‘L’Amour Toujours’ N°110 – Vintage 80s Music Videos

1 . Taylor Dayne – Don’t Rush Me

“Don’t Rush Me” emerges from Taylor Dayne’s 1988 debut album *Tell It to My Heart* with a tone that’s both measured and assertive—a curious blend for the era of overproduced ballads and synth-heavy club hits.

Co-written by Alexandra Forbes and Jeff Franzel, the track leans heavily on its lyrics, which advocate for patience and restraint in matters of love. It’s a sentiment that feels almost quaint alongside the high-octane desperation of Dayne’s earlier hits. Ric Wake’s production ensures everything is polished to a mirror shine, but the sheen sometimes overshadows the depth the track aims for.

Chart-wise, the song finds itself in a fascinating position: stuck at number two on the *Billboard* Hot 100 in January 1989, forever blocked by Phil Collins’s “Two Hearts.” Resiliency, however, is the track’s quiet strength, as it lingered on the chart for 20 weeks. Its crossover success is notable too, climbing to number three on the Adult Contemporary chart while managing a respectable sixth-place finish on the Dance Club Songs list. Internationally, though, it faltered, peaking only within the top forty in Germany—a reminder that broad appeal doesn’t always translate across borders.

The music video provides a point of intrigue. Initially directed by Alek Keshishian, it was entirely re-shot by David Hogan, opting for a simpler performance aesthetic at the Capitol Theatre. Released in December 1988 on VH-1, the revamped video might have helped the song’s longevity on MTV and other platforms, but the pivot from concept to performance raises questions about its initial artistic direction.

Dayne’s vocal delivery is, predictably, the anchor here. Known for powerful, emotive performances in tracks like “Tell It to My Heart,” she reins in her range just enough to suit the song’s more introspective tone. Yet, one can’t help but wonder if this restraint occasionally dulls what could have been a sharper edge. “Don’t Rush Me” succeeds but never fully captures the euphoric catharsis of Dayne’s best work.

Featured on the 1988 album “Tell It to My Heart”.

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2 . Haircut 100 – Love Plus One

“Love Plus One” is Haircut One Hundred’s exercise in musical sunshine, a track that marries an effervescent blend of new wave, jazz, and funk elements with a surface-level optimism that belies its more intricate underpinnings.

Released in January 1982 and featured on the debut album “Pelican West,” the song rides on Nick Heyward’s light, elastic songwriting sensibilities, balancing buoyant rhythms with lyrics that flirt with ambiguity.

Clocking in at No. 3 on the UK Singles Chart and retaining top-40 momentum for 11 weeks, “Love Plus One” became one of the year’s most commercially undeniable British exports, selling over 400,000 copies and earning a gold certification. Its reach extended globally, cracking the top 10 in Australia and Canada, and grazing No. 37 on the U.S. Billboard Hot 100 chart, a modest achievement in the notoriously fractured American market.

The arrangement leans heavily on sprightly guitar melodies and a flawless rhythm section, creating a polished soundscape that still carries a whiff of calculated restraint. Ian Birch of *Smash Hits* aptly described it as “a nifty mover with plenty of interesting details,” capturing the song’s ability to stay kinetic without overloading sensory inputs.

Its success owes much to its adaptability, finding new relevance in pop culture settings as varied as the dark psychological thriller *Se7en* and the broad comedy of *Knocked Up* and *Grown Ups 2*. Yet, even with such placements, the track raises questions about its ultimate emotional grounding—is it quirky or merely clever?

Heyward parted ways with the band just a year post-release, pursuing solo ventures with the same smoothness mirrored in his vocal performance here. “Love Plus One” remains memorable for its collaborative veneer of cheer, but its detachment ensures it’s less a heartfelt declaration and more a snapshot of its time, dressed in pastels and bounce.

Featured on the 1982 album “Pelican West“.

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3 . Pat Benatar – Love Is A Battlefield

“Love Is a Battlefield,” released as a single on September 12, 1983, from Pat Benatar’s live album “Live from Earth,” occupies an intriguing spot in her catalog.

Written by Holly Knight and Mike Chapman, the track originated as a mid-tempo ballad but underwent a radical transformation under producer Neil Giraldo. His decision to push it toward an uptempo rhythm with drum machines sparked initial horror from the songwriters, but the gamble paid off commercially. The track became a chart juggernaut, claiming the top spot on the U.S. Billboard Top Rock Tracks Chart and reaching number five on the Billboard Hot 100 by the end of the year. Its momentum carried across oceans, staying five weeks at number one in Australia by early 1984 and dominating the Dutch charts for a month. Even the UK caught a late wave, with a 1985 re-release topping out at number 17.

