You know the feeling. That crisp, synthesized drum fill hits, and then—bam—the most recognizable keyboard hook of the 1980s kicks in. It's Take On Me. Whether you’re at a wedding, a dive bar, or just scrolling through TikTok in 2026, you cannot escape this song. It’s basically the sonic equivalent of a warm hug mixed with a frantic sprint through a pencil-sketch universe.
But here’s the thing: most people think a-ha was some overnight sensation that stumbled into a hit. They weren't. Honestly, the story of how Take On Me became a global juggernaut is actually a saga of repeated failure, stubbornness, and a very lucky encounter with a pencil.
The Version Everyone Forgot
Most fans don't realize that the version of Take On Me we all scream-sing in the car wasn't the first one. Not even close. Morten Harket, Magne Furuholmen, and Pål Waaktaar-Savoy actually released a version of the song in 1984. It sounded... thin. It was produced by Tony Mansfield and, frankly, it flopped. It sold maybe a few hundred copies. It was clunky. It lacked that "spark" that makes your hair stand up.
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The band didn't give up. They knew the bones of the song—specifically that riff Magne had been playing since he was 15—were gold. They re-recorded it with Alan Tarney. This second version is the one we know today. But even then, the song didn't take off immediately. It needed a visual. It needed the video.
That Pencil-Sketch Magic
We have to talk about Steve Barron. He’s the director who looked at this synth-pop track and decided it needed a "rotoscoped" music video. This wasn't some AI filter from a phone app. This was 1985. Every single frame of that video—over 3,000 of them—had to be hand-drawn by artists Mike Patterson and Candace Reckinger.
It took sixteen weeks. Imagine drawing for four months just for a four-minute pop song.
The story in the video is simple but weirdly emotional: a girl (played by Bunty Bailey) is reading a comic book in a cafe, a hand reaches out, and she gets pulled into a black-and-white world where a racing driver (Morten Harket) is being chased by guys with pipe wrenches. It’s romantic. It’s stressful. It’s iconic. When the video hit MTV, it was game over. The song rocketed to number one in the US, making a-ha the first Norwegian band to ever top the Billboard Hot 100.
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Morten Harket’s Voice Is Literally a Miracle
Let’s be real: most of us fail miserably when we try to hit that high note. You know the one. The "In a day or TWOOOOOOO."
Morten Harket has a five-octave range. Most professional singers struggle to maintain two or three with total control. That final note in the chorus is an $E_5$. To hit that with a full voice—not just a weak falsetto—requires a level of lung capacity and vocal cord control that is basically superhuman.
Interestingly, the band almost didn't include that high note. Pål Waaktaar-Savoy once mentioned in an interview that the song was originally much lower and a bit more "punk." It was only when they started leaning into the pop sensibilities of the mid-80s that they decided to see how high Morten could actually go. Turns out, he could go higher than almost anyone else on the radio.
Why We Are Still Obsessed With Take On Me
Music critics often call a-ha "one-hit wonders" in America, which is kind of an insult considering they’ve sold over 100 million records globally and are massive stars in Europe and South America. But Take On Me is the one that stays in the cultural zeitgeist.
Why?
- The Riff: It’s a "perfect" melody. It uses a syncopated rhythm that feels like it's constantly moving forward. It’s impossible not to tap your foot to it.
- Nostalgia: It represents the peak of 1980s optimism and technological experimentation.
- The Cover Versions: From Reel Big Fish’s ska version to Weezer’s synth-heavy tribute, the song is indestructible. Even Kygo’s remix brought it to a whole new generation of club-goers.
- The Unplugged Moment: If you haven't seen the MTV Unplugged version from 2017, go watch it now. It strips away the synths and turns the song into a haunting, slow-burn ballad. It proves that even without the 80s production, the songwriting is top-tier.
The Business of a Forever Hit
From a business perspective, the song is a literal gold mine. It has surpassed 1.5 billion views on YouTube. It's one of the few videos from the 80s to reach that milestone. Because the video was shot on 35mm film, the label was able to go back and remaster it in 4K. It looks like it was shot yesterday.
This longevity isn't accidental. The band's management and Warner Bros. have been incredibly protective of the track, ensuring it pops up in the right movies (Deadpool 2, anyone?) and the right commercials. It’s a masterclass in how to manage a legacy asset.
How to Appreciate It Properly Today
If you want to actually experience the song rather than just hear it for the millionth time, try this. Listen to the isolated vocal track. You can find it on various producer forums or YouTube. Hearing Morten’s breathing, the slight grit in his voice before he leaps into the stratosphere, makes you realize how much "soul" is actually in a song that people often dismiss as "plastic pop."
Also, pay attention to the lyrics. They’re actually kinda desperate. "Take on me / Take me on / I'll be gone in a day or two." It’s not just a happy dance tune; it’s a plea for connection before time runs out. That underlying tension is what keeps it from being just another cheesy 80s relic.
To get the most out of your 80s synth-pop kick, start by comparing the 1984 "Big Apple" demo with the 1985 studio version. You'll hear exactly how a good producer (Alan Tarney) can take a great idea and turn it into a masterpiece by simply cleaning up the drum patterns and emphasizing the right frequencies in the synth lead. Next, check out the "Hunting High and Low" 30th Anniversary edition; it has early takes that show the song's evolution from a garage-band idea into the polished gem that still dominates the airwaves today.