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The 30 Best Pop Songs About Telephone Drama

When Adele and Drake duke it out on the Hot 100 next week, it'll be more than than only a clash between streaming versus downloading, or however another example of Drake'due south dreams been crushed by a woman. Both "Hello" and "Hotline Bling" observe common ground in romantic duress revolving around the telephone, the quondam about missed connections with an ex via home phone, and the latter most missed connections with a before longhoped-for-ex-something via cell phone.

This fascination isn't new, of course: Pop music's relationship with the phone is a long and sometimes sordid affair. Neither obsolete applied science nor e'er-evolving modes of communication has stopped the device from being a central plot point in dozens of hits. The phone has helped romance smolder — whether protagonists are whispering sweet nothings over a land line while twirling a rotary phone string, leaving declarations of love on answering machines, or slyly sexting from an iPhone 6 — but it'southward likewise functioned every bit a vessel for heartache, in times when messages are ignored or nobody picks upwardly. As these thirty songs reveal, although the device itself has inverse over the years, the telephone'due south importance to relationships has stayed remarkably constant — and thus remained a lyrical staple.

"Chantilly Lace," Big Bopper (1958)
Information technology's distressing to realize that men accept been using the same lame lines to woo women for decades, just communicating them via varying degrees of endeavour as engineering science has enabled. In "Chantilly Lace," the Large Bopper is chatting on the phone with his gal, obliquely and idly complimenting her ass, her voice, and her face, while peppering their conversation with "infant"s and "honey"s. Merely the piece of work put in over the telephone isn't getting him anywhere IRL: She orders him to be on time when picking her up for a date, and though he claims to be broke, it'southward clear she won't be paying a cent when they leave.

"Beechwood iv-5789," The Marvelettes (1962)
Telephone call the romantic instigator of this Marvin Gaye–co-written motown melody the proto-Beyoncé: This bold woman not only drags a shy guy onto the dance floor, she then flirtatiously gives out her telephone number and coos, "I'd like to make you lot mine." Best of all, she placates his ego by framing it up like it's his idea: "You can telephone call me up and have a date any old time." Vivid!

"634-5789 (Soulsville, U.s.A.)," Wilson Pickett (1966)
This promise-springs-eternal soul hitting feels like a very early on, chaste version of a personal advert. A crew of female vocalists repeatedly sings Pickett's digits, while he encourages those looking for "huggin'" and "kissin'" to give him a telephone call.

"Party Line," the Kinks (1966)
Party lines — a telephone connection shared by multiple people or households — were notorious for their lack of privacy. This is pitiful to the Kinks, who are unable to go proper intel on a mysterious woman who always seems to exist chatting when they punch in: "Is she large, is she pocket-size? / Is she a she at all?" Farcical mayhem might ensue, but we doubtable it might be easier if they just ask who she is directly instead of making insulting judgments about her theoretical appearance.

"Telephone Line," Electric Light Orchestra (1976)
When a relationship ends and you don't accept closure because an ex won't answer your calls, yous can either dwell on the unknown or move on with your life. For those who adopt the former arroyo, there'southward ELO's soft-glow orchestral-popular hit "Phone Line." All the song'due south protagonist wants is one more conversation with a faraway love; instead, his phone call isn't answered, which inspires an ballsy wallow overflowing with the sort of emotional gloom and doom that makes it stick in your mind.

"Hanging on the Telephone," the Nerves (1976)
The lovelorn protagonist of the Nerves' ragged power-popular gem is the kind of psycho hose beast for whom restraining orders are invented. He's calling his ex endlessly from a telephone booth virtually her house, asks to see her in person though it'south clear the relationship is over ("I'd like to talk when I can bear witness you my affection"— ew) and ends the song by demanding, "Hang up and run to me." Uh, sure, creepster, I'll exist correct over. All that said, what a cracking song!

"Love on the Phone," Foreigner (1979)
Long-distance relationships: When you lot're together, things are hunky-dory; when you're autonomously, uncertainty and longing rear their ugly heads. And and so the couple depicted in Foreigner's synth-prog romp "Dear on the Telephone" is all too relatable to anyone who's put themselves through this emotional hell: The man is repeatedly staving off a phone-based breakup, instead trying to convince his beloved that things will be perfect one time they're united by more than merely a land line.

"Call Me," Blondie (1980)
While the lyrics of Blondie's signature hit are wildly chill about the future of a burgeoning beloved affair, both the pulsating disco-pop beat and Harry's vocal delivery urge her potential beau to drop her a line. Information technology's an canticle for women who know what they desire — and accept no qualms about asking for it, albeit very coolly.