Musically, its key of D minor and 182 beats per minute provide the structural backbone to a fusion of synthesizers, syncopated drumbeats, and piercing electric guitar riffs that echo the emotional turbulence of the lyrics. The song delves into the pains of a turbulent relationship while finding empowerment in defiance. Benatar’s performance is undeniably forceful, although the studio polish risks compromising some of her rawness.

The music video, directed by Bob Giraldi, adds a theatrical veneer to the song’s narrative, emphasizing its themes of struggle and independence. Its visual storytelling amplified the track’s reach, cementing its cultural imprint as much as the airplay did. Whether this synthesis of sonic experimentation and visual ambition pushes boundaries or veers into calculated territory remains a matter of taste. What is clear is that the risk-taking sparked by Giraldo’s production is what keeps the song relevant decades later.

Featured on the 1983 album “Live from Earth”.

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4 . Bucks Fizz – I Hear Talk

“I Hear Talk,” the title track of Bucks Fizz’s 1984 album, carries the familiar sonic polish of mid-80s pop, a production hallmark of Andy Hill, who also co-wrote the track with Pete Sinfield.

It’s an ambitious composition, aiming for drama without delving into melodrama, though its success in doing so depends on your appetite for lush, radio-friendly arrangements of the era.

Released as a single in December 1984, “I Hear Talk” was burdened by unfortunate timing—the group found themselves sidelined by a coach crash during tour promotion, undoubtedly limiting its potential reach.

Despite this setback, the song fared modestly better in the charts compared to its predecessor, “Golden Days.”

One could argue that its relative success lies in Hill’s production, which deftly balances layered instrumentation with a vocal delivery that avoids slipping into excess.

Still, this balance might feel calculated rather than inspired, with every element carefully slotted into place like a well-oiled machine.

While not groundbreaking, it does represent a competent snapshot of a group navigating the shifting landscape of commercial pop as their RCA Records tenure neared its end.

Its mid-80s aesthetic, though unmistakable, risks blending into the backdrop for listeners less attuned to the subtleties of the genre’s craftsmanship.

Featured on the 1984 album “I Hear Talk”.

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5 . Simply Red – It’s Only Love

There’s something disarmingly matter-of-fact about “It’s Only Love,” a track nestled in the third studio effort by Simply Red, “A New Flame.” Released in 1989, the song carries the band’s hallmark blend of blue-eyed soul and pop, but within the confines of familiarity, it doesn’t quite break free from the safety net.

The song peaked at a modest number 57 on the UK Singles Chart. A telling detail, considering its parent album became the band’s first UK number one, going 7x Platinum with sales hitting a staggering 2.1 million in the UK alone. Comparatively, “It’s Only Love” feels like a decorative afterthought on a more successful canvas, thanks to the genius of Mick Hucknall’s songwriting and Stewart Levine’s production oversight.

Vocally, Hucknall is as smooth as ever, his delivery tinged with that signature emotive quality—not so much raw as polished, like granite dulled by decades of rain. What’s missing perhaps is a boldness in arrangement, where the track opts for comfort over curiosity. For all its soulfulness, it settles into the familiar grooves without upsetting the existing order.

Live, the song has had its moments, including a feature in Simply Red’s 2009 “Greatest Hits Live” tour. On stage, it gains a sliver more vitality, presented to an audience basking in nostalgia for a band that has sold over 60 million albums worldwide and won numerous accolades, from two BRIT Awards for Best British Group to Ivor Novello recognitions for songwriting. Still, it’s the likes of “Holding Back the Years” and “If You Don’t Know Me By Now” that make the cut as pillars of the catalog.

“It’s Only Love” is neither a triumph nor a misstep; it resides in the quiet middle ground of Simply Red’s substantial tracklist. In doing so, it mirrors its title—acknowledging love’s impermanence yet asking little in return.

Featured on the 1989 album “A New Flame“.

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6 . Madness – It Must Be Love

“It Must Be Love,” Madness’s ebullient 1981 reimagining of Labi Siffre’s soft-spoken soul piece from 1971, is a rare moment of unabashed sentimentality in a band primarily associated with ska-infused antics.

