‘L’Amour Toujours’ N°294 – Vintage 80s Music Videos

1 . Neil Diamond – Love On The Rocks

“Love On The Rocks,” a signature ballad from Neil Diamond’s involvement in the 1980 film *The Jazz Singer*, embodies the cinematic melancholy of romance fraying at the edges.

Co-written with French composer Gilbert Bécaud, the song finds its roots in melodrama paired with soft rock nuances, creating a blend that’s as theatrical as its origins suggest.

Its chart performance was nothing short of remarkable, halting just shy of the top spot on Billboard’s Hot 100 and earning its place within the canon of unforgettable heartbreak anthems of the era.

The production, helmed by Bob Gaudio, leans on Diamond’s soulful delivery, with instrumentation drenched in emotive strings and lingering piano chords framing his gravel-throated laments.

The lyrics pull no punches, walking listeners through the cooldown of a love that’s run its course, steeped in themes of regret and resilience—the imagery stark yet universally resonant.

This is Neil Diamond at his storytelling peak, both connecting emotionally and showcasing a voice capable of wringing every ounce of poignancy from lines like “Love on the rocks, ain’t no surprise.”

Performed in pivotal scenes of *The Jazz Singer*, the track gave the accompanying album part of its multi-platinum sheen, doubling down on Diamond’s knack for studio magic.

If anything, “Love On The Rocks” is a masterclass in simplicity meeting theatrical flair, a song that thrives on its clarity of purpose rather than overindulgence.

Decades later, its longevity persists—whether through reissues, concert setlists, or aging vinyl stacks, Neil Diamond’s ballad continues to stoke the embers of bittersweet nostalgia.

Featured on the 1993 album “Return of the Mack”.

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

2 . Dina Carroll – So Close

Released in 1993 as part of Dina Carroll’s debut album *So Close*, the title track emerges as a quintessential piece of early-’90s pop and R&B, showcasing a dynamic interplay between polished production and heartfelt lyricism.

It’s the kind of song that captures a moment—romantic longing wrapped in a lush, mid-tempo arrangement that feels both intimate and expansive, a hallmark of producer Nigel Lowis’ approach to the era’s pop aesthetic.

Though it wasn’t issued as a standalone single, its role within the album—a project that went platinum and planted itself firmly on the UK Albums Chart—cannot be understated, helping to cement Carroll’s place in the crowded musical landscape of the time.

The real emotional heavy lifting here is done by Carroll’s vocals—strong, vulnerable, and brimming with warmth, they lend the track an authenticity that rises above its polished studio sheen.

What sets *So Close* apart is its ability to meld themes of emotional intimacy with an almost cinematic production style, creating something at once deeply personal yet universally appealing.

Though the album birthed more chart-oriented singles like “Ain’t No Man,” which found considerable success in the UK, this track radiates a quieter, more understated power.

It doesn’t demand attention through bombast or flashy hooks; rather, it gently insinuates itself into the listener’s consciousness, revealing its depth over time.

In retrospect, the song’s restrained elegance stands as a testament to Carroll’s artistic range during a period when many artists prioritized immediate, radio-friendly impact over longevity.

And while Carroll herself went on to rack up accolades, including a BRIT Award nomination, you can’t help but feel that *So Close*, the track, holds a certain reflective charm, quietly enduring in the corners of ’90s pop history.

For listeners seeking to revisit or discover Carroll’s early work, the song still holds up—a time capsule of an era when commercial success didn’t always mean compromise.

Featured on the 1991 album “Elegant Slumming”.

Lyrics >> Review >> More by the same : Wikipedia

3 . Pat Benatar – We Belong

Released in 1984 as part of Pat Benatar’s “Tropico” album, “We Belong” marks a pivotal moment where rock met shimmering pop with a hint of synthesized polish.

Written by Eric Lowen and Dan Navarro, the track deviates from the guitar-driven edginess Benatar was known for, finding a softer groove that broadened her appeal without feeling like a sellout.

It climbed to No. 5 on the Billboard Hot 100 and secured Grammy recognition, proving that a power ballad with themes of connection and resilience could make its mark without shouting too loudly.

The music video complements the track with an array of surreal and natural imagery, showcasing Benatar’s ability to balance visual drama with authenticity, avoiding the overbaked theatrics of the mid-’80s MTV era.

Whether belted in carpool karaoke sessions or used for emotional beats in films like *Pitch Perfect 2*, it’s clear the song enjoys a second life as a nostalgia-coated anthem for commitment and unity.

“We Belong” doesn’t just linger—it thrives as a versatile artifact of its era while refusing to overstay its welcome.

