‘L’Amour Toujours’ N°305 – Vintage 80s Music Videos

1 . Sheena Easton – The Lover In Me

“The Lover in Me” struts in with a polished dance-pop veneer, marking a late ’80s reinvention for Sheena Easton.

The track blends crisp beats and sultry vocals, courtesy of powerhouse producers L.A. Reid and Babyface, crafting an atmosphere of yearning and empowerment.

It leans on funky basslines and snappy percussion, carving out a soundscape that feels both club-ready and emotionally raw.

Easton’s delivery sharpens the edge, her voice navigating between seductive restraint and commanding declaration.

It’s a calculated pivot for an artist carving space on charts that were increasingly dominated by groove-heavy, synth-soaked hits.

The accompanying music video frames Easton in a sleek nightclub setting, aligning her visual allure with the song’s contemporary polish.

The album expands on this sleek aesthetic, but Easton proves versatile enough to weave between styles without losing cohesion.

“No Deposit, No Return” hits with marching beats and synth flourishes, reinforced by vibrant backup vocals from Babyface and Karyn White.

“Follow My Rainbow” slows the pace, offering a poignant ballad that lets Easton’s vocal prowess shine, tinged with cinematic melodrama from its inclusion in *Miami Vice.*

Meanwhile, “Without You” and “If It’s Meant to Last” serve playful pop flourishes, with the latter bouncing along Jellybean’s snappy production.

Prince’s fingerprints sneak into “Cool Love,” a feverish detour marked by rich cello textures and jagged guitar riffs.

By the time “Fire and Rain” closes the album, Easton has etched a satisfying arc, blending soft piano lines with warm vocal harmonies in a reflective fadeout.

It’s not without its occasional indulgence—the occasional over-polish threatens to drown its emotional currents—but the album stands as a bold recalibration of Easton’s artistry.

If the late ’80s demanded reinvention, Easton’s glossy pivot hit all the right notes, even as it nods toward an industry in constant motion.

Featured on the 1988 album “The Lover in Me”.

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

2 . Georgia Satellites – Keep Your Hands To Yourself

A wry snapshot of ’80s Southern rock, “Keep Your Hands to Yourself” by the Georgia Satellites strides confidently into the world of barroom humor and commitment anxiety.

The track follows a chugging twelve-bar blues structure in A major, its straightforward chord progression underscoring the punchy, conversational storytelling.

Dan Baird’s weathered drawl recounts a no-frills tale of romantic tension, with the narrator’s fiery proclamations about love and marriage hilariously undercut by his partner’s insistence that intimacy requires a ring.

The song’s DIY origins—a spontaneous composition on a construction-worker’s commute—only add to its populist charm.

With its sly nods to rock ‘n’ roll’s lineage, critics lauded its Chuck Berry-esque energy, even as it cheekily updated those classic riffs for a new generation.

The music video leans into irreverence, painting the drama of a shotgun wedding with exaggerated flair, down to a dubious groom and a visibly pregnant bride.

Shooting to number two on the Billboard charts—narrowly trailing Bon Jovi’s arena juggernaut—it struck a rare balance between comedic gimmickry and genuine musical heft, carving itself a space as one of the more affable snapshots of late-20th-century American rock.

Yet, the genius of the track lies in its simplicity: a breezy, twangy refusal to overthink itself, leaving bigger philosophical pretensions at the door and embracing an unabashedly fun, self-aware image of love gone slightly awry.

Featured on the 1986 album “Georgia Satellites”.

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

3 . Techno Twins – Falling In Love Again

“Falling In Love Again” by Techno Twins offers a quirky reimagining of Friedrich Hollaender’s 1930 classic, injected with the unmistakable synthesizer-driven charm of the early ’80s.

The track straddles the line between kitsch and creative reinvention, transforming the melancholic cabaret original into a sleek, electronic oddity that would feel right at home in a nightspot illuminated by neon lights and dry ice.

Released in 1981, it reflects the electro-pop zeitgeist of its era, capitalizing on an eager audience hungry for futuristic sounds yet tethered to nostalgic themes.

The production leans heavily on layered synths and mechanized beats, stripping the tune of its smoky intimacy and replacing it with a calculated detachment—a move both inventive and polarizing, depending on the listener’s palate.

