‘L’Amour Toujours’ N°298 – Vintage 80s Music Videos

1 . Robert Palmer – Riptide

“Riptide,” the opening track of Robert Palmer’s 1985 album of the same name, is a curious blend of theatricality and bygone nostalgia, rooted in its origins as a 1933 composition by Walter Donaldson and Gus Kahn.

The album, shaped by Bernard Edwards’ production, oscillates between funk-rock grooves and commercially astute ballads, with Edwards infusing his Chic pedigree to craft a sound that flirted with both mainstream accessibility and polished sophistication.

While the song itself hides in the album’s shadow of more towering hits like “Addicted to Love” and “I Didn’t Mean to Turn You On,” it anchors the record with a whimsical throwback vibe oddly juxtaposed against the sharply stylized, sleekly modern image projected in Palmer’s music videos.

The visual aesthetic of the era, epitomized by the award-winning “Addicted to Love” video, channels an over-the-top ’80s iconography, all angular glamour and Nagel-esque fetishization of cool detachment.

“Riptide,” meanwhile, seems purposefully out of sync with the harder edges of the album’s chart-topping tracks, serving as a palate cleanser that harks back to an era of smoky cabarets and vintage romance.

But that’s the dichotomy of Palmer’s 1985 effort—darting between rock machismo, funk finesse, and torch-song sentimentality, it feels like a compilation of competing impulses rather than a cohesive statement.

As an album, “Riptide” cemented Palmer’s superstar status in the MTV era, but its title track stands as a smaller, subtler acknowledgment of his eclectic sonic palette and willingness to gamble on moods few of his pop contemporaries dared to touch.

Featured on the 1985 album “Riptide“.

Lyrics >> More by the same : Official Site

2 . Basia – Promises

Basia’s “Promises” feels like a polished jazz-pop cocktail served with a twist of samba, carrying the sophistication of the late ‘80s adult contemporary boom.

Cowritten and coproduced by Basia Trzetrzelewska and Danny White, the track builds on jazzy piano riffs, breezy rhythms, and Basia’s melodious yet deliberate vocal delivery.

Its warm melodies and lyrical focus on love and commitment land firmly in lounge territory, but the samba-inflected beats give it a light, unexpected bounce.

The song’s initial UK release didn’t exactly set charts ablaze, peaking modestly at #48, but the US—notoriously welcoming of slick adult contemporary tunes at the time—gave it a warmer reception, with “Promises” reaching #8 on the Billboard Adult Contemporary Chart.

While a minor hit in her native Poland and the UK, it found its groove stateside, thanks partially to Justin Strauss’s remixes, which helped the track resonate with nightclub-goers in 1989.

The accompanying music video—actually two versions—leans heavily into stylistic contrast: one features Basia crooning gently on a shadow-kissed balcony, while the other drops her into an almost surreal swirl of band performances and dancers against colorful backdrops, adding a faintly theatrical layer to her otherwise straightforward delivery.

With its samba underpinnings, “Promises” adds flair to a genre that sometimes risks crossing into elevator music territory, offering an invitation to sophisticated nostalgia for well-clad romantics sipping cocktails under soft lighting—a mood Basia seems to own effortlessly.

Its cultural reach extended further with covers like Gloria Lasso’s 1989 Spanish rendition and Julie Dexter’s sultry lounge version in 2006, proving the track’s adaptable appeal across decades and stylistic boundaries.

Featured on the 1987 album “Time and Tide“.

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

3 . Mötley Crüe – You’re All I Need

Released in 1987 as part of Mötley Crüe’s infamous *Girls, Girls, Girls* album, “You’re All I Need” is the sonic equivalent of a love letter scribbled in blood-red ink—poetic, dark, and unsettling.

Crafted by Nikki Sixx and Tommy Lee, its serene balladry sharply contrasts with its violent narrative of a love turned toxic, where obsession leads to irrevocable tragedy.

Sixx, allegedly inspired by his personal anxieties and relationship betrayals, turns raw emotion into disturbing lyricism, blurring the line between vulnerability and malice.

Critics and fans alike couldn’t ignore the whiplash between its soft piano-driven melody and the grim crescendo of its storytelling.

MTV took one look at the accompanying black-and-white music video, with its stark visualizations of love and violence, and promptly added it to their no-fly list, fueling further controversy.

While the song struggled on the US charts, peaking only at No. 83, it found a slightly warmer reception in the UK, reaching No. 23.

It’s intriguing how a track drenched in glam metal DNA and emotional turbulence managed to spark the ire of the PMRC while still earning a unique badge of respect from Jon Bon Jovi, who called it the band’s best ballad.