Benatar’s performance here isn’t about vocal acrobatics or rock pyrotechnics—it’s about delivering something unmistakably human in an era of synth-heavy sheen.

Featured on the 1996 album “The Album”.

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4 . Ivana Spagna – I Wanna Be Your Wife

Released in 1987, Ivana Spagna’s “I Wanna Be Your Wife” captures the vivid essence of late ’80s synth-pop, blending an effervescent rhythm with a melody that lingers like hairspray in a neon-lit club.

Co-written by Spagna, Larry Pignagnoli, and Giorgio Spagna, the track unveils a playful juxtaposition: its bubbly production masks lyrics steeped in longing and romantic vulnerability.

This wasn’t just another pop single; it was Spagna’s bid for international recognition, bolstered by her earlier chart-topping triumph, “Call Me.”

While it didn’t dominate the charts quite like its predecessor, the song managed to charm European audiences, landing comfortably within top 20 rankings in locales like Italy and Switzerland.

The production, handled by Theo Spagna under the CBS Records banner, is unapologetically 1980s: bright synths layered over a polished rhythm track that practically demands shoulder pads and shiny fabrics.

Its accompanying music video is a time capsule of Spagna’s charisma, her energetic presence carrying the visual theatrics.

Although it avoids the poetic complexity of some contemporaries, its direct and unpretentious style captures a specific moment in pop history, where aspiration and earnestness collided with synthesizers.

Spagna’s performances further elevated the song’s status, with her emotive delivery enhancing its themes of devotion and hope, even on the glossy sets of Italian television broadcasts.

The track, despite not sparking a revolution, stands as a delightful artifact of the era, a shiny bauble in the sprawling mosaic of ’80s pop.

Featured on the 1994 album “All True Man”.

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5 . Love and Money – Strange Kind of Love

Released in 1988 as the titular track from their second album, “Strange Kind of Love” by Love and Money marries a polished blend of pop, jazz, and cool late-80s introspection.

Frontman James Grant’s songwriting weaves romance and yearning into something both moody and elegant—but not without its quirks.

Gary Katz, whose fingerprints are all over Steely Dan’s finest moments, brings his signature polish to the production, creating a landscape that sometimes feels richer than the song knows what to do with.

The track peaked at a modest No. 45 in the UK Singles Chart—respectable, though not exactly a meteoric moment, while its parent album landed at No. 54, hinting that cultural traction may have been just out of reach.

Still, its refined arrangement and depth attracted airplay, giving it a foothold among UK radio playlists during its release.

The accompanying music video leans heavily into a velvety urban aesthetic, dripping with late-’80s visual cues: think smoky bars, muted colors, and wistful glances that dawdle just shy of melodrama.

While the song didn’t command the awards circuit or dominate live retrospectives, its enduring appeal seems tied to its peculiar blend of genres—a curious yet fitting time capsule of its moment in the band’s discography.

Featured on the 1990 album “I Am L.V.”.

Lyrics >> Review >> More by the same : Wikipedia

6 . King – Love and Pride

“Love and Pride,” released in 1984 by King, stands as a shimmering artifact of the new wave era.

With its vivid production by Richard James Burgess and infectious hooks, the track radiates ambition and youthful confidence rooted in sharp pop sensibilities.

It’s the kind of bold declaration that wears its themes on its neon sleeve: freedom, individuality, and a refusal to play small.

Paul King’s flamboyant vocal delivery waltzes over a rhythmic foundation that leans on polished guitars and synths, crafting an anthem as buoyant as it is determined.

The song’s accompanying video, helmed by Brian Grant, burst with primary colors and self-assured energy, perfectly aligning with 1980s MTV aesthetics.

While the track peaked at #2 on the UK chart—a success that eluded it stateside where it stalled at #55—it still managed to snag a respectable spot on the U.S. dance charts.

Like a time capsule from an era of big hair and unapologetically exuberant hooks, “Love and Pride” thrives on its audacity and remains a key chapter in a decade humming with vibrant pop experimentation.

Featured on the 1996 album “Brandy”.

Lyrics >> Review >> More by the same : Wikipedia

7 . Dexys Midnight Runners – Come On Eileen

Released in 1982 as part of *Too-Rye-Ay*, Dexys Midnight Runners’ “Come On Eileen” managed to blend an unlikely cocktail of Celtic folk, pop, and soul, all wrapped in one raucous anthem that refuses to play by the rules.