A re-recording in 1985 under the name The Technos signaled the duo’s attempt to remain relevant in an evolving electronic music scene, though the updated version lacked the initial release’s peculiar charm.

The absence of notable collaborations or accolades tied to this track hasn’t stopped it from being a minor relic of its time, threading the delicate needle between homage and parody.

It’s a song that unabashedly flies its synth-pop flag, reminding us that reinvention doesn’t always require loyalty to the source material—it only demands audacity.

Featured on the 1982 album “Technostalgia”.

More by the same : Official Site

4 . Elkie Brooks – Fool If You Think It’s Over

Elkie Brooks takes on Chris Rea’s 1978 ballad “Fool If You Think It’s Over” with a vocal delivery that balances fragility and strength, transforming the song into a showcase of her expressive range.

Released in December 1981, Brooks presents an emotionally charged interpretation that secured its place on the UK Singles Chart at number 17, while claiming even higher spots in Ireland and South Africa, a testament to its broad appeal in diverse markets.

The production by Gus Dudgeon veers toward the lush and polished, keeping the instrumentation in line with late ’70s-early ’80s adult contemporary trends, but Brooks’ voice pierces through the gloss with sincerity.

The track’s rise wasn’t purely organic; Brooks performed the song twice on “Top of the Pops,” lending it considerable visibility during a competitive year for radio-friendly ballads.

The narrative around the track grows richer with anecdotes such as Chris Rea himself—under the veil of anonymity—requesting Brooks’ autograph backstage, an encounter tinged with irony and mutual creative respect.

Its association with Radio Caroline’s 1983 return from a hiatus further etches the song into broadcasting lore, cementing it as an anthem for defiance and revival.

Brooks has repeatedly expressed a personal connection to the song, often citing it alongside her other career-defining performances, further establishing its enduring presence in her catalog.

While its production leans toward the traditional, and some might argue a little too polished, the song’s emotional core remains intact, offering a moment of genuine reflection on betrayal and resilience, carried by Brooks’ distinct voice.

Featured on the 1981 album “Pearls”.

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

5 . Scarlet Fantastic – Plug Me In [To the Central Love Line]

Released in early 1988, “Plug Me In (To the Central Love Line)” by Scarlet Fantastic is a quirky synth-pop track that pulses with an eccentric charm, offering a snapshot of late ’80s experimentation.

The song stakes its identity on an addictive melody paired with offbeat lyrics, projecting themes of energy and connection.

Following their breakout single “No Memory,” this track continued the band’s foray into the era’s vividly electronic landscape.

Despite its moderate chart success peaking at #67, the song has lingered on in various compilations, including its spot on *A Kick Up The Eighties Volume 9*, solidifying its place among cult favorites of the decade.

Fans can still find its otherworldly allure in remixed versions, such as the “Silver Surfer Connection Mix,” which adds a layered dimension to the original.

The accompanying music video leans into the band’s theatrical sensibilities, amplifying the playful absurdity inherent in their sound.

Scarlet Fantastic operates squarely within the late ’80s zeitgeist, blending synthetic textures and flamboyant visuals without leaning into excess or pretension.

“Plug Me In” may not storm the gates of mainstream memory, but it buzzes with a peculiar magnetism reflective of its time and context.

Featured on the 1988 album “24hrs”.

More by the same : Official Site

6 . The Colourfield – Thinking of You

“Thinking of You” by The Colourfield stands as a defining moment in mid-’80s jangle pop.

The track, which found its home on the band’s debut album, “Virgins and Philistines,” showcases a pairing of post-punk sensibilities with a splash of new wave polish.

Co-written by Terry Hall, best remembered for his work with The Specials, and Toby Lyons, the song emerged under the production of Hugh Jones, whose fingerprints smoothed its sound without stripping it of its emotional pull.

Hall’s voice, understated and lived-in, finds a curious contrast with Katrina Phillips’ guest vocals—her melodic warmth adding a human dimension to the backdrop of loneliness and estranged longing that the lyrics sketch out.

Chart-topping ambitions were modestly realized, with the single reaching a respectable number 12 in the UK and a notch higher in Ireland at 11, neither overstaying nor underperforming upon release.

