‘L’Amour Toujours’ N°105 – Vintage 80s Music Videos

1 . Ashford & Simpson – Solid

“Solid” by Ashford & Simpson emerges as an exemplar of 1980s R&B, its staying power resting on both the seamless chemistry of the duo and the unshakeable groove they crafted.

Released in September 1984 as the title track of their eleventh studio album, it swiftly claimed the number one spot on the US Billboard soul chart and hovered respectably at number 12 on the Billboard Hot 100.

The track finds its thematic anchor in an homage to their real-life bond, threading the concepts of partnership and resilience into its structure.

With its undulating bassline and slinky rhythm, “Solid” both reflects and subtly subverts the era’s musical trends, steering clear of over-the-top production while still remaining irresistibly accessible.

Its cultural reach was significant, particularly in the UK, where it peaked at number 3 on the charts, a nod to the duo’s knack for transcending geographic boundaries.

Ashford & Simpson’s legacy as songwriters looms large, with previous hits like “Ain’t No Mountain High Enough” showcasing their rare ability to distill complex emotions into something radio-friendly without losing depth.

The music video, with its urban vignettes, adds a subtle visual narrative, complementing the track’s lyrical insistence on everlasting strength amid the chaos of city life.

At its core, “Solid” serves as an artifact of a genre in transition, less showy than its contemporaries yet no less effective in its appeal.

It’s not merely a song but a touchstone that underscores the pair’s enduring relevance in a shifting musical landscape.

Featured on the 1984 album “Solid”.

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2 . Huey Lewis & The News – The Power Of Love

“The Power of Love” by Huey Lewis & The News was released in 1985 and quickly lodged itself into the cultural psyche, thanks to its role as the musical backbone of “Back to the Future.”

The track blends a slick rock edge with an arena-filling energy that feels both timeless and unmistakably ’80s.

With its rich, brass-tinged undertones and infectious chorus, it’s the kind of song that demands to be blasted from car radios with windows down.

It’s not deep, but it doesn’t need to be—this is polished, unapologetic pop rock meant to embody exhilaration, positivity, and just a smidge of cheesiness.

The music video, equal parts performance and movie tie-in, plays up its connection to the film, featuring Huey Lewis in a zany cameo and, of course, a DeLorean.

Ironically, the song’s simplicity is its genius; it thrives without overreaching, embracing its aspirational message without veering into parody.

Nominated for an Academy Award, it lost out to Lionel Richie’s softer “Say You, Say Me.”

The contrast underscores its strengths—Lewis and company weren’t crooning for trophies; they were cranking up amps and aiming to make people move.

Nearly four decades later, the track resurfaces in Broadway shows and still conjures nostalgia-fueled smiles, proving that the power of a well-crafted, feel-good anthem shouldn’t be underestimated.

Featured on the 1985 album “Back to the Future: Music from the Motion Picture Soundtrack “.

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3 . Rick Astley – Never Gonna Give You Up

Rick Astley’s “Never Gonna Give You Up” defies merely being a pop song; it exists as both an artifact of ’80s production prowess and a phenomenon of internet absurdity.

Written by the hit-making Stock Aitken Waterman trio, its October 1986 recording bursts with synthetic brass stabs and choral hooks, anchored by Astley’s surprising baritone—an unassuming weapon behind its global domination.

The song didn’t just climb charts; it conquered them, reaching #1 in 25 countries, including the U.S. Billboard Hot 100 in March 1988 and reigning over the UK’s top spot for five weeks straight in 1987.

The accompanying video, with Astley’s restrained charisma and awkward-but-endearing moves, radiates that undeniable pastel weirdness only the late ’80s could achieve.

But the track’s permanence truly crystalized decades later through its unintentional reincarnation as “rickrolling,” a meme that walks the line between harmless prank and cultural rite, dragging the tune into digital immortality.

Astley embraced the joke, re-releasing editions to commemorate milestones like its billion-view YouTube milestone in 2021, proving that neither time nor shifting tastes can subtract its peculiar charm or utility as internet shorthand for irony.

It might be easy to dismiss the song as a relic of glossy, formulaic pop, but its endurance on official sales and streaming charts suggests that perhaps simplicity, earnestness, and a little synthetic polish are all you need to stay—well—“never gonna give up.”