Written by Kevin Rowland, Jim Paterson, and Billy Adams, the track captured attention not only for its incessantly catchy tempo shifts but for its sly narrative of youthful infatuation. The fiddles don’t gracefully glide as much as they whirl like a drunk uncle at a wedding, lending the song a wild energy that borders on chaos, while the playful tempo change midway feels like a celebration barreling out of control as the night deepens.

No less striking is the visual language of the accompanying music video. The band, clad in proletarian-chic dungarees, stomps through a nonspecific 1930s-working-class daydream, blurring lines between art and pub brawl. It doesn’t just *ask* for authenticity; it declares it.

Chart success was not so much achieved as obliterated. The track hit #1 in the UK in 1982 and the US Billboard Hot 100 in 1983, an achievement doubly impressive given its utter refusal to sound like anything else of its time. The track arrived like a disheveled guest to a synthpop and new wave party, refused to follow the mood, and then somehow became the star of the evening.

Award bodies took note, with the Brit Award for Best British Single accompanying the song’s trajectory, though “Come On Eileen” seems to work best as something living outside institutional praise. It re-emerges periodically, whether as a nostalgic charmer on compilations or theoretically inappropriate karaoke fodder—every generation seems to rediscover its idiosyncratic magnetism.

While its cultural appeal spans commercials, rom-com soundtracks, and meme territory, what sustains is the sheer gall of its construction. Between its untamed crescendos and Rowland’s impassioned squawks, the song manages to embody a chaotic yet oddly sweet yearning for connection, swaying between nostalgia and immediacy with disarming bravado.

Featured on the 1996 album “Ralph Tresvant”.

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8 . Alvin Stardust – I Won’t Run Away

Alvin Stardust’s “I Won’t Run Away” captures the essence of mid-80s songwriting, balancing sentimentality and soft rock precision without tipping into saccharine excess.

Penned by Mike Batt, whose fingerprints are all over the era’s most polished pop offerings, this track is a neatly packaged ode to perseverance and devotion.

The song’s production leans heavily on a smooth, radio-friendly formula, courtesy of Pete Wingfield, whose knack for layering melodic hooks and understated instrumentation serves Stardust’s voice well.

Stardust himself delivers the lyrics with a sincerity that borders on theatrical—a hallmark of his post-glam reinvention.

Reaching No. 7 on the UK Singles Chart in 1984, the song found commercial success, though it never quite cracked into the upper echelon of timeless ballads.

While undeniably catchy, its nostalgic themes and earnest delivery may feel a touch heavy-handed for some listeners.

Nonetheless, the track mirrors Stardust’s seamless shift from the glitter of the ‘70s to the sentimental pop landscape of the ‘80s.

Performed on “Top of the Pops” and accompanied by an era-appropriate video, the single anchored Stardust’s second act, proving that reinvention—even on pop’s fickle stage—can sometimes be just convincing enough.

Featured on the 1995 album “Take a Look Over Your Shoulder (Reality)”.

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9 . Lloyd Cole and the Commotions – Jennifer She Said

Lloyd Cole and the Commotions’ “Jennifer She Said” saunters in with the kind of understated charm that marked much of the British indie-pop scene of the late ’80s.

Nestled in their final album, *Mainstream*—which cracked the UK Albums Chart at No. 9—this track didn’t clamor for chart success but instead functioned as a quiet linchpin for fans who hung on every poetic turn of Cole’s bittersweet lyrics.

Its delicate balance of romantic regret and wistful longing rolls alongside jangly guitars and subtle keyboard flourishes, trademarks of the band’s sound.

The Ian Stanley production lends a hint of polish, though the raw edges of emotion remain intact, keeping it from tipping into overproduced territory common at the time.

Despite being overshadowed by bigger singles like “My Bag,” the track positions itself as a fan-favorite, often revisited during Cole’s solo performances post-1989.

True to the song’s melancholia, it exists as part lament, part nostalgic reflection, comfortable in its place as a quietly lyrical gem rather than a shouty anthem.

Featured on the 1996 album “Another Level”.

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

10 . Tiffany – I Think We’re Alone Now

Tiffany’s 1987 rendition of *I Think We’re Alone Now* revisits a track that first surfaced in 1967, originally recorded by Tommy James & the Shondells. Instead of staying tethered to the original’s bubblegum-rock charm, Tiffany catapulted it into the shimmering Pop terrain of the late ’80s.

Fueled by its infectious energy and her mall-tour appeal—a marketing stroke of odd genius—the single resonated with a younger, MTV-glued audience, ascending to chart-topping status in the U.S., the U.K., and other markets. It wasn’t just a cover; it was almost a cultural reboot of a coming-of-age anthem, tailor-fitted for a generation eager for rebellion-lite with polish and synthesizers.