While the stripped-back efficiency of its recording process—just nine hours in a modest front room studio in Dagenham, Essex—might suggest a rushed effort, the result feels anything but slapdash.

Producers Clive Langer and Alan Winstanley infuse the track with a playful pizzicato string arrangement, a bow to classic pop melodrama that Trevor Horn would later echo on ABC’s “The Lexicon of Love.”

Charting at number 4 on the UK Singles Chart and managing a respectable number 33 on the Billboard Hot 100 in the US two years later, the song finds its charm in an understated balance between whimsy and sincerity, qualities underscored by Madness’s tight instrumentation and Suggs’s unvarnished vocal delivery.

Its accompanying music video borders on the surreal, from underwater saxophone and guitar performances by Lee Thompson and Chris Foreman to Labi Siffre’s droll cameo as a violinist, all set against a stark white room and a rather tongue-in-cheek graveside tableau.

By the time the track reappears on *Complete Madness* in 1982 and sees a chart resurgence during its 1994 re-release (this time climbing to number 6), “It Must Be Love” is no longer just a song but a cultural touchstone, persistently cropping up in everything from the 1989 film *The Tall Guy* to Madness’s steadfast live repertoire.

Yet, for all its nostalgic appeal and pop ingenuity, one cannot help but sense that its lightheartedness, while effective, might sand down the darker edges that gave Siffre’s original its emotional resonance.

Still, in Madness’s catalog of boisterous hits and ska-inflected oddities, this track stands as a curious outlier—a love letter penned in jaunty shorthand.

Featured on the 1982 album “Complete Madness”.

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7 . Roy Orbison – You Got It

“You Got It,” featured on Roy Orbison’s 1989 album “Mystery Girl,” stands as a late-career milestone for the legendary crooner, serving both as a tribute to his timeless vocal style and a subtle reinvention in collaboration with Jeff Lynne and Tom Petty, two architects of 1980s radio pop.

The track leans into its shimmering production without abandoning Orbison’s signature emotive core. Lynne’s polished studio orchestration is evident in the precision of the arrangement, but it never overshadows Orbison’s voice—still crystalline and arrestingly plaintive, even in the twilight of his career. Tom Petty’s co-writing fingerprints, meanwhile, lend a tautness to the song’s structure; it’s economical yet melodic, avoiding the indulgence of Orbison’s earlier balladry.

Chart performance justifies its calculated resonance. Peaking at number 9 on the Billboard Hot 100 and climbing to number 3 on the UK Singles Chart, “You Got It” struck a balance between nostalgic appeal and contemporary accessibility, a rare feat for an artist whose prime was three decades prior.

Its importance extends beyond numbers: the track helped catapult Orbison into a rejuvenated cultural relevance in the late ’80s. Following his collaboration with the Traveling Wilburys—a supergroup whose roster spanned George Harrison, Bob Dylan, Lynne, and Petty—“You Got It” reintroduced Orbison’s unmatched vocal nuance to an audience increasingly enamored with glossed-over rock ballads.

Still, the song’s neatness could feel a bit too calculated. While impeccably crafted, it doesn’t quite capture the wilder emotional abandon of earlier Orbison staples like “Crying” or “In Dreams.” The sentiment here is subdued, secure—ironically more in keeping with Lynne and Petty’s aesthetic than Orbison’s own romantic extremism.

In context, though, “You Got It” feels less like a reinvention and more like a swan song framed in gilded edges. That it contributed to Orbison’s posthumous induction into the Songwriters Hall of Fame and a Grammy Lifetime Achievement Award underscores its positioning as not just a song but a fitting monument to an artist closing his final chapter with understated grace.

Featured on the 1989 album “Mystery Girl”.

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8 . Cliff Richard – Two Hearts

“Two Hearts,” a single from Cliff Richard’s 1987 album “Always Guaranteed,” finds itself stitched together with the craftsmanship of Alan Tarney, whose previous work includes the monumental “We Don’t Talk Anymore.”

Recorded at RG Jones Studio in London between September and November 1986, its production bears Tarney’s signature polish—clean, calculated, and undeniably radio-friendly, yet carrying that faint echo of safety-first commercialism.

Thematically, the song chases a timeless ideal: love as a communion of two inseparables. In practice, though, it feels more like Richard and Tarney walking a tightrope between gravitas and gloss. There’s warmth in the delivery, but the track often veers into terrain so smooth it’s almost frictionless.

