While it may not be accurate to say that everything was larger in the ’80s, this vibrant decade certainly celebrated excess in various forms, from oversized shoulder pads and towering hairstyles to truly epic movie soundtracks. Departing from the traditional orchestral compositions that had dominated earlier films, directors and producers sought to connect with younger viewers by incorporating tracks from popular Top 40 artists. This strategic shift led to some of the best-selling records of the time, with numerous hit singles emerging from multi-platinum soundtracks on a consistent basis.

To pay tribute to this nostalgic period, we’ve curated a list of the most iconic soundtrack songs that are celebrating their 40th anniversary this year. Our selection includes a plethora of enduring classics from legendary rock artists. While some tracks achieved mainstream success, others remained lesser-known gems, yet they all share a common thread: they encapsulate the star-studded soundtracks of their era. So grab your ticket stub, pop some popcorn, and put on your favorite foam-covered headphones, as we dim the lights to explore our curated list of the 31 best rock movie soundtrack songs from 1985:

“Only the Young,” Journey

Originally slated for inclusion on the Frontiers album, Journey’s “Only the Young” was unexpectedly withdrawn and offered to the band Scandal. Although their rendition is decent, it doesn’t measure up to the version that ultimately made it onto the Vision Quest soundtrack. Could this be the band’s last standout single? It’s a possibility. Interestingly, the journey of “Only the Young” contrasts with many other tracks from Vision Quest, as several songs, like John Waite’s “Change,” Red Rider’s “Lunatic Fringe,” and Sammy Hagar’s “I’ll Fall in Love Again,” were already familiar to audiences before their soundtrack appearances.

“Hungry for Heaven,” Dio

Despite facing significant internal strife leading up to the release of the Sacred Heart LP in 1985, Dio managed to harness their signature magic to produce tracks like “Hungry for Heaven.” This track was featured on the Vision Quest soundtrack before its release as a single from Sacred Heart. Although it did not achieve major commercial success, the song powerfully embodies Dio’s classic appeal, prompting listeners to raise their devil horns in appreciation.

“A View to a Kill,” Duran Duran

Theme songs for Bond films are typically performed by popular artists of the time, leading to some intriguing results over the years. When this approach clicks, it truly shines, as exemplified by “A View to a Kill.” While it contains enough Bond-themed lyrics to anchor it in the franchise, the track also showcases Duran Duran at their funky best during the mid-’80s, making it a standout piece of music history.

Read More: 12 Wrongly Forgotten Movies From the Summer of 1985

“To Live and Die in L.A.,” Wang Chung

Set aside the more commercially successful “Everybody Have Fun Tonight” for a moment and consider Wang Chung from the perspective of director William Friedkin. He likely viewed them as a synth-pop duo with a rock edge, adding drama to his sleek neo-noir thriller. The entire soundtrack is impressive, but the title track stands out, providing the perfect backdrop for cruising around the city during dusk.

“Burning Heart,” Survivor

The long-standing joke surrounding the Rocky franchise is that each installment follows a familiar narrative arc. This is amusing because it is undeniably true; formulas persist because they are effective, and there’s no shame in revisiting a successful formula. This principle also applies to Rocky soundtracks. After Survivor’s massive success with “Eye of the Tiger” from Rocky III, they were called back for the sequel and delivered another inspirational anthem crafted for training montages. In fact, we would argue that “Burning Heart” is so effective that there was no need for the soundtrack to include “Eye of the Tiger” just a few tracks later.

“Heart’s on Fire,” John Cafferty

It is somewhat amusing that “Burning Heart” is immediately followed by “Heart’s on Fire,” which is doubly ironic since Cafferty sounds like he’s auditioning for Survivor. Nevertheless, a solid song is a solid song, and this track accomplishes its intended purpose exceptionally well. A fun tidbit: “Heart’s on Fire” was co-written by Joe “Bean” Esposito, the renowned singer-songwriter known for his vocals on the Karate Kid classic “You’re the Best.”

“No Easy Way Out,” Robert Tepper

As one of several powerful anthems from gruff-voiced male vocalists on the Rocky IV soundtrack, “No Easy Way Out” appeared to herald great things for Robert Tepper. He broke into the Top 40 with this song just a few years after co-writing “Into the Night” with Benny Mardones. Unfortunately, Tepper was signed to Scotti Bros., where breaking records by artists outside of Survivor or “Weird Al” Yankovic was becoming increasingly rare. Tepper has continued to create music over the years, but “No Easy Way Out” remains his closest brush with mainstream success.

