‘L’Amour Toujours’ N°309 – Vintage 80s Music Videos

1 . Sade – Hang On To Your Love

“Hang On to Your Love” emerges from Sade’s debut album, *Diamond Life*, a 1984 release that encapsulates a sleek, refined approach to ’80s quiet storm aesthetics.

Built on a sturdy bassline and a measured tempo, the track carries an air of polished restraint, avoiding bombastic crescendos in lieu of steady, unhurried grooves.

Sade Adu’s vocals glide effortlessly, delivering lyrics that, while romantic and encouraging, carry a certain emotional detachment, almost as if love is less a firework and more a marathon runner pacing in rhythm.

The production, courtesy of Robin Millar, remains tightly controlled, with not a single note wasted, as if every element had to justify its place in the mix.

The song managed modest chart success, reaching audiences across the U.S., Europe, and the Pacific in a way that suggests its appeal was always somewhat niche—commanding respect without aiming for ground-shaking cultural dominance.

The accompanying music video, understated by today’s standards, mirrors the song’s propensity for mood and elegance over spectacle, while its narrative remains subdued, almost secondary to the ambiance.

Its blend of confidence and restraint highlights Sade’s knack for delivering sincerity without slipping into melodrama, resulting in a track that, almost 40 years later, still walks the tightrope of timeless minimalism.

Featured on the 1984 album “Diamond Life“.

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

2 . Bob Geldof – Love Like A Rocket

There’s something inherently tongue-in-cheek about a song titled “Love Like a Rocket,” especially when delivered by Bob Geldof, a figure often filed under “earnest frontman turned activist.”

Released in 1986 as part of Geldof’s debut solo effort *Deep in the Heart of Nowhere*, the track embodies the album’s mix of grandiosity and odd self-awareness.

The composition leans into rock tropes with unapologetic fervor—wailing guitars (some courtesy of Eric Clapton, no less) and a bombastic rhythm section, paired with lyrics that straddle the line between audacious and absurd.

The production, polished for its time, borders on over-embellished, with an arena-rock sheen that simultaneously dates it and gives it a distinct nostalgic charm.

Curiously, it never fully commits to being either a parody of rock clichés or a sincere embrace of them, which both adds to its charm and muddies any broader artistic intent.

Commercially, the single fared decently, cracking the UK and German charts but lacking the staying power of Geldof’s Boomtown Rats hits.

As a standalone track and representative of the album, it sneaks into Geldof’s post-Boomtown career portfolio as an artifact of excess, ambition, and perhaps an unspoken, winking self-awareness.

It’s the kind of track you admire for its audacity, even if you can’t quite decide whether it’s a guilty pleasure or an outright indulgence in flamboyant theatrics.

Featured on the 1986 album “Deep in the Heart of Nowhere”.

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3 . Daryl Hall & John Oates – One On One

“One on One” by Daryl Hall & John Oates offers a tightrope act between intimacy and minimalism, wrapped in a warm synthesizer-driven arrangement that practically drips with restraint.

The lyrics take sports metaphors—admittedly a risky choice—and turn them into a surprisingly effective lens for seduction, all while skirting the edge of camp without falling into it.

Daryl Hall’s lead vocals hold the center with a steady, almost pleading intensity, while John Oates slides in with harmonies that feel like a quiet nudge rather than a shout.

Released in 1983 as part of their album *H2O,* the track peaked at number seven on the Billboard Hot 100, carving out a permanent niche in their canon of smooth, soft rock hits.

Its music video, a juxtaposition of moody urban wanderings and stage performance, garnered critical attention, though it’s hard to tell if Mick Haggerty’s direction feels nostalgic or simply dated today.

The song clearly struck a chord, later finding itself repurposed by jazz and pop acts alike, a testament to its malleability as much as its melodic core.

Notably, the NBA tapped into its sports-themed undertones during mid-80s commercials, a move that feels both fitting and strangely on-the-nose.

“One on One” exists comfortably in a crossover zone—romantic enough to slow dance to yet polished enough for top-10 radio dominance.

Featured on the 1982 album “H2O “.