Chart-wise, “Two Hearts” touched the modest peak of number 34 on the UK Singles Chart—a middling outcome compared to the album’s broader success, which soared to number 5 on the UK Albums Chart and achieved Platinum certification, moving over 300,000 copies in the UK alone. Evidence indeed that “Always Guaranteed,” with its mix of pop ballads and mid-tempo introspection, struck a chord globally, selling over 1.3 million copies.

Cliff Richard, with over six decades of experience and 14 UK number ones to his name, brings both professionalism and predictability to the song. The tempered passion in his performance underscores his veteran status but does little to ignite his storied charisma here.

Ultimately, “Two Hearts” is neither Cliff Richard’s most daring offering nor an outright disappointment. It rests comfortably in that vast gray area—ambitious enough to belong on a Platinum-certified album but restrained enough to remain unjustified by a deeper critical revisit.

Featured on the 1987 album “Always Guaranteed”.

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

9 . Tiffany – All This Time

“All This Time,” the lead single from Tiffany’s second album, “Hold an Old Friend’s Hand,” is a soft, pensive farewell wrapped in late-‘80s melodrama. Written by Tim James and Steven McClintock and released on October 24, 1988, the song leans heavily on wistful lyricism and a slow, almost reluctant progression, as if the melody itself can’t quite let go.

George Tobin’s production frames the track squarely within its time, eschewing rawness for a polished, radio-friendly sheen. While Tiffany’s voice conveys a youthful sincerity, the arrangement doesn’t stray far from the Adult Contemporary formula dominating charts of the era. Perhaps this explains its climb to number 6 on the *Billboard* Hot 100 by February 11, 1989, and its 21-week tenure on the chart. It also made a modest crossover to the Adult Contemporary chart, peaking at number 10.

Internationally, “All This Time” mirrors its North American success, securing the number 4 spot on the Canadian *RPM* 100 Singles Chart and entering the Top 10 in Ecuador. The UK reception was more subdued, peaking at a mere number 47 for two weeks, suggesting that its nostalgic themes didn’t translate as universally.

The music video, directed by Tobin and shot at Knott’s Berry Farm, takes the song’s somber themes and bathes them in visual sentimentality. From train stations to carousels, the imagery teeters between evocative and overwrought. Premiering on VH1 and Night Tracks in late 1988 before hitting MTV in early 1989, it underscores the song’s emotional pull but doesn’t add much depth.

Though “All This Time” aimed to expand Tiffany’s post-“I Think We’re Alone Now” foothold, it feels less like a statement and more a hesitant look back. It’s a competent pop ballad, but its measured approach feels like a sign that her reach was beginning to plateau.

Featured on the 1988 album “Hold an Old Friend’s Hand”.

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10 . Meat Loaf – Dead Ringer for Love (w/ Cher)

“Dead Ringer for Love” is less a duet and more a boisterous tug-of-war between two larger-than-life personalities: Meat Loaf and Cher. Written by Jim Steinman, the master of operatic excess, the song was intended as a TV theme but feels more like a barroom brawl set to music. It fits snugly on Meat Loaf’s second studio album, “Dead Ringer,” although it lacks the dark grandeur of his “Bat Out of Hell” triumph.

The production, handled by Steinman and Jimmy Iovine, leans heavily into its rock ‘n’ roll swagger, almost daring listeners to keep up. Meat Loaf’s powerhouse delivery, unrelenting even when it borders on melodramatic, collides with Cher’s unmistakable voice, sharp and smoky like whiskey on the rocks. Their interaction simulates a combustible chemistry, even if they never shared a live stage for the song. Her appearance in the music video compensates somewhat, though it feels more like a promotional afterthought than a moment of true artistic synergy.

The track performs admirably as an adrenaline rush, peaking at number five on the UK Singles Chart in February 1982 after debuting humbly at number 63. Yet, its brashness can feel relentless, undercutting subtlety for sheer volume. Live renditions substituted Cher with Patti Russo—an imperfect yet serviceable stand-in, as evidenced by recordings from “Live Around the World” and “Bat Out of Hell: Live with the Melbourne Symphony Orchestra.”