Featured on the 1987 album “Whenever You Need Somebody”.

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4 . Londonbeat – Failing In Love Again

Released in 1989, “Londonbeat – Failing in Love Again” blends poignant storytelling with a signature dance-pop sound that epitomizes the band’s late ’80s energy.

The track finds its place on the debut album “Speak,” a collection shaped by the collaborative songwriting efforts of William Henshall, Jimmy Helms, George Chandler, and Jimmy Chambers.

Vocally, the song houses the unmistakable harmonies of Helms, Chambers, and Chandler, with Henshall weaving its instrumental backbone.

Paul Waller’s drum work adds a textured layer, providing contrast to its polished production, overseen by Willy M (Henshall himself).

The engineering team, composed of notable figures like Ian Caple and Mark “Spike” Stent, injects a professional sheen, making it radio-ready while preserving its emotional undertones.

Though it peaked modestly at No. 60 in the UK and No. 11 in the Netherlands, the song resonates within the broader late-’80s music landscape, bearing no pretension but standing firm as a reflection of heartache and yearning.

Its video, available on platforms like YouTube, complements the track with visuals that reflect its melodic melancholy and the era’s fascination with vibrant color palettes and emotive expression.

Featured on the 1988 album “Speak”.

Lyrics >> More by the same : Official Site

5 . Earth, Wind & Fire – Fall in Love with Me

“Fall in Love with Me” by Earth, Wind & Fire radiates polished funk with a romantic edge, underscoring the band’s early-’80s evolution.

Released in 1983 as the first single from *Powerlight*, it channels the slick production hallmarks of Maurice White, complemented by songwriting contributions from Wayne and Wanda Vaughn.

The track finds its groove between lush harmonics and a guitar solo that’s both precise and soulful, with Roland Bautista often assumed to be the hand behind it.

It resonated commercially, climbing to No. 4 on the US Billboard R&B chart and making a commendable dent in the pop landscape by reaching No. 17 on the Hot 100.

The accompanying B-side, “Lady Sun,” harks back to earlier years, but “Fall in Love with Me” firmly plants itself in the glossy sonic palette of the Reagan-era music scene.

Earth, Wind & Fire’s hallmark energy finds its visual counterpart in the music video, full of their theatrical showmanship and impeccable coordination.

Critics like Dave Marsh and Charles McCollum praised the track, nodding to its vocal richness and the group’s undeniable charisma.

This isn’t an experimental track but rather a confident extension of their tried-and-true formula, balancing commercial instincts with undeniable craftsmanship.

Featured on the 1983 album “Powerlight“.

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6 . Luther Vandross – Never Too Much

Luther Vandross’s “Never Too Much” opens with an infectious groove that’s impossible to ignore, its buoyant bassline and crisp instrumentation setting the tone for what would become an R&B anthem.

Released in 1981, it’s a track that unapologetically radiates joy and romantic yearning, its lyrics a cascade of pure affection and unfiltered devotion.

The production, spearheaded by Vandross himself, is tight and precise, blending a polished rhythm section with lush backing vocals courtesy of Brenda White, Cissy Houston, and Tawatha Agee.

Marcus Miller’s bassline becomes the backbone of the composition, with layers of Nat Adderley Jr.’s keyboards and Georg Wadenius’s guitar adding texture and sparkle.

The song’s success was no fluke—its ascent to the top of the US R&B chart speaks volumes about its universal appeal, but curiously, it took several more years for the track to gain broader recognition in the UK, peaking there after a 1989 remix.

The accompanying music video strips back any grandeur, choosing to showcase Vandross in his element: performing in a studio with understated charisma while his voice does the heavy lifting.

What’s striking here isn’t just the technical perfection but the emotional sincerity, an ingredient that often gets lost in the gloss of highly produced music.

“Never Too Much” is as much a declaration of love as it is a showcase of Vandross’s vocal prowess—effortless, soaring, and deeply human.

Though framed as a feel-good anthem, there’s no denying its technical complexity, from the rotational bounce of the rhythm guitar to the strategically placed horns.

And yet, it never feels overstuffed; Vandross manages to extract maximum dynamism without veering into excess, a balance often elusive in the genre.

Its enduring presence on compilation albums and its certification milestones in both the US and UK further solidify its place not just as a chart-topping hit but as a definitive R&B classic.