Of course, those seeking it performed live won’t find it often; its rarity in setlists reflects the band’s awareness of its polarizing impact.

Dedicated fans, meanwhile, continue to analyze its place in Mötley Crüe’s legacy—a track that exemplifies their ability to be both seductive and sinister in the same breath.

Equal parts anthem and psychological case study, it still lingers as a peculiar gem in their catalog, returning now and then through greatest hits collections like *Red, White & Crüe.*

In a band celebrated for its raw hedonism, “You’re All I Need” stands out as a cautionary tale that waltzes into dangerous emotional territory without ever looking back.

Featured on the 1987 album “Girls, Girls, Girls”.

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

4 . ABBA – SOS

“SOS” by ABBA radiates a curious blend of melodrama and airtight pop construction, cementing it as one of the Swedish quartet’s most defining moments in music.

Released in 1975 and tucked into their self-titled album, the track piles layers of heartbreak into a three-minute pop marvel, its desperation mirrored cleverly in the repetition of its titular distress call.

Agnetha Fältskog’s crystalline vocals lead the charge, her emotive phrasing teetering between fragility and strength as Benny Andersson’s piano-driven melody swells with orchestral aspirations.

The track borrows flavors from Phil Spector’s “Wall of Sound” and Beach Boys-esque harmonies, showcasing the band’s knack for melding classic influences with forward-thinking pop production.

Lasse Hallström’s promo video, with its clean lines and stylized choreography, punctuated the band’s growing visual identity, further consolidating their global appeal.

Chart successes aside—it climbed to No. 6 in the UK, cracked the Top 10 in multiple countries, and teased the Billboard Top 15 in the U.S.—the song also carried an artistic turning point for ABBA.

The glossy Eurovision winners began to peel back layers of kitsch, signaling a depth of vulnerability and emotion that critics would dare take seriously.

What makes “SOS” linger isn’t just its catchiness; it’s the clever dichotomy between its buoyant arrangement and the undercurrent of dissolution embedded in the lyrics.

The opening shifts from minor-key suspense into an ascending pop propulsion, drawing listeners into its tidal wave of melodic urgency.

Of course, ABBA’s sheen of polish doesn’t spare the track from a touch of dramatics, but their commitment to the overtly emotional is what allows their music to resonate decades later without irony.

As a cultural artifact, “SOS” marries 1970s pop commercialism with just enough artistic inventiveness to nod toward a brighter horizon for the European pop scene.

Featured on the 1975 album “ABBA”.

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

5 . Hurrah! – If Love Could Kill

Released in 1986, “If Love Could Kill” by Hurrah operates in the pop-rock arena, blending earnest melody with a subtle undercurrent of melancholy.

The song examines love’s dual nature—its fragility, its euphoria, and its uncanny ability to wound.

Played live only twice (debuting on February 19, 1987), the track feels like a fleeting confession locked away before it overstayed its welcome.

This scarcity of live performances adds an air of mystery, as if even the band hesitated to fully unpack its emotional weight.

The production embraces a clean but understated approach—a hallmark of mid-80s indie pop-rock—leaving space for the brooding narrative to unfold.

The instrumentation leans on jangly guitars with an almost wistful tone, evoking an emotional tension between what is said and left unspoken.

Lyrically, it’s a mix of sharp introspection and lyrical ambiguity, aiming to pierce without melodrama.

Though chart positions and other accolades remain undocumented, the song’s minimalist mystique and limited presence resonate with a poignant, almost accidental poignancy.

“If Love Could Kill” may not rewrite the pop rock rulebook, but it lingers like a whispered story that refuses to grow louder—haunting, restrained, and deserving of its brief moment in the spotlight.

Lyrics >> More by the same : Wikipedia

6 . Eurythmics – Here Comes The Rain Again

“Here Comes the Rain Again” by Eurythmics threads a compelling interplay of melancholy and cinematic allure through its fusion of electronic beats and orchestral strings.

Released in 1984 as part of their album *Touch*, the track reveals a sophisticated embrace of new wave textures, elevated by Michael Kamen’s rich string arrangements performed by the British Philharmonic Orchestra.

Its introspective theme of unrequited love unfolds through Annie Lennox’s sultry, restrained vocals paired with open-chord guitar lines that suggest both intimacy and distance.

Commercially, the song secured a firm foothold internationally, peaking at No. 4 on the US Billboard Hot 100 and No. 8 on the UK Singles Chart, while climbing to the top of the US Dance Club Songs chart.