"867-5309/Jenny," Tommy Tutone (1981)
Tommy Tutone's New Wave trifle has all the makings of a rom-com: The lovesick master character has spotted Jenny's digits on some random wall and is trying to muster up the nerve to phone call her. The potential meet-beautiful ends there, however, because he'due south already let his imagination run wild nearly their theoretical relationship and proclaimed that he "need[due south] to make you mine." Pass.

"Mr. Phone Man," New Edition (1984)
First heartbreak sticks with you forever, especially when information technology's handled in a confusing, callous way. Just ask New Edition: Although they insist throughout the bubblegum R&B lament "Mr. Telephone Man" that their "baby wouldn't hang upwardly on me," there'due south likewise much evidence to the opposite. They continue hearing a click that's not a line glitch, while her sister, a "strange human," and even the operator are all conspiring to block communication. Take the hint and lose her number.

"I Just Called to Say I Dearest You," Stevie Wonder (1984)
Leave it to Stevie to gear up the bar insanely high for romantic phone gestures — so high, in fact, that even today's text-but zealots would pick up the phone for this. No special occasion needed — Wonder was just hanging out and figured he'd call up his dear to allow her know he cares. This guy.

"Answering Machine," the Replacements (1984)
Answering machines are relics that get mitt-in-hand with the days when, y'know, people actually talked on the phone. However, the agony described in this Replacements vocal is completely timeless: Sometimes you exercise want to hear the voice of someone you miss, and the possibility of having to leave a message instead is downright excruciating. That the vocal expressionless-ends with a looped sample of a computerized operator intoning, "If you lot need aid, if you need assistance …" adds insult to injury.

"Lost Your Number," Nu Shooz (1986)
Technology has fabricated the premise of this song obsolete on many unlike levels. Freestyle pioneers Nu Shooz want to use a pay phone to dial upwardly their new obsession, but have lost the scrap of paper with their phone number — a catastrophic loss that would kill the relationship before it started. Now y'all could probably creep online a little and send a Facebook message instead. How romantic.

"Talk Dirty to Me," Poison (1986)
Those nice young gentlemen in Poisonous substance never specify how "muddied" their phone conversations become, but nosotros can safely presume they'll involve R-rated ways to brand late-night tour stops that much more bearable. The "Talk Dirty to Me" video is far more problematic, nonetheless, as it features Bret Michaels ringing up what appears to exist a teenage girl, who breathily tells him, "I want to put my easily all over you." In today'southward world, this gesture would get him doxxed and put on full nail beyond social media. Back so, it only ran up the telephone beak for his hotel room.

"The Phone Phone call," Kraftwerk (1987)
If you've dated (or married) someone emotionally stoic, you lot know that even the smallest overt romantic overtures are a Big Bargain, things to exist cherished when they happen. That's certainly the biggest takeaway from this percolating synth-pop jam from the masters of the genre. The recurring sample of someone dialing a rotary phone is used to prop up adorkable lines such as, "I call you lot up from fourth dimension to fourth dimension / To hear your voice on the telephone line."

"Star 69," R.East.K. (1994)
The pre-caller-I.D. standby *69 — used to punch dorsum the last person who chosen y'all — was the bane of any prankster's existence, the surefire mode to go defenseless misbehaving. Equally this buzzsawing, lighthearted R.Due east.M. track underscores, punching in *69 is indeed an first-class style to exact revenge on a not-so-smart cheat who wants to drag an innocent into a massive criminal enterprise.

"Spiderwebs," No Uncertainty (1995)
Long earlier iPhones made information technology super easy to block the numbers of abrasive suitors who couldn't have a hint, No Doubt was doling out tips on how to ghost while sidestepping messy emotional confrontation. Information technology's foolproof, really: Screen your calls and let them become to vocalisation mail. Of course, in this historic period, leaving a voice mail is a damn fools' errand.

"The Call," Backstreet Boys (2001)
"The Phone call" begins with a phone conversation between one of the Boys and his girl that's cut short due to a low prison cell battery and bad reception. Spoiler alarm: This intro foreshadows a similar scene later in the song, when he has the same conversation right earlier he sneaks off and cheats on her with someone he just met. (Naturally, she eventually finds out — this is a BSB song, then the moral undertones are hard to shake.) At least the lying lout is racked with guilt over how much that fateful telephone call batty his relationship and his life.

"Hung Up," Madonna (2005)
At first, "Hung Up" is shockingly out of character for Madonna: She spends the outset half of the Confessions on a Dance Floor unmarried glued to the phone hoping her dude will call. Thankfully, our Madge remembers that she would destroy him with 1 swift stiletto dropkick and dumps the scrub, letting him know he'll regret it later. Revenge is a dish Madonna serves best.