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

4 . Wendy & Lisa – Are you my Baby

“Are You My Baby” lands itself squarely in the late-’80s funk-pop spectrum, carrying the unmistakable fingerprints of Wendy Melvoin and Lisa Coleman, former members of Prince’s Revolution.

The track grooves along with a breezy, infectious energy, blending playful lyrics and tight rhythms into a concoction that’s equal parts sass and sophistication.

It’s got that quintessential Minneapolis sound, but with the sharp edges subtly smoothed out, leaning more on saccharine hooks than audacious experimentation.

Though it peaked at a modest No. 70 on the UK Singles Chart, its buoyant charm found greater resonance in the Netherlands, climbing up to No. 12.

The album “Fruit at the Bottom” feels like a time capsule of 1989, flashy yet strangely introspective, with “Are You My Baby” as one of its more accessible offerings.

Of course, their Prince-adjacent sheen boosts the track’s intrigue, but Wendy & Lisa don’t simply ride coattails—they craft a sound that stands alone, even if it’s shadowed by purple royalty.

The song’s featherlight funk pairs well with the equally colorful music video, brimming with high-waisted pants, synth-laden whimsy, and just a hint of self-aware coolness.

As ever, the duo’s knack for layered harmonies shines, aided by backing vocals from their sisters, adding subtle familial warmth to its polished finish.

The album, later reissued with bonus tracks, might reflect a broader willingness to revisit overlooked gems, though it’s unlikely to spark a critical rethink of its place in ’80s pop.

If anything, “Are You My Baby” serves as a reminder that being overshadowed by legends doesn’t preclude crafting something enduring, however niche its appeal might remain.

In retrospect, the song is less a mainstream breakthrough and more a glimmer of two masterful musicians charting their own playful, understated course.

Featured on the 1989 album “Fruit at the Bottom”.

Lyrics >> More by the same : Official Site

5 . Pop Will Eat Itself – There Is No Love Between Us Anymore

“There Is No Love Between Us Anymore” by Pop Will Eat Itself functions as a snapshot of late-’80s alternative angst, blending punk defiance with early electronic experimentation.

Released in 1988, it captures the band’s unique shift from their grebo origins into a more sample-heavy, industrial rock territory, mirroring their contemporaries’ explorations of new soundscapes.

The track anchors its weight on lyrics dissecting relational decay with a dose of detached irony, reflecting the era’s preoccupation with alienation and disillusionment.

Musically, its punchy rhythm section and layered production may seem minimal by today’s standards, but it marks a transitional moment in underground music’s embrace of technology.

While it peaked modestly at number 66 on the UK Singles Chart, the song’s modest chart performance belies its role in bolstering the album “This Is the Day…This Is the Hour…This Is This!”, embodying a band in metamorphosis.

The album itself, produced by Flood—whose resume reads like a primer on ‘80s and ‘90s musical innovation—cements the sonic experimentation that defines this period in the band’s evolution.

Pop Will Eat Itself’s penchant for blending biting social commentary with kaleidoscopic production is on full display here, even if its caustic edges don’t reveal themselves to casual listeners immediately.

Enduring three weeks in UK chart purgatory, this song bears the hallmarks of a cult favorite rather than a mainstream anthem, drawing listeners who appreciate its layered contradictions and raw energy.

While unlikely to achieve the timelessness of bigger hits from that era, it remains an important piece in the puzzle of how alternative music began flirting with the digital age.

Featured on the 1987 album “Box Frenzy”.

Lyrics >> More by the same : Official Site

6 . Yazz – Fine Time

“Fine Time” by Yazz is an undeniably ’80s pop confection that straddles optimism and gloss, much like the era itself.

Released in January 1989, it finds itself nestled within her debut album “Wanted,” positioned as the follow-up to her chart-topping powerhouse “The Only Way Is Up.”

The track’s production leans heavily into the dance-pop template, with layers of buoyant beats and an infectious synth-driven melody that feels both familiar and fleeting.

Its UK chart peak at number 9 suggests commercial appeal, though its performance in markets like Australia and Germany—numbers 60 and 32, respectively—reflects a more tempered reception abroad.