Its music video, far from elaborate, mirrored its essence: simple, reflective, and unassuming, available now for quick nostalgia hits on YouTube via Chrysalis Records’ channel.

As a standalone anthem for fractured relationships and tentative reconnecting, it captures a bittersweet juxtaposition—a track draped in melancholic optimism, balancing yearning with restraint.

Among the band’s handful of charting successes, “Thinking of You” rises as a carefully crafted slice of understated emotional clarity, bearing a timeless quality well beyond its unsurprisingly modest airplay era.

Featured on the 1985 album “Virgins and Philistines”.

Lyrics >> More by the same : Official Site

7 . Huey Lewis And The News – Do You Believe In Love

Huey Lewis and The News’ “Do You Believe in Love” stands as a quintessential slice of early ’80s pop-rock, blending catchy hooks with romantic undertones that feel tailor-made for radio dominance.

Written by Robert John “Mutt” Lange, this was initially a different beast, recorded by the British outfit Supercharge in 1979, with Lange himself on vocals.

Huey Lewis reworked the lyrics to better suit their Everyman charm, repackaging it with a glossy sheen for their breakout album, *Picture This*.

The track crept into American living rooms thanks in part to MTV, whose infancy benefited from a scarcity of music videos, ensuring heavy rotation for a cheerful clip that seemed impossibly Californian in its carefree swagger.

Its no-frills optimism about love contrasts the growing cynicism of the post-disco era, embodying a breezy sincerity that’s tough to mock, yet harder to fully embrace without irony today.

Still, it’s a perfect snapshot of a band gearing toward mainstream success while holding onto just a hint of their bar-band origins.

In the UK, its re-release in 1985 shared space on a double A-side with “The Power of Love,” making its nostalgic light burn brighter amid a post-Live Aid haze of British pop’s self-confidence.

Musically, its DNA is fully rooted in ’80s pop production values—arch harmonies, clean guitar riffs, and Lewis’ amiable rasp that rarely tries too hard.

The song is less a standout and more a foundation stone, paving the band’s path toward superstardom, particularly as it taps into the decade’s obsession with bombastic, simple declarations of feeling.

While it may never become a transcendent anthem of its era, it endures as a nostalgically pleasant reminder of when pop music could be unabashedly earnest without second layers or angsty posturing.

Featured on the 1982 album “Picture This”.

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

8 . Bonnie Tyler – The Best

Originally intended for Paul Young, Bonnie Tyler’s “The Best” instead found its home with the powerful Welsh vocalist, leading her 1988 album “Hide Your Heart” with swagger and drama.

It’s a power ballad turned anthem, penned by Holly Knight and Mike Chapman, that attempts to fuse resilience with unabashed admiration, amplified by Desmond Child’s production gloss.

Failing to make much of a dent on UK charts with a modest peak at number 95, the track fared better in Norway, reaching number 10—proof that its grit resonated in less saturated markets.

The song bears a curious history, later overshadowed by Tina Turner’s 1989 rendition, which added heightened energy and commercial polish, proving more palatable for the late-’80s mainstream.

Tyler’s version remains rough-edged in comparison, underlining its placement in a transitional phase of her career, a bridge between rock theatrics and an era craving more pop-friendly hooks.

With its grand, slightly overwrought delivery, “The Best” solidified its niche as much in music trivia as on playlists.

Featured on the 1988 album “Hide Your Heart”.

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

9 . Linda Ronstadt – I Knew You When

“I Knew You When” finds Linda Ronstadt stepping lightly into country-rock territory with a wistful nod to nostalgia and longing.

This 1982 cover of Joe South’s original navigates love lost with a delicately measured vocal performance that errs on the side of restraint, yet never feels emotionally detached.

Peter Asher’s production wraps her voice in clean, unfussy instrumentation, allowing her delivery to shine without unnecessary ornamentation.

The track performed moderately well on the charts, landing in respectable but unremarkable positions across a variety of categories, from adult contemporary to country, without ever firmly planting its flag in one genre.

The accompanying music video, a hallmark of its time, adds a layer of visual poignancy, helping to boost its reception in markets like Australia.

