About The Song
Released globally in 1985, “Take On Me” is far more than just a song; it’s a cultural touchstone, a quintessential slice of synth-pop brilliance that catapulted the Norwegian trio a-ha to international superstardom. Driven by one of the most famous keyboard riffs in pop history and propelled by a truly groundbreaking music video, the track became a worldwide #1 smash and remains an enduring symbol of the vibrant energy and technological innovation of 80s popular music.
The song was written by the members of a-ha themselves – Magne Furuholmen, Morten Harket, and Pål Waaktaar. Interestingly, the version the world came to know and love wasn’t the first attempt. The band had recorded and released earlier versions of the song which failed to gain traction. It was only after teaming up with producer Alan Tarney, who helped reshape the arrangement and production, that “Take On Me” found its definitive, hit-making form. This persistence paid off spectacularly, resulting in the polished, energetic track that conquered the airwaves.
Musically, “Take On Me” is a masterclass in 1985 synth-pop. Its most immediate hook is the incredibly catchy, effervescent synthesizer riff that opens the track and repeats throughout, instantly lodging itself in the listener’s brain. This is underpinned by a driving, sequenced drum machine beat and layers of bright keyboard textures, creating a soundscape that is both energetic and melodically rich. Central to the song’s appeal is the remarkable vocal performance by lead singer Morten Harket. His clear, powerful voice navigates the verses with ease before soaring into an astonishingly high falsetto during the unforgettable chorus, showcasing a vocal range that became a signature element of a-ha‘s sound.
The theme of “Take On Me” is relatively straightforward: it’s an earnest, urgent plea for connection. The lyrics express a degree of vulnerability (“So needless to say / I’m odds and ends / But I’ll be stumbling away”) while simultaneously urging the object of affection to overcome hesitation and take a chance on the singer (“Say after me / It’s no better to be safe than sorry”). The repeated chorus line, “Take on me / Take me on / I’ll be gone / In a day or two,” adds a sense of fleeting opportunity, emphasizing the need for immediate action if a connection is to be made. It’s a song about bridging the gap between two people and daring to engage despite uncertainty.
While the song itself is undeniably infectious, its phenomenal success is inextricably linked to its revolutionary music video. Directed by Steve Barron, the video was a technical marvel for its time, pioneering the widespread use of rotoscoping. This technique involved tracing over live-action footage frame by frame to create a pencil-sketch animation style, which was then magically blended with the live-action sequences. The charming narrative featured a young woman pulled into the comic-book world of the band’s lead singer. The video was visually stunning, imaginative, and perfectly complemented the song’s energy. It became a sensation on MTV, winning multiple awards and playing a massive role in breaking the band internationally. For many, the song and its iconic video are inseparable.
“Take On Me” achieved staggering global success. It hit #1 on the US Billboard Hot 100 chart and topped the charts in dozens of other countries, while reaching #2 in the UK. This phenomenal chart performance instantly established a-ha as major international stars and made their debut album, Hunting High and Low (1985), a massive seller. The song became their undisputed signature anthem.
Even today,“Take On Me” retains its immense popularity. Its irresistible melody, Harket’s soaring vocals, the quintessential synth-pop production, and the enduring magic of its music video (which has famously surpassed billions of views on YouTube) ensure its continued presence on retro playlists, in films, and in popular culture. It remains a perfect encapsulation of 80s pop optimism and innovation, crafted by a-ha and Alan Tarney into an unforgettable classic.