Brimming with earnest vocal delivery and a buoyant rhythm section, “Fine Time” lacks the cultural punch of Yazz’s previous successes, though it immerses itself in a carefree, dancefloor-ready vibe that resonates in the late ’80s pop landscape.

A music video accompanies the single, embracing the visual eccentricity emblematic of the era, though it doesn’t quite carve the same indelible mark as her earlier work.

Through a moderately successful chart run in regions like Ireland (number 4) and New Zealand (number 18), the song underscores Yazz’s momentary command of the pop zeitgeist, offering an enjoyable if unremarkable entry into her discography.

Its polished clarity and upbeat nature are undoubtedly emblematic of late-decade pop trends, yet its somewhat restrained impact highlights why it remains a curious artifact rather than a defining anthem.

Featured on the 1988 album “Wanted”.

Lyrics >> More by the same : Official Site

7 . Eighth Wonder – Will You Remember?

Eighth Wonder’s “Will You Remember?” sits comfortably under the late ‘80s pop umbrella, a glossy, radio-friendly concoction born out of its time.

The track, produced by Mike Chapman—who previously polished Blondie’s irresistible hooks—leans on lush instrumentation and a soft-focus approach to pop balladry, while Patsy Kensit’s ethereal vocals wrap the whole affair in a sheen of sentimentality.

Though it barely made a dent on the UK Singles Chart at No. 83, its trajectory in Italy tells a more intriguing tale, peaking at No. 9 after a performance at the Sanremo Music Festival that left more than just the audience talking, thanks to Kensit’s televised wardrobe mishap.

Japan’s reception of the song followed the band’s rising profile there, with “When The Phone Stops Ringing” paving the way for its moderate success.

Despite its smooth production, “Will You Remember?” struggles to avoid being overshadowed by its peers, relying on its wistful theme of fragile love and fleeting memory to tug at predictable heartstrings.

Overall, the track reflects the era’s obsession with slick, emotive pop, but its lukewarm reception outside select markets suggests it remained a modest footnote rather than a breakout triumph for the band.

Featured on the 1988 album “Fearless”.

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8 . Leo Sayer – Unchained Melody

Leo Sayer’s relationship with “Unchained Melody” is a ghostly one at best, with no confirmed recording or release under his name. The vacuum here raises questions about misattribution or wishful thinking by fans clutching at straws for a forgotten gem. For context, the iconic ballad is more firmly anchored in history by memorable renditions like Todd Duncan’s original in the 1955 film *Unchained*, the Righteous Brothers’ 1965 emotionally soaked performance, or even Gareth Gates’ glossy remake from his *Pop Idol* days in 2002.

Speculation aside, if we’re discussing the song itself, imagine drowning in a pool of romantic yearning with a melody that doesn’t so much resolve as it circles back on itself, endlessly waiting. That’s the paradox “Unchained Melody” offers—closure that never fully comes, but not without leaving its impact. Maybe that’s why people ascribe so much mythology to it. Make no mistake, this isn’t a track you’d listen to passively; it’s one you endure, for better or worse.

Without Sayer in the mix, the real conversation becomes less about another hypothetical cover and more about how this song carries its weight across decades, attaching itself to new voices with varying levels of success. From baritone gravitas to pop-chart smoothness, it’s a song that invites interpretation while also daring the next singer to fall short of the mark set by its legends. If Sayer ever braved it, history seems to have dismissed it quietly—and maybe that’s just as well.

Featured on the 1985 album “Car Trouble : Soundtrack”.

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

9 . Anita Baker – Caught Up In The Rapture

Released in 1986, “Caught Up in the Rapture” slips comfortably into the silky quiet storm style, with Anita Baker’s velvety voice gliding effortlessly over its mellow R&B groove.

The track’s instrumentation feels intimate yet polished, blending soft percussion, warm basslines, and understated keyboards that leave ample breathing room for Baker’s emotive delivery.

What sets this song apart is its restraint, its refusal to overindulge in vocal theatrics or bombastic production.

Instead, Baker lets the nuances of her voice do the heavy lifting, embodying both vulnerability and quiet confidence—a perfect match for the song’s theme of being swept away by love’s intoxicating pull.

The lyrics are a straightforward ode to romance, free of irony or complication, which could feel overly sentimental if not anchored by Baker’s sincerity and impeccable phrasing.