The video, rich in visual symbolism, transports viewers to Orkney’s barren, windswept landscapes, with Lennox cutting a solitary figure as Dave Stewart’s voyeuristic camerawork underscores themes of isolation.

Despite its immediate success, what lingers decades later is its masterful tension—between baroque and synthetic, longing and resignation—all arising from a simple moment of rain observed at a hotel window.

Featured on the 1983 album “Touch“.

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

7 . Olivia Newton John – Landslide

“Landslide” emerges as an intriguing effort within Olivia Newton-John’s catalog, straddling the line between her earlier country-pop leanings and the slicker disco-pop aesthetic of the late ’70s and early ’80s.

Written by her longstanding collaborator John Farrar, the track finds Newton-John leaning into a funk-infused groove with a polished blend of guitars and synthesizers, all locked into a 4/4 beat clocking in at 131 BPM.

While it never quite ascended to the towering heights of her best-known tracks, it still managed to chart modestly, hitting No. 52 on the Billboard Hot 100 and finding a warmer reception on the Adult Contemporary chart at No. 18.

The accompanying promotional video, drenched in late-’70s disco flair and stylized choreography, adds a layer of visual kitsch, pairing shiny outfits with moves that feel more kitsch than kinetic.

Its placement on her 1978 “Totally Hot” album marked an undeniable pivot point in her career, signaling her growing detachment from country roots as she embraced the neon sheen of pop experimentation.

For all its merits—a vibrant production and Newton-John’s airy, pristine vocals among them—the song stops short of making a visceral impact, landing somewhere between ambitious risk and glossy filler.

Fans of the era may find it a charming artifact, but for those seeking emotional resonance or impeccable hooks, it flirts with forgettable.

Featured on the 1981 album “Physical”.

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

8 . Teena Marie – Lovergirl

“Lovergirl” struts into the frame with unapologetic confidence, a funky showcase of Teena Marie’s knack for blending genres and smashing expectations.

Released in 1984 as part of her *Starchild* album, this self-produced track catapulted her into the mainstream, peaking at a striking No. 4 on the US Billboard Hot 100 by early 1985 while also holding its own on R&B charts.

It’s a bold, infectious anthem of romantic obsession, delivered with Marie’s signature blend of R&B textures and a retro-futuristic bounce that lands somewhere between disco’s twilight and synth-driven pop’s ascendance.

The production leans into punchy basslines, sparkling synths, and layered vocals, providing a slick canvas for Marie’s emotive delivery that commands attention without veering into melodrama.

Her voice—a sharp soprano often mistaken for that of a black artist—oozes charisma, alternating between flirtatious urgency and a cool, unshakable self-assurance.

And let’s talk about that hook: a giddy, soaring declaration of love that plants itself in your brain after a single listen.

The accompanying music video, set in a smoky, intimate concert backdrop, avoids overindulgence by placing Teena front and center, energizing the screen with her magnetic stage presence.

But perhaps the most intriguing aspect of “Lovergirl” isn’t just its chart success; it’s what it represents—a white woman dubbed the “Ivory Queen of Soul,” navigating a Black-dominated R&B world while remaining fearlessly authentic to her craft.

This was the antidote to *Robbery*’s lukewarm reception, a reminder that reinvention sometimes needs just the right groove to hit the jackpot.

It’s playful yet calculated, lighthearted yet meticulously crafted, reminding us that pop music’s best moments often come from smashing boundaries with a killer beat.

Featured on the 1984 album “Starchild”.

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

9 . Eartha Kitt – Where Is My Man

Eartha Kitt’s “Where Is My Man” is a glittery slice of 1983 disco that unabashedly leans into indulgence with lyrics dripping in decadence and a melody spun for dancefloor allure.

Co-written by Fred Zarr, Jacques Morali, and Bruce Vilanch, the track revels in its unabashed materialism, from fantasies of Tiffany’s jewels to visions of Saint-Tropez escapades.

Released after Kitt’s years in the cultural wilderness following her outspoken critique of the Vietnam War, the song slyly reintroduces her with a wink, proving sass and resilience go hand in hand.

It’s flashy, unapologetic, and camp enough to cut through the studio fog of the ‘80s, featuring a pulsing bassline that refuses to steal the spotlight but still keeps the legs moving.

The track found a hungry audience, particularly in Europe, hitting top spots in Greece and Belgium, while flirting with the charts in the U.S. and U.K.

It’s not subtle, but then again, subtlety never bought a champagne flute or a fur coat, and Kitt delivers every innuendo and demand with her signature purr that remains unmistakably her own.

This is a celebration of a diva undeterred, a sing-along invitation to excess that’s embraced without hesitation.