"Beeper," Count & Sinden feat. Child Sis (2008)
It's weird to be nostalgic for archaic technology, merely there's absolutely something charming almost the days of pagers and beepers, when text-flirting was far less fraught with subtext. As with anything, all the same, people found a way to be jerks anyway: On "Beeper," Kid Sis shuts a guy down considering he crudely disrespected her by paging "69." Rude.

"Video Telephone," Beyoncé feat. Lady Gaga (2009)
Bey's self-confidence is such that she isn't afraid of having sexy-time videos of her floating around on her guy'south phone — in fact, she encourages him to rewatch the provocative clips, seemingly allowed to the fact his bros could also exist watching. Reflective of voyeurism? Nah, maybe it's that he knows she'd finer cease him if the clips got out.

"Text Me," R. Kelly (2009)
Raunchy text messages have largely replaced haul calls, which is kind of a shame: Few things are more seductive than the audio of a human being voice expressing longing. Put information technology out of your mind that Kellz is saying these things (shudder), equally he does raise a skillful point with his memorable cutting: Sexts are but the aperitif to the call — which, in the most indulgent scenario, is just foreplay for an in-person rendezvous.

"LOL :)," Trey Songz feat. Gucci Mane and Soulja Boy (2009)
Of class, these text messages are either completely eye-rolling or enticing, depending on your feelings towards the sender. This song illustrates how apace textual seduction can go bordering-on-embarrassing levels of cheesy ("Sent that lil' face with the natural language 'cause I'one thousand nasty" is actually one of the lines here, I mean, c'mon).

"Telephone," Lady Gaga feat. Beyoncé (2009)
Okay, and so at to the lowest degree it wasn't a Mail service-it breakdown, just still: Catastrophe information technology with Lady Gaga via telephone is an exercise in futility. She'due south going to blame yous for being needy and ignore your pathetic telephone call barrage — all while sipping Champagne and dancing up a tempest in the guild with freakin' Beyoncé.

"Call Me Maybe," Carly Rae Jepsen (2011)
Carly Rae Jepsen acutely nails the vulnerability it takes to give someone your phone number out of the blue. Sure, she keeps things light enough to brand the digit transaction feel like no big deal, but part of what made people dear this song is that its glimmers of hope mirror the optimistic collywobbles that creep in after meeting a potential paramour.

"Payphone," Maroon 5 feat. Wiz Khalifa (2012)
It'south unclear why, in the year 2012, Maroon 5 were using a pay phone to salve a human relationship. Is someone going around swatting Adam Levine's iPhone out of his hand every time he goes to make a call? (An inside joke amidst Vocalism bros, no doubt, that Blake Shelton took too far.) Did Levine simply want to show that he really cares, since pay phones aren't even like shooting fish in a barrel to observe? Either way it's a moot point, since the human relationship seems sunk by self-loathing, regret about by indiscretions, and one-half-baked accusations. Manner to waste your big romantic pay-phone gesture on a lost crusade. Ya burnt, Levine!

"Machine Telephone," Julian Smith (2014)
Zack Morris'due south oversize portable telephone has no peer in terms of ridiculousness — even though the gigantic, clunky auto phones that were a luxury item in the '80s are a close 2nd. This robotic electropop spoof mocks the high cost of calls ($2 a infinitesimal!) and how utterly non-useful these contraptions were: The song's father figure puffs up with pride over being able to telephone call his friends to meet upwardly for doughnuts.

"Text Me in the Morning," Neon Trees (2014)
The forenoon-after-debauchery text exchange is a frightening matter. Will final nighttime'southward phone history be a train wreck when examined in the sober lite of day? Will you notice out nigh bad decisions from someone else? Did y'all tell your crush you loved him? In the instance of the latter, if Neon Copse is involved, you tin rest assured that they won't agree this sloppy-drunk admission against you. After all, they're respectful folks who really care if you're okay: "When all the other boys simply desire your sex / I just want your texts in the morning."

"Hi," Adele (2015)
On i hand, Adele'south "Hello" might be about her navigating awkward conversations while making amends for breaking an ex's heart. On the other, perchance the vocal is one extended overreaction to the fact that she can't get him on the damn phone. Perhaps using a land line instead of a flip phone volition assist?

"Hotline Bling," Drake (2015)
"Hotline Bling" is the classic tale of the sulking human-kid who can't handle the fact that the world doesn't revolve effectually him. Later on he moves away, his erstwhile girl stops late-nighttime booty-calling him, which makes the poor baby experience rejected. To hide his hurt feelings, he tut-tuts that she'south no longer a "good girl" because she starts going out more, dresses provocatively, and is even (gasp) mayhap hooking up with another guy. Quick notation to Drake: The phone works both ways, buddy, maybe y'all could have turned this thing around if yous called her for once instead of playing the "you've changed" carte du jour when you're the one who moved away and all. I know you lot're busy and all, but, similar …

The 30 All-time Pop Songs About Phones