“The Sweetest Victory,” Touch

This track presents a bit of a puzzle. Hardcore ’80s AOR enthusiasts might assume it was performed by the short-lived band led by future Michael Bolton co-writer Mark Mangold, but that group had long since disbanded by the time Rocky IV was in production. Instead, this version of Touch was a one-off project assembled by Marq Torien, who would later front BulletBoys; somehow, their demo reached Sylvester Stallone, leading to this unexpected inclusion.

“Surfin’ Dead,” The Cramps

The soundtracks of the ’80s were filled with grandiose rock anthems, but they also allowed for more unconventional contributions, such as this tongue-in-cheek offering from psychobilly legends The Cramps, crafted for the Return of the Living Dead soundtrack. It remains delightfully absurd while still packing a punch.

“Once Bitten,” 3-Speed

Fronted by singer Linda Chase, the electro-rock trio 3-Speed struggled to make a significant impact in the music industry during their brief existence, yet they managed to secure an impressive number of soundtrack placements. Admittedly, some of their tracks ended up on soundtracks for films like Voyage of the Rock Aliens, but they also recorded “Wind Me Up” for the cult classic RAD, and they will forever be remembered as the band behind “Once Bitten,” the title track for Jim Carrey’s 1985 vampire comedy. It (ahem) does not disappoint.

“Miami Vice Theme,” Harold Faltermeyer

Is it true that synthesizers were responsible for some regrettable moments in ’80s rock? Absolutely. Yet, it’s also true that synthesizers heralded the future and helped create undeniably cool tracks. Harold Faltermeyer was a key player in this movement. A year after achieving massive success with “Axel F” from the Beverly Hills Cop soundtrack, he returned with the Miami Vice theme, setting the tone for a show that made music an integral part of its era-defining success. It’s hard not to feel compelled to put on some shades and hop into a speedboat after listening!

“You Belong to the City,” Glenn Frey

While we’re skipping over “Smuggler’s Blues” because it was released on The Allnighter before becoming the basis for a Miami Vice episode, “You Belong to the City” deserves our attention. Frey wrote and recorded it specifically for the show, and it became one of his most significant solo achievements. Much of the track’s success can be attributed to the catchy sax riff performed by Bill Bergman, who later released his rendition for his Midnight Sax album in 1986. Although it may not be the hardest-hitting track on our 1985 soundtrack mixtape, it’s perfectly fine to take a breather now and then.

“We Don’t Need Another Hero,” Tina Turner

Following her unexpected comeback with Private Dancer, Tina Turner seized every opportunity to reclaim her spotlight, including taking a co-starring role in Mad Max Beyond Thunderdome. While the film was highly anticipated, it ultimately disappointed some fans, except for Turner’s anthem from the soundtrack, which turned out to be one of her most significant solo hits.

“Upset Stomach,” Stevie Wonder

Let’s be honest: “Upset Stomach” may not rank among Stevie Wonder’s finest work. However, when considering “Stevie Wonder’s best songs,” the bar is exceptionally high. If we focus solely on his songs recorded for soundtracks in the ’80s, this track surpasses “I Just Called to Say I Love You” in several ways. Although overshadowed by Wonder’s hits from his then-current In Square Circle album, this track offers a sparkling, synth-driven glimpse into his sound during the mid-’80s.

“I Got Nothing,” the Bangles

When considered on its own merits, the Goonies soundtrack serves as a fascinating snapshot of the ’80s, even for those who haven’t seen the film. It features renowned artists (Cyndi Lauper, REO Speedwagon, Philip Bailey), diverse genres (with Teena Marie and Luther Vandross interspersing pop and rock tracks, along with Dave Grusin’s orchestral theme), and emerging talents. The Bangles, at the time, were among the latter, as their hit album Different Light wouldn’t be released until early 1986. “I Got Nothing” perfectly exemplifies their early, edgier sound that was eventually replaced in favor of more mainstream pop hits.

“Save the Night,” Joseph Williams

The year before he made his notable debut as the new lead vocalist for Toto, Joseph Williams showcased his potential as a solo artist with “Save the Night.” Featuring an engaging blend of lively keys and smooth guitar fills, this track foreshadows the style he would soon explore with his future bandmates. Given his family connection to legendary composer John Williams, it’s understandable that he gravitated toward creating music for soundtracks.