Where the lyrics may feel tongue-in-cheek, the production leans fully into its disco mandate, offering just enough sparkle to remind listeners that “fun” doesn’t need to make excuses for itself.

Featured on the 1984 album “I Love Men”.

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

10 . Gladys Knight & The Pips – Love Overboard

“Love Overboard” emerges in 1987 as an angular pivot for Gladys Knight & The Pips, tucked into their final album “All Our Love.”

By snagging the top spot on the Hot Black Singles chart and peaking at #13 on the Billboard Hot 100, the track balances cleanly between commercial clout and era-specific experimentation.

Co-produced by Reggie and Vincent Calloway, its polished R&B core is spiked with a sly undercurrent of dance-pop—a nod to the changing sonic landscape of late-’80s music.

The production gleams without feeling sterile, while Gladys Knight’s voice, a textured collision of grit and grace, leads the charge with effortless authority.

The track’s music video, blending playful charm with a fishing trip theme, feels like a time capsule of the decade’s quirky video aesthetics, albeit leaning safe rather than provocative.

Its Grammy win for Best R&B Performance nods to the critical recognition of a group that was pivoting toward the end of its collective road, seeding what would soon be Knight’s solo era.

The song also pushed modestly into the UK Singles Chart, settling at #42, suggesting its international resonance was more muted compared to its domestic success.

Performed on *A Different World*, the track flirts with pop-culture embedding, although its role in the TV cameo underscores its dual life as both a radio hit and a multimedia moment.

Ultimately, it’s a piece that encapsulates a group adapting confidently to shifting tides, offering a farewell with fine-tuned savvy rather than sentimental floundering.

Featured on the 1987 album “All Our Love”.

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

11 . Belinda Carlisle – Love Never Dies

Belinda Carlisle’s “Love Never Dies,” a bittersweet artifact from her 1988 album *Heaven on Earth*, serves as the poignant final exhale of a record remembered more for its celestial anthems than its muted ballads.

Co-written by Charlotte Caffey, Thomas Caffey, and Rick Nowels—the latter also doubling as the track’s producer—it explores the resilience of love across the shifting tides of time and fate, all wrapped in Carlisle’s glossy pop rock aesthetic.

If its nostalgia-drenched lyrics evoke the romanticism of a well-weathered diary, the production buffs it to a reflective shimmer, favoring warmth over the stadium-sized punch of earlier album cuts like “Heaven Is a Place on Earth.”

In retrospect, its position as the closing single feels quietly elegiac, especially when contrasted with the album’s overtly radiant tone, underscoring its sense of yearning rather than triumph.

While MTV gave its music videos heavy rotation, the lack of standalone promotion left “Love Never Dies” nestled in the shadow of larger hits, a gem more whispered about than shouted from rooftops.

The song remains a favorite among cult fans, its understated emotional pull lending itself well to Carlisle’s acoustic performances, where its delicate melancholy gains new textures.

As part of *Heaven on Earth*, it doesn’t clamor for attention but instead lingers, embodying the fleeting beauty of a love that, as the title suggests, refuses to vanish with the passing of seasons.

Featured on the 1987 album “Heaven on Earth”.

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

12 . The Kinks – How Are You?

“How Are You” by The Kinks surfaces as an understated gem from their 1986 album *Think Visual*, capturing an era where synthesizers began to encroach on classic rock templates.

Written and produced by Ray Davies, the track unfolds as a reflective conversation, exploring themes of reconciliation and regret, wrapped in a polished but restrained arrangement typical of late-80s rock efforts.

The subdued guitar lines coexist with shimmering synths, echoing the transitional soundscape the band was experimenting with, yet never entirely escaping their roots.

While the single didn’t crack the Top 40, its moderate performance on the U.S. Billboard Album Rock Tracks Chart (No. 16) reveals its appeal to a loyal niche, though its UK peak at No. 86 suggests a dwindling presence in the homeland charts.

The accompanying music video, though not helmed by their usual collaborator Julien Temple, complements the song’s pensive atmosphere, serving more as a functional marketing tool than a groundbreaking visual statement.

Davies’ lyrics, while earnest, risk veering into sentimentality, but his delivery lends credibility, sidestepping mawkishness.

The song’s success, or lack thereof, speaks to The Kinks’ peculiar position in 1980s pop culture—venerable yet slightly adrift amidst shifting musical tides.

While not an essential entry in their discography, “How Are You” nods to the enduring craftsmanship of a band navigating the twilight of their hit-making years without losing their reflective edge.

Featured on the 1986 album “Think Visual “.

Lyrics >> More by the same : Official Site