Vandross captured something timeless here—a song that exists as much in the moment as it does in nostalgia, resonating with both clarity and warmth decades after its release.

Featured on the 1981 album “Never Too Much“.

Lyrics >> Review >> More by the same : Official Site

7 . Mica Paris – Where Is The Love

Mica Paris’s rendition of *Where Is The Love* takes a 1972 classic and leans on its timeless appeal while injecting an unmistakable late-80s sheen.

Her duet partner, Will Downing, balances her robust voice with a reserved, smooth delivery that feels almost too polished to disrupt the song’s flow.

The track manages to showcase their vocal prowess without veering into the excessive dramatics often seen in such covers, though one might argue it exudes a restraint almost bordering on cautiousness.

Produced by Omar Hakim under Island Records, the arrangement adheres faithfully to the spirit of the original while layering a contemporary orchestration that screams post-disco era sentimentalism.

The music video, contrasted against the song’s lofty theme of love and understanding, opts for a practical, understated staging—a closed café and Manhattan streets—eschewing frills for sincerity.

The 1988 release, nestled in her debut album *So Good*, proved commercially viable, reaching number 19 on UK charts and holding its place for weeks.

Yet, for all its clean execution, there’s a lingering sense that the track’s success relied more on the goodwill of a beloved original than on breaking new musical ground.

It’s a track that inspires appreciation but avoids taking risks, appealing to listeners who want familiar warmth rather than innovation.

Featured on the 1988 album “So Good”.

Lyrics >> More by the same : Official Site

8 . Simple Minds – Don’t You [Forget About Me]

Recorded as an afterthought by a band initially uninterested in the project, “Don’t You [Forget About Me]” has somehow transcended its thankless origins to become the quintessential anthem of teen disillusionment.

Its origins are firmly rooted in John Hughes’ 1985 film “The Breakfast Club,” where it bookends the narrative with an unmistakeable mix of ennui and yearning.

The track’s most iconic feature—the sprawling “la-la-la-la” coda, which might have come across as filler in lesser hands—anchors the song in a hypnotic loop of unresolved emotions.

Jim Kerr’s delivery, complete with the added “hey hey hey” intro, walks a fine line between theatrical and intimate, managing to resonate without coming across as hollow melodrama.

The production by Keith Forsey leans heavily into the cinematic, with soaring synths and a driving drumline that feel tailored for a climactic close-up rather than a core track on a studio album.

Despite—or perhaps because of—its initial status as a standalone single, the song defies expectations, weaving together commercial accessibility and an almost accidental profundity.

The accompanying music video, set against the cavernous shadows of Knebworth House, reinforces the song’s sureness in its own ambiguity, a scattered montage of artifacts and flickering screens that feel halfway between cryptic statement and MTV-era checklist.

The fact that the track peaked at #1 on Billboard while stalling at #7 in the UK is a testament to its American afterschool-special appeal, even as its Brit-penned DNA remains unmistakable.

Neither the band’s deepest cut nor their most representative, “Don’t You [Forget About Me]” endures less as an organic creation of Simple Minds than as a perfect snapshot of 1980s cultural alchemy: a soundtrack moment that outlived its cinematic frame.

Featured on the 1985 album “The Breakfast Club (Original Motion Picture Soundtrack)”.

Lyrics >> Review >> More by the same : Official Site

9 . Bryan Adams – Run To You

“Run To You” is a rock anthem that pairs Bryan Adams’ raspy vocals with sharp guitar riffs, delivering a track that feels both urgent and conflicted.

Released in 1984 as part of his album “Reckless,” it threads the needle between mainstream appeal and a touch of rebellion.

The lyrics target the listener with their narrative of forbidden love, steering clear of sentimentality while leaning into raw desire and inner turmoil.

What’s striking is how the song’s upbeat tempo contrasts with its themes of temptation, creating an emotional tug-of-war that keeps you hooked.

The production, driven by Adams and Jim Vallance, is slick without being overbearing, letting the melody breathe while still hitting hard.

The music video, directed by Steve Barron, avoids clichés by substituting the usual love interest with Adams’ guitar, cleverly shifting the focus away from moral judgment.

It’s a song that captures a certain 1980s restlessness, perfect for both arena crowds and introspective headphone moments.