The song’s inclusion in compilations like “Hits out of Hell” and Cher’s “Greatest Hits: 1965–1992” signals its endurance in popular culture, though it might be more remembered for its audacity than its innovation. If nothing else, “Dead Ringer for Love” is loud proof that both Meat Loaf and Cher wield their voices like weapons, making no apologies in the process.

Featured on the 1981 album “Dead Ringer”.

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11 . T’Pau – Valentine

“Valentine,” released on January 18, 1988, as the fifth single from T’Pau’s debut album “Bridge of Spies,” sits comfortably within the synth-driven ethos of late-’80s pop, yet feels strangely restrained compared to its chart contemporaries.

Written by Ronnie Rogers and Carol Decker, the track relies on Decker’s vocal intensity to elevate what is, on paper, a fairly standard breakup ballad. Her performance teeters between defiance and vulnerability, underscoring the personal weight of the song, written about a former relationship. This contrast adds a shade of complexity that compensates for otherwise predictable instrumentation.

The production, helmed by Roy Thomas Baker, opts for polish over risk. Dean Howard’s lead guitar lacks the bite to push the song into edgier territory, while Michael Chetwood’s keyboards provide the requisite texture but never stray far from the safety net of ’80s pop tropes. Still, the rhythm section—Paul Jackson’s bass and Tim Burgess’s percussion—keeps things cohesive without ever stealing the spotlight.

Charting at No. 9 on the UK Singles Chart and breaking into the top 40 in several European countries, “Valentine” captured a respectable international audience, though it never matched the towering success of “China in Your Hand.” Its eight-week UK chart run reflects solid, if unspectacular, staying power.

The accompanying music video, directed by Brian Grant, leans into the moody aesthetics typical of the era but doesn’t quite achieve the cinematic engagement some of their peers mastered. The inclusion of “Giving My Love Away” as the B-side adds limited value, while the bonus cover of “I’m a Believer” on the extended formats feels oddly detached from T’Pau’s core sound.

Reissued in 1993 to promote the compilation “Heart and Soul – The Very Best of T’Pau,” the song’s modest re-entry at No. 53 on the UK Singles Chart highlights its role as more of a footnote in the band’s discography than a flagship moment. While “Valentine” is heartfelt, its safe production and conventional structure prevent it from transcending its era’s genre conventions.

Featured on the 1987 album “Bridge of Spies “.

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12 . The Bangles – Eternal Flame

Released on January 23, 1989, as part of the album “Everything,” “Eternal Flame” positions itself as The Bangles’ foray into emotive balladry, marking a distinct deviation from their more upbeat offerings like “Walk Like An Egyptian.”

Written by Susanna Hoffs alongside Billy Steinberg and Tom Kelly, the song draws inspiration from two literal eternal flames: one at Elvis Presley’s Graceland gravesite and another at a Palm Springs synagogue. The juxtaposition between these sources—pop culture idolatry and religious symbolism—manages to add an intriguing layer of context to its otherwise straightforward romance narrative.

Commercially, “Eternal Flame” leaves no room for argument. It claimed the number one spot in nine countries, including chart-topping turns in the United States, United Kingdom, and Australia. In Australia, it even earned the distinction of being the biggest-selling single of 1989. While strong chart performance often feels more corporate than artistic, there’s no denying the song’s mass appeal during its era.

Musically, the track leans heavily on restraint. The sparse instrumentation places the focus squarely on Hoffs’ vocal delivery, which walks a fine line between earnest yearning and polished precision. Yet, this minimalism risks veering into blandness, as moments of instrumental complexity or dynamic shifts are few.

Historically, “Eternal Flame” secured significant milestones for its creators. It made The Bangles the third all-female group to notch multiple Billboard Hot 100 number ones, following trailblazers like The Shirelles and The Supremes. Meanwhile, for Steinberg and Kelly, it extended their streak of annual chart dominance to five years, a feat indicative of their industry prowess.

The song has enjoyed a long legacy, with covers by acts like Human Nature and Atomic Kitten, as well as appearances on shows such as “True Blood” and “Pushing Daisies.” But its cultural omnipresence can sometimes overshadow the original, reducing it to a nostalgic artifact rather than a standalone artistic statement.

Ironically, the very balladry that propelled “Eternal Flame” into the zeitgeist contributed to The Bangles’ eventual internal tensions and their 1989 breakup. Perhaps the song’s permanence feels more like a wistful sigh than a blazing fire.

Featured on the 1988 album “Everything”.

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