“Fletch, Get Outta Town,” Dan Hartman

In 1985, Dan Hartman was enjoying a creative renaissance. After years of struggling to establish a successful solo career, the former frontman of the Edgar Winter Group finally broke through with “I Can Dream About You,” a Top 10 hit whose placement in the Streets of Fire soundtrack propelled a string of subsequent Top 40 singles. Continuing his soundtrack work, Hartman co-wrote “Living in America,” the James Brown hit from Rocky IV, and contributed several songs to Fletch. Unfortunately, this marked the end of his hot streak, possibly due to the less star-studded nature of the soundtrack, which leaned heavily on synth-pop and ballads. It’s a pity, as “Fletch, Get Outta Town” is every bit as charmingly absurd as its title suggests.

"Don't You (Forget About Me)," Simple Minds

Hey, hey, hey, hey. The producer of the Breakfast Club soundtrack, Keith Forsey, famously offered this massive hit to his frequent collaborator Billy Idol, who declined, as did Bryan Ferry. Simple Minds were also initially hesitant to record it, wishing to concentrate on their own compositions. Ultimately, they were glad they changed their minds, as “Don’t You (Forget About Me)” became their biggest hit in the United States.

“The Power of Love,” Huey Lewis and the News

In the wake of five consecutive Top 20 hits from their immensely popular Sports album, Huey Lewis and the News could have found themselves in heavy rotation with nearly any song during the summer of ’85. Instead, they opted to deliver one of the era’s quintessential soundtrack anthems, tied to the biggest film of the season. Huey might have considered it a form of retribution for what transpired with Ghostbusters, but for listeners, it was simply an irresistible single featuring all the power chords and synthesized horns any fan of ’80s music could desire.

“Time Bomb Town,” Lindsey Buckingham

While “Holiday Road” may hold a special place in many hearts, this track from the Back to the Future soundtrack pulsates with the nervous energy characteristic of Buckingham’s solo work from the ’80s, while also foreshadowing the incredibly radio-friendly sound he would soon bring to Fleetwood Mac’s comeback with Tango in the Night a couple of years later.

“Heaven Is One Step Away,” Eric Clapton

This castoff from the Phil Collins-produced sessions for Behind the Sun is an exceptionally middle-of-the-road offering from a very middle-of-the-road period in Eric Clapton’s career. Nevertheless, it is undeniably catchy and serves as a decent precursor to the Michelob rock that would define his full-blown comeback the following year.

“Back in Time,” Huey Lewis and the News

Not content to provide only one soundtrack classic for Back to the Future, Huey Lewis and the News also recorded “Back in Time,” an upbeat track filled with lyrical references to the film’s plot that manages to avoid coming off as awkward. Much like everything the band produced during this time, it’s effortlessly catchy and radiates hit potential — and it was indeed a hit, climbing to No. 3 on the Mainstream Rock chart.

“St. Elmo’s Fire (Man in Motion),” John Parr

Without this song, John Parr would likely be mostly remembered in the United States for “Naughty Naughty,” a track notable primarily for its self-referential rhymes. Thankfully, Parr caught the attention of David Foster at the height of his ’80s success when he was brought in to produce the St. Elmo’s Fire soundtrack. They collaborated on this track, which became Parr’s only American No. 1 hit. Although the lyrics reference the film, they were largely inspired by athlete Rick Hansen’s global campaign to raise awareness for spinal cord injuries—adding a layer of real-life perseverance that makes the song even more impactful. Coupled with musical contributions from members of Toto, REO Speedwagon, and Mr. Mister, the results are quintessentially 1985.

“Shake Down,” Billy Squier

The debate surrounding the impact of the “Rock Me Tonite” video on Billy Squier’s career has persisted for years. While it’s likely true that the clip didn’t do him any favors, it’s important to note that, despite his talent, Squier’s most significant songs tended to follow a fairly predictable formula. With big beats, powerful guitars, and those distinctive, high-pitched vocals, he produced timeless tracks. However, after a while, it created the impression that if you had heard one song by Squier, you had essentially heard them all. Thus, while “Shake Down” emerged as one of the more obscure tracks on the St. Elmo’s Fire soundtrack, it remains a solid, mildly funky rock number. And if it doesn’t provide anything new compared to his hits, that’s completely acceptable.

