostalgia. I rocked a Starsky cardigan back then, knitted by my mum—proper ’80s vibes!

Chart Success
Charting on August 31st, ’87, as catalogue number K 389, Electric Blue hit No. 1 on November 16th, ousting La Bamba. It held for one week until Barnes’ Too Much Ain’t Enough Love took over, running 28 weeks. Icehouse’s sole Australian No. 1, it went platinum and hit No. 7 on the US Billboard Hot 100—a massive win for an Aussie act. The B-side, Over My Head, kept the synth vibe.

The ’87 Scene
In 1987, Australia’s music scene buzzed with Jimmy Barnes’ raw rock, INXS’s global rise, and Pseudo Echo’s synth-pop. Icehouse’s slick, emotive sound stood out. Electric Blue’s polished production and Oates’ co-writing cred gave it international flair. Its Countdown video ruled TV screens, and Davies’ brooding charm won fans. Unlike The Divinyls’ edge or Midnight Oil’s grit, Electric Blue mixed pub rock roots with radio gloss, drawing clubbers and casual listeners alike.

Why It Endures
Electric Blue made Icehouse Aussie icons. Man of Colours topped the ARIA Albums Chart, selling over 700,000 copies, and they toured with The Cars and Eurythmics. A classic on retro stations, cover bands, and ’80s playlists, it’s pure nostalgia. Icehouse, still led by Iva Davies, performs it as a signature hit. A ’87 time capsule, it takes you back to a mate’s Commodore, windows down, singing along. Got an Electric Blue memory? I’ve got my Starsky cardigan story—share yours below!

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