Debuting to considerable success, the track demonstrates Adams’ knack for balancing commercial viability with a touch of artistic grit, making it a defining marker of his career during that decade.

Featured on the 1984 album “Reckless “.

Lyrics >> Review >> More by the same : Official Site

10 . Will To Power – Baby I Love Your Way / Freebird

Released in 1988, “Baby, I Love Your Way/Freebird Medley” by Will to Power stitches together two iconic rock anthems into something that defies purist expectations—a commercial soft rock juggernaut.

The track lifts Peter Frampton’s breezy romanticism from “Baby, I Love Your Way” and Lynyrd Skynyrd’s sprawling existentialism from “Free Bird,” morphing them into a radio-ready cocktail.

Critics of the time might argue that the medley sanitizes its classic rock origins, but its craftsmanship under Bob Rosenberg’s production undeniably struck a chord with late ‘80s audiences.

Featuring Suzi Carr’s soaring vocals, the song is an unabashedly glossy homage that neither rebels nor innovates—it simply smooths the edges of its source material for mass appeal.

It enjoyed its moment in the sun, snagging the top spot on the Billboard Hot 100 and charming international listeners with its polished nostalgia, though cynics might view it as an opportunistic reach.

The music video leans heavily on scenic backdrops and romantic imagery, fully committing to its easy-listening aesthetic.

Despite detractors labeling the group as one-hit wonders, Will to Power’s chart record quietly undermines that notion, as they later scored another top-10 track.

What the medley lacks in grit, it makes up for in its unabashed commitment to uniting two disparate songs into an anthem for holiday mixtapes and drive-time playlists.

Featured on the 1988 album “Will to Power”.

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11 . Tina Turner – Let’s Stay Together

Released in 1983 as part of Tina Turner’s *Private Dancer* album, her rendition of “Let’s Stay Together” carries a potent mix of nostalgia and reinvention.

Originally a 1971 Al Green classic, this version departs from the sultry smoothness of the original, substituting it with Turner’s vibrant, gritty delivery and a synth-heavy arrangement courtesy of Heaven 17’s Martyn Ware.

Unlike Green’s understated groove, Turner injects the track with a sense of urgency, flipping the verses to start with the second and layering it with her vocal range that often stretches to dramatic vibrato.

The UK audience responded swiftly, pushing the single to number six on the Official Chart, even outpacing the original, while it climbed to a respectable 26 on the Billboard Hot 100 in the States.

The accompanying music video situates Turner in a dark, smokey club drenched in luminous lighting, a staging that leans into her dynamic presence and late-night glamour.

This cover isn’t merely a reinterpretation but a pivotal milestone in her career, signaling her transition from a troubled past to an artist reclaiming her space in the pop-rock pantheon.

Its inclusion in *Private Dancer* aligns it alongside other standout moments like “What’s Love Got to Do with It,” knitting together an album that weaves personal resurrection with ‘80s production aesthetic.

Turner’s success here is less about replication and more about defiance—shaking off boundaries and redefining her sound in a way that feels both calculated and visceral.

Featured on the 1984 album “Private Dancer“.

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12 . Jermaine Jackson – Do What You Do

“Do What You Do” by Jermaine Jackson captures the contemplation of heartbreak and forgiveness through a polished mid-80s ballad.

The track, penned by Larry Ditommaso and Ralph Dino, resides in Jackson’s self-titled 1984 album and stands as a stylistic continuation of his Motown past while subtly embracing the sheen of Arista Records.

It reached impressive chart positions, including No. 13 on the Billboard Hot 100, showing its crossover appeal despite being overshadowed by more dominant hits of its era.

Produced by Jackson himself, the song leans on steady grooves, understated vocals, and meticulously layered instrumentation, showcasing a calculated balance between emotion and commercial sensibilities.

Its accompanying music video, directed by Bob Giraldi, mimics the brooding intensity of “The Godfather,” with a dramatic betrayal subplot featuring supermodel Iman, heightening the song’s cinematic mystique.

While undeniably well-crafted, its deliberate smoothness arguably robs it of the raw emotive punch one might expect from its themes of vulnerability.

Still, the track offers a reflective pause in Jackson’s catalog, carving out space as a polished, if slightly restrained, product of its time.

Featured on the 1984 album “Jermaine Jackson “.

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