“Young and Innocent,” Elefante

After parting ways with the temporarily disbanded Kansas in 1984, singer John Elefante collaborated with his brother Dino to form the band Elefante. Although they faced several challenges with record labels, they made a remarkable debut with “Young and Innocent,” which introduces majestic power ballad theatrics to the St. Elmo’s Fire soundtrack. Generally, having David Foster producing your first recording would lead to a hit in 1985—or at least a long-term record deal. Unfortunately, this track proved to be one of those rare exceptions.

“This Time It Was Really Right,” Jon Anderson

The primary criticism of David Foster’s work in the 1980s is his tendency to impose his own musical style on his clients rather than highlighting their unique strengths. “This Time It Was Really Right,” created during the lengthy sessions for Yes’s Big Generator, supports this argument. With slick guitars from Michael Landau and Steve Lukather, along with a Chicago-style horn section, it could have easily been performed by Bill Champlin or Peter Cetera. Nevertheless, hearing Anderson in this context provides a refreshing change of pace, and it’s tempting to imagine what he and Foster might have achieved with a full album together.

“Saved My Life,” Fee Waybill

Speaking of Lukather, he co-wrote “Saved My Life” alongside Waybill and Foster, reuniting the creative team behind the Tubes’ 1983 hit “She’s a Beauty.” Unfortunately, lightning didn’t strike twice for this collaboration, as Fee and his bandmates’ fortunes were already waning due to the lukewarm reception of their ’85 album Love Bomb. However, this does not diminish the quality of the song. At his peak, Waybill was a unique singer-songwriter capable of blending quirky humor with commercial appeal, and “Saved My Life” showcases that talent beautifully. Although the hits he soon penned with Richard Marx undoubtedly benefited his bank account, it’s still intriguing to consider a reality where Waybill and Foster collaborated more frequently.

Oingo Boingo, “Weird Science”

Like their eccentric frontman Danny Elfman, Oingo Boingo were always too quirky to achieve sustained success in the Top 40. However, they came close on several occasions, reaching their pinnacle with “Weird Science.” This track encapsulates the film’s nerdy adolescent spirit while ensuring audiences are left with a catchy tune that lingers long after the final chorus fades.

Max Carl, “The Circle”

Max Carl would soon join 38 Special, leading to one of their biggest hits, “Second Chance.” However, in 1985, he was focused on reviving his solo career following several years as the frontman for ’80s soundtrack staples Jack Mack and the Heart Attack. Although Carl’s Circle album was a commercial failure, the title track highlights the qualities that made him an appealing choice to replace Don Barnes in 38 Special. This also led him to participate in a short-lived supergroup with Paul Carrack and ex-Eagles Don Felder and Timothy B. Schmit. Unfortunately, that project was overshadowed by the Eagles reunion, illustrating how much luck and timing can impact rock ‘n’ roll careers, alongside raw talent.

John Hiatt, “Snake Charmer”

In 1985, John Hiatt found himself at a low ebb, both personally and professionally. He was on the verge of losing his third record deal, enduring his second divorce, and just out of rehab, where he confronted his struggles with alcoholism. Yet, even during his wilderness years, Hiatt consistently produced exceptional songs, and “Snake Charmer,” a largely overlooked track from the second side of the White Nights soundtrack, is a prime example. Produced by Phil Ramone, “Charmer” plays to Hiatt’s strengths in ways many of his earlier records failed to achieve; it rocks hard while showcasing his loose and energized performance. Just two years later, he would return with Bring the Family, an album that revitalized and redefined his career.

“Separate Lives,” Phil Collins and Marilyn Martin

At the dawn of the ’80s, Stephen Bishop was a hot property, having scored three Top 40 hits (including the Mellow Gold classic “On and On”) and an unforgettable cameo in Animal House. However, fame can be fleeting, and Bishop’s commercial prospects cooled rapidly. Following the lackluster performance of his 1980 album Red Cab to Manhattan, he spent the majority of the decade out of the limelight. When he finally released 1985’s Sleeping with Girls, it was only made available in Asian territories. Yet hidden within that album was “Separate Lives,” a heartfelt ballad Bishop had penned about his breakup with actress Karen Allen. When Phil Collins was hired to record a track for the White Nights soundtrack, he chose to perform it as a duet with Marilyn Martin. This collaboration not only became a massive hit for Collins but also provided a temporary lifeline for Bishop, who was signed to Atlantic, thanks to his famous friend’s endorsement. Unfortunately, Bishop was slow to capitalize on this momentum, taking four years to release a partly Collins-produced follow-up, which he awkwardly titled Bowling in Paris and adorned with garish cover art, which certainly didn’t help his case.