Synth-pop (1981), which produced a series of hit singles. These included "Don't You Want Me", which reached number one in the UK at the end of 1981. Synth-pop reached its commercial peak in the UK in the winter of 1981–2, with bands such as Orchestral Manoeuvres in the Dark, Japan, Ultravox, Soft Cell, Depeche Mode and even Kraftwerk, enjoying top ten hits. In early 1982 synthesizers were so dominant that the Musicians Union attempted to limit their use. By the end of 1982, these acts had been joined in the charts by synth-based singles from Thomas Dolby, Blancmange, and Tears for
Pop (U2 album) Slant Magazine included the album in their list "Vital Pop: 50 Essential Pop Albums," with reviewer Sal Cinquemani saying "the reason why "Pop" wasn't a bigger hit in the U.S. is a mystery" and said the record was "better (and deeper) than anything on U2's much-ballyhooed 'return' to pop, "All That You Can't Leave Behind"." Bobby Olivier of "Billboard" believed that "Pop" was the band's "last legitimately courageous project," saying that "all we see is a group that chose not to coast." "Pop" was initially a commercial success, debuting at number one in 27 countries, including the UK and the