Produced by Michael J. Powell, the track thrives in its simplicity, allowing Baker’s vocal harmonies to take center stage without overpowering the mood.

From a cultural standpoint, “Caught Up in the Rapture” emerged during a time when the quiet storm genre provided a counterbalance to the flashy excess of ’80s pop and rock.

This song, and the larger *Rapture* album, offered refuge for listeners seeking introspection and emotional depth, proving that less can indeed be more.

While its commercial success may not have reached the heights of “Sweet Love,” it remains a staple in Baker’s catalog—a track that embodies elegance without pretense and intimacy without artifice.

Featured on the 1986 album “Rapture“.

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10 . Michael Ball – Love changes everything

“Love Changes Everything” enters the stage as a theatrical ballad with the dramatic weight only Andrew Lloyd Webber can conjure.

Michael Ball’s soaring tenor delivers lyrics that cling to youthful idealism, veering perilously close to sentimentality yet managing to sidestep overt schmaltz.

Stripped down to a three-chord piano accompaniment, the arrangement leans into simplicity, allowing the melody to go full Broadway without apology.

As part of *Aspects of Love*, the song fields romantic highs and lows with a palpable earnestness that you can either accept as heartfelt or dismiss as overwrought, depending on how much cynicism you’re nursing that day.

Its 1989 release as a single saw it staking out the No. 2 spot on the UK charts for 15 weeks, compelling proof that its lush escapism struck a chord with listeners neck-deep in Thatcherite Britain.

Whether delivered with pathos by Ball or reimagined by artists from Il Divo to Sarah Brightman, its longevity suggests that kitsch and genius occasionally shake hands in the pop-theater canon.

The inclusion on multiple compilation albums and its performance at the Tony Awards confirm its role as a cultural export, though its association with a not-particularly-revered musical keeps its legacy curiously conflicted.

It’s Ball’s signature tune, for better or worse—a melodramatic ode to love’s upheavals that hangs somewhere between stirring anthem and guilty pleasure.

Featured on the 1989 album “Aspects of Love”.

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

11 . Carly Simon – Coming Around Again

“Coming Around Again” is a glimmering snapshot of Carly Simon’s ability to pour complexity into every note without falling into melodrama.

Crafted for the 1986 film “Heartburn,” this track straddles the line between intimate reflection and mainstream accessibility, capturing the push-and-pull of relationships with striking precision.

The lyrics, effortlessly domestic yet emotionally charged, evoke a sense of frayed familiarity while holding tightly to the idea of quiet resilience.

Simon’s voice hovers between fragility and control, layered over a polished pop arrangement that feels nostalgic without veering into excess sentimentality.

The song’s lasting appeal was further cemented by its genre-bending inclusion of the “Itsy Bitsy Spider” motif, a quirky yet effective juxtaposition.

Sure, the music video opts for a more personal visual narrative over showcasing the film itself, but the decision only enhances the song’s autobiographical flavor.

A top-20 hit on the US charts, the track underscores Simon’s ability to spin reflective honesty into commercially palatable gold.

Featured on the 1987 album “Coming Around Again “.

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

12 . Styx – Babe

Released in 1979 as part of Styx’s “Cornerstone” album, “Babe” marks a curious pivot from the band’s usual rock-centric persona to a tender soft rock ballad.

Initially penned as a personal gift by Dennis DeYoung to his wife Suzanne, the song accidentally crossed into public consciousness and transformed into the undeniable centerpiece of the band’s catalog.

Though structurally simple, its themes of longing and separation resonated with listeners globally, resulting in chart-topping success, including the coveted number-one spot on the Billboard Hot 100 for two weeks in December 1979.

Interestingly, the track remained remarkably close to its demo roots, with only minor additions—an unusual choice that pays off through its raw, emotional delivery.

Yet for a group rooted in progressive rock, the track’s blatant sentimentality and softened edges sparked tension among fans and even within the band.

This duality—between heartfelt connection and polarizing softness—cements “Babe” as both a triumph in adaptability and a departure that remains divisive decades later.

Featured on the 1979 album “Cornerstone “.

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