Whether it’s the furtive tones of love kept under wraps or the adrenaline-rush underscoring the defiance of supervision, the lyrics pulse with a certain teenage universality. While not genre-defying, it doesn’t have to be; its charm lies in Tiffany’s bright-eyed delivery wrapped in an effervescent 1980s sheen.

The accompanying mall-centric video, positioned amidst fluorescent skylights and Orange Julius stands, has since become iconic, albeit unintentionally campy in hindsight. Sure, it’s a snapshot of a specific cultural moment, but it also epitomizes late-’80s teen-culture escapism. Nostalgia’s a powerful force, and for better or worse, this track hits that nerve with precision.

Featured on the 1995 album “Wildest Dreams“.

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11 . Shakin’ Stevens, Bonnie Tyler – Rockin’ Good Way [To Mess Around And Fall In Love]

“Rockin’ Good Way (To Mess Around and Fall in Love)” is a study in contrasts—a jubilant mash-up of Shakin’ Stevens’ unrelenting rockabilly energy and Bonnie Tyler’s smoky rasp, which together create a curious yet compelling chemistry on this spirited duet.

Originally an R&B number from 1957, this 1983 revival retains a retro buoyancy while injecting a pop polish that feels unmistakably ’80s. It’s bubblegum romance dressed up in a rock and roll tuxedo, with Tyler lending a smoldering edge to the otherwise sugary proceedings.

The track thrives on the playful call-and-response format, with Tyler and Stevens trading vocal flirtations over a beat that’s tailor-made for jiving under a mirrored disco ball. Their interplay captures a sense of spontaneity and fun, though the song’s lyrical content—musing on love teetering between casual and committed—is fairly lightweight by design.

As a product of its time, the track mirrors the pop-crossover trend of its era, where nostalgic nods to the ‘50s mingled with contemporary production gloss. Producer Peter Collins ensures every note glistens, though the overall effect verges on over-sweetened at times, threatening to tip into pastiche.

Commercially, the song was an undeniable success. Peaking at No. 5 on the UK Singles Chart and claiming the top spot in Ireland, it proved that sentimental charm and accessible melodies were a surefire recipe for chart traction in the early ‘80s. Its accompanying music video reinforces the performative camaraderie between the pair, with Stevens jiving in his signature style while Tyler remains the sultry foil to his boundless energy.

Yet, for all its nostalgic flair and celebratory mood, the track feels more like a well-crafted gimmick than a profound artistic statement. It capitalizes on the strengths of its two stars without stretching either of them creatively. Stevens is comfortably in his wheelhouse, and Tyler, while magnetic, seems slightly restrained compared to her more dramatic power ballads.

Both artists performed the song on significant platforms like “Top of the Pops,” boosting its visibility and contributing to its enduring place in ’80s pop trivia. It is memorable, not just for its melody, but as a time capsule of an era when collaborations like this delivered novelty appeal and instant replayability without pretense.

Ultimately, “Rockin’ Good Way” is exactly what its title suggests: a carefree, toe-tapping romp that doesn’t ask too many questions and doesn’t demand too much thought. It’s a fleeting moment of jovial harmony between two stars who, while mismatched on paper, manage to deliver a spirited dose of playful charm.

Featured on the 2003 album “Emancipation”.

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

12 . Dollar – I Wanna Hold Your Hand

Dollar’s take on “I Wanna Hold Your Hand,” spun from the Lennon-McCartney magic, was a bold step into pop reinvention back in 1979. Trading The Beatles’ raw energy for their polished pop style, the duo kept the song’s romantic simplicity intact but swapped rock grit for synth-layered charm.

Shirley’s harmonies blend effortlessly with David Van Day’s vocals, creating that trademark duet dynamic—smooth yet undeniably kitschy. Christopher Neil’s production added a pristine sheen, but in doing so, some might say it polished away too much of the original track’s infectious urgency. Still, it was a fitting addition to their early catalog, pulling nostalgic strings while feeling unmistakably ’70s pop.

The track reached audiences most prominently through appearances on shows like “Top of the Pops.” Despite this exposure, it failed to replicate the chart success of its predecessor. Viewing it now, scattered across vintage compilation albums and YouTube uploads, the song serves as a preserved artifact of Dollar’s earnest effort to mold a classic into their image. It’s equal parts homage and time capsule, evoking warmth for some and shrugged indifference for others.

Featured on the 2008 album “Waiting to Exhale”.

Lyrics >> More by the same : Wikipedia