While the parent album, *Get Closer*, didn’t achieve the chart dominance of Ronstadt’s earlier work, it cemented its place with a Gold certification, a fact that perhaps speaks more to her enduring fan base than the song’s individual impact.

Overall, the track highlights Ronstadt’s adaptability, proving her ability to glide between genres while leaving enough of her idiosyncratic stamp to keep listeners invested, even if this isn’t her most gripping moment.

Featured on the 1982 album “Get Closer”.

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

10 . Starship – Sara

“Sara” by Starship serves up a quintessential slice of mid-’80s soft rock, steeped in themes of heartbreak and wistful longing.

Plucked from their 1985 album *Knee Deep in the Hoopla*, the track leans heavily into plush synthesizers and a chorus that oozes melodrama, as Mickey Thomas’s vocals alternate between tender vulnerability and impassioned declarations.

Penned by Peter and Ina Wolf, its narrative centers on a love lost, capturing a prototypical tear-jerking arc that feels almost cinematic in its ambition.

Speaking of cinema, the accompanying music video revels in soap-operatic excess, starring Rebecca De Mornay as the titular Sara and providing a visual playground for themes of nostalgia and regret—with occasional windswept hair shots, because ’80s.

The song has the distinction of dethroning Mr. Mister’s “Kyrie” from Billboard’s top spot, only to have its crown snatched shortly after by Heart’s “These Dreams.”

Despite its triumphs, the track exists in a curious cultural space: certainly a chart-topper, yet somewhat relegated to the fringes of nostalgia playlists, its emotional weight intact but a little dusty.

Like Starship itself, “Sara” is a product of its time: adored commercially, yet a touch polarizing in the arena of critical reception, remembered more for its melodrama than musical innovation.

Featured on the 1985 album “Knee Deep in the Hoopla”.

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

11 . Diana Ross – It’s My Turn

Released in September 1980, “It’s My Turn” steps into the limelight as a reflective anthem tied to its namesake film. Carole Bayer Sager’s lyrics and Michael Masser’s composition craft a ballad centered on self-assertion and change, pairing introspection with a sense of empowerment.

Diana Ross delivers its narrative with understated elegance, her vocals balanced between vulnerability and quiet strength. The arrangement is polished without excess, featuring standout contributions from Leland Sklar on bass and Lee Ritenour on guitar, adding texture that complements rather than overwhelms.

The song hit number 9 on the US Billboard Hot 100, a respectable mark, though not chart-topping. Internationally, it drifted through charts in the UK, Ireland, and the Netherlands, hinting at modest global appeal rather than domination. Yet, its true resonance lingers less in numbers and more in its thematic embrace of personal agency.

There’s a cinematic quality to its presentation, yet it doesn’t veer into melodrama. Ross maintains a calm assuredness, sometimes bordering on too safe, but undeniably sincere. While the production feels rooted in its era, the sentiment remains timeless, even gaining unlikely afterlife as the theme for a Philippine drama anthology in 1984.

If anything, “It’s My Turn” operates as a microcosm of Ross’s career at the time—refined, deliberate, and capable of packaging emotional depth into accessible pop without succumbing to overstatement. A quiet standout, it doesn’t demand attention but earns it subtly.

Featured on the 1981 album “To Love Again “.

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12 . Agnetha Fältskog – The Last Time

Released in 1988, “The Last Time” stands as a striking pivot in Agnetha Fältskog’s post-ABBA career, steering into a more polished, West Coast American soundscape under the watchful eye of Chicago’s Peter Cetera.

Recorded across studios perched in California and Idaho, the track mirrors an era when pop was dipping its toes deeper into soft rock waters, trading flamboyance for introspection.

Fältskog’s delicate yet controlled delivery anchors the track, amplifying its wistful narrative of closure and love lost.

The decision to release a Spanish version, “La Última Vez,” hints at the label’s ambition to grasp a broader market despite the restrained marketing effort elsewhere.

The accompanying video leans heavily on classic late ’80s melodrama: muted palettes, longing stares, and a cinematic sweep that’s just earnest enough to avoid tiptoeing into parody.

Although it missed the mark of major chart triumphs, the song taps neatly into the subtler, less overtly commercial corners of the pop landscape during its release.

Featured on the 1987 album “I Stand Alone”.

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