‘Music For The Dancers’ N°111 – Vintage 80s Music Videos

1 . Herbie Hancock – Rockit

Herbie Hancock’s “Rockit” is a genre-defying instrumental that disrupted norms when released in 1983 as part of his album *Future Shock*.

This track welds jazz, funk, and the burgeoning electronic soundscapes of the early ‘80s, punching through with a robotic, stuttering groove that feels both mechanical and alive.

Bill Laswell and Michael Beinhorn’s production brings grit and precision, while DXT’s turntable scratches are as much melody as they are chaos, turning what could’ve been mere ornamentation into a defining musical texture.

The infamous sampled line “Rock it, don’t stop it,” lifted from Afrika Bambaataa’s “Planet Rock,” roots the song firmly in the budding hip-hop scene of the era, but Hancock takes it far beyond those confines.

The accompanying music video—equal parts eerie and hypnotic—features Jim Whiting’s surreal robotic sculptures, twitching and spasming their way into a new visual language for the medium, while Hancock himself is reduced to a TV image, promptly trashed in defiance of conventional ego-stroking.

Critics and audiences alike were caught off guard, but undeniably enchanted, awarding it a Grammy and turning it into a festival of MTV accolades, from Best Concept Video to Most Innovative.

“Rockit” isn’t merely a song; it’s a timestamp of the convergence of experimental jazz, street-level DJ culture, and techno-futurist bravado, slinking onto U.S. dance charts and finding its way into international Top 10 playlists like the rogue cyborg it resembles.

To hear it is to remember a time when boundaries weren’t just pushed—they were gleefully obliterated.

Featured on the 1983 album “Future Shock“.

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2 . Rocker’s Revenge – The Harder They Come

Rocker’s Revenge’s rendition of *The Harder They Come* is a curious experiment in genre reinvention that doesn’t quite outrun the shadow of its iconic source material.

Here, reggae morphs into a dancefloor anthem, led by the steady vocals of Donnie Calvin while Tina B’s atmospheric backing adds a layer of charm that feels slick but not groundbreaking.

Arthur Baker’s production fingerprints are unmistakable, stitching early freestyle elements with club-ready textures, yet the track struggles to step above being just a late-night remix of Jimmy Cliff’s cinematic masterpiece.

Released in 1983, it rode the disco-to-dance transition period, peaking respectably on both sides of the Atlantic, without shaking tectonic plates in either market.

While Jellybean Benitez’s club mixes gave it an edge in nightlife circles, there’s something vaguely mechanical about the overall execution, less a reinterpretation and more a modernized homage.

As part of the Rockers Revenge experiment, it underscores their fleeting, flash-in-the-pan contribution to ’80s crossover pop and dance culture, leaving behind a track that’s highly listenable but hardly revolutionary.

Its endurance mirrors that of the band itself: a pleasant but minor footnote in the sprawling narrative of post-disco electronica.

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3 . Whitney Houston – How Will I Know

In a world dominated by chart-toppers in 1985, Whitney Houston’s “How Will I Know” slides in as an effervescent confection of synth-funk and unapologetic dance-pop, bursting with color and energy.

Originally destined for Janet Jackson, the track instead became Houston’s vehicle of early superstardom, its bubblegum sheen hiding a technically complex musical arrangement in G-flat major with a perky 120 BPM pace that dares your feet to stay still.

From D♭4 to G5, Houston’s vocal range pirouettes through the melody, effortless yet commanding, injecting soul-like depth into a song built for joyous motion.

Narada Michael Walden’s production injects a playful vibrancy into George Merrill and Shannon Rubicam’s songwriting, making the song feel less like a plea for love’s clarity and more like an exuberant declaration of youthful curiosity.

The accompanying video, a fever dream of neon pastels, geometric designs, and backup dancers, didn’t just mirror the 1980s—it practically bottled it, receiving two MTV VMA nods for its trouble.

If “How Will I Know” were a question in need of an answer, Houston’s uninhibited bounce and radiance suggest she may not particularly care for one—she’s too busy having fun asking it.

Where it lands culturally is as a prime artifact of mid-’80s American pop, balancing commercial sensibilities with a vocal performance that transcends the ditties of its era.

Featured on the 1985 album “Whitney Houston“.

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4 . Heatwave – Gangsters of the Groove

“Gangsters of the Groove” struts into the room with all the confident swagger of its title, its funk sensibilities immediately evident through a taut bassline and sharp brass accents.

The track, penned by Rod Temperton, owes much of its character to his knack for threading intricate melodies over irresistibly smooth rhythms.

Released in 1980 as part of Heatwave’s “Candles” album, it reflects the evolution of funk in a disco-saturated era, leaning into a leaner, slicker sound tailored for urban radio stations and late-night gatherings.

Its punchy arrangement, peppered with rhythmic guitar riffs and buoyant horn flourishes, feels precision-engineered for packed dance floors, easily transitioning between groove-heavy verses and an energetic chorus.

Though it didn’t achieve astronomical chart success stateside—settling modestly at number 21 in the R&B lineup—it found greater traction in the UK, cracking the top 20 and solidifying its appeal in Europe.

The track’s infectious momentum is bolstered by production that neatly balances Heatwave’s hallmark lushness with the streamlined urgency of early ‘80s funk.

Yet for all its immediacy, the song offers moments of restrained elegance, a testament to Temperton’s gift for layering complexity within accessible compositions.

In a year that saw funk grappling with disco’s waning dominance, “Gangsters of the Groove” carved out its niche as both a dance floor magnet and a sonic companion for a generation caught in transition.

It stands as a lively snapshot of Heatwave’s adaptability, a band navigating shifting trends without losing touch with its rhythmic roots.

Featured on the 1980 album “Candles”.

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5 . Eddy Grant – Electric Avenue

Eddy Grant’s “Electric Avenue” merges reggae with pop precision to deliver a socially conscious bop that hides sharp commentary beneath its infectious groove.

Written in the wake of the 1981 Brixton riots, the song serves as an understated manifesto against systemic inequalities, tackling unemployment, racial tension, and economic despair without ever getting preachy.

Its title takes inspiration from Brixton’s Electric Avenue—a once-lit metaphor for progress now steeped in irony—where Caribbean influences and British culture collide.

Musically, it’s a delicate balance: taut rhythms lean into reggae’s syncopation, yet the moody synths ground it in 1980s pop sensibilities, making it both globally resonant and stubbornly local.

Grant’s urgent delivery in the chorus—”We’re gonna rock down to Electric Avenue!”—injects a defiant optimism into the bleakness, a subtle nod to resilience even during turmoil.

The video, filmed in sunny Barbados, casts an unexpected contrast to the gritty narrative, a choice that only underlines its wider appeal, especially in the U.S., where its presence on MTV pushed boundaries at a pivotal moment for black artists in mainstream media.

Charting high both in the U.S. and U.K., its enduring presence owes partly to its ability to address heavy topics with deceptive lightness, an accomplishment that keeps it relevant decades later.

For a track born out of political unrest and personal loss—Grant lost a batch of songs en route to Barbados, prompting him to rebuild from scratch—it encapsulates a rare alchemy: danceable discontent.

Featured on the 1982 album “Killer on the Rampage”.

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6 . The Gap Band – Burn Rubber On Me [Why You Wanna Hurt Me]

Released in 1980 as part of “The Gap Band III,” “Burn Rubber On Me (Why You Wanna Hurt Me)” lands squarely in the funk territory with a bassline that practically pulses through your veins. Its foundation, conceived on a Minimoog by Charlie Wilson, feels less like a groove and more like a command.

The lyrics, bitter yet oddly infectious, merge break-up drama with slick production, with Rudy Taylor’s coined phrase for the title adding a conversational sting. The track’s tight rhythm section underpins the brass accents, creating a sound that straddles sophistication and grit.

Earning a number one spot on the R&B charts in 1981, the song cemented its authority without overstaying its welcome on the mainstream Billboard Hot 100, where it peaked modestly at 84. Its influence, though, outpaces its chart positions—Dave Grohl acknowledged its impactful drum intro as a cornerstone for Nirvana’s famed “Smells Like Teen Spirit.”

Whether dominating ’80s dancefloors or streaming through niche YouTube uploads today, “Burn Rubber On Me” feels timeless and as relentless as its title suggests.

Featured on the 1980 album “The Gap Band III”.

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7 . Brother Beyond – Can You Keep a Secret?

“Can You Keep a Secret?” taps into late-80s pop sensibilities with a polished sound that straddles earnest romanticism and radio-ready hooks.

Originally penned by Eg White, David Ben White, and Carl Fysh, the 1988 version carried a modest charm, landing at 56 on the UK Singles Chart—a respectable, if unremarkable, outing for Brother Beyond.

In 1989, the track underwent a Stock Aitken Waterman (SAW) remix, which exponentially heightened its appeal. This new version, fueled by SAW’s synth-heavy gloss, soared to 22 in the UK, pulling it from obscurity to proper chart contention.

The remix also made waves in Australia, notably outperforming its sibling single “Be My Twin” and mirroring its UK peak at 22. Such success demanded a re-release of the album “Get Even,” revamped with additional SAW material, a move that broadened its reach albeit modestly, landing at 89 on the ARIA albums chart.

While undeniably catchy, the track shines most in juxtaposition with its peers, benefitting from the slick, unmistakable SAW touch that turned Brother Beyond’s heartfelt but middling pop into something undeniably infectious.

Featured on the 1988 album “Get Even”.

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8 . Alisha – Baby Talk

Released in 1985, “Baby Talk” by Alisha is a quintessential slice of freestyle dance-pop that revels in its infectious rhythm and crisp production.

Originally penned and recorded by Gregg Brown, the track exudes an energetic amalgamation of stuttering synths and funk-laced beats, paired with commanding vocals that could almost convince you it’s a Madonna B-side.

It didn’t take long for comparisons to be drawn between Alisha’s delivery and Madonna’s early work, with Madonna herself cheekily accusing Alisha of borrowing her chord progressions and vocal stylings, especially in the song’s higher register.

While the single only grazed the UK Official Singles Chart at number 67, its brief three-week tenure from January to February 1986 under the Total Control label (catalog number TOCO6) cemented it as a club staple of the era.

Alisha Ann Itkin—hailing from New York City and later signed to MCA Records—never fully climbed into mainstream consciousness despite such promising sparks in the ’80s dance scene.

“Baby Talk” encapsulates the unguarded ambition of a time when synthesizers ruled, and funk elements were stitched into the DNA of pop music, even if Alisha’s broader career arc didn’t match the trajectory of her more famous contemporaries.

Catchy and unabashedly derivative, it’s the kind of track that feels like it’s on the verge of saying something major but never quite gets there. Still, its shimmering beats make it a charming time capsule of the freestyle genre’s moment in the sun.

Featured on the 1985 album “Alisha”.

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9 . The Belle Stars – Sign of the Times

“Sign of the Times” by The Belle Stars embodies a vibrant moment in early ’80s new wave, laced with cynicism and sharp social observation wrapped in an uptempo package.

Released at the tail end of 1982, the track became an unexpected zeitgeist contender by 1983, peaking at number three on the UK Singles Chart.

The song’s success comes from its ability to merge cheeky pop sensibility with a certain street-smart sophistication, typical of the Stiff Records ethos.

The Belle Stars, a female septet, wrote the track collaboratively—a rarity that lends the song a cohesive but unpredictable edge, with each member’s creative touch subtly filtering through.

Peter Collins, their producer, ensured the bouncy rhythm section carried the polished yet cutting tone of the vocals as the playful tune began charting internationally, resonating far beyond its British roots.

Numbers aside, the video, with its dinner-jacket aesthetic, added a touch of stylized theatricality and worked in tandem with the song’s snarky commentary, becoming an MTV staple stateside.

This was not just another syrupy new wave ditty but a sly jab at the absurdities of contemporary life, positioned within a rhythmically infectious framework.

Despite cracking the Billboard Top 100 at a modest 75, its knack for fusing fun with critique allows “Sign of the Times” to assert itself as more than a brief chart phenomenon—it stands as a clever, thoughtfully layered artifact of its era.

Featured on the 1983 album “The Belle Stars”.

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10 . Imagination – Flashback

“Imagination” (1940) stands as a timeless jazz standard, woven together by the musical dexterity of Jimmy Van Heusen and the lyrical finesse of Johnny Burke. Its core is a meditation on the whimsical potential of imagination, a sentiment beautifully enshrined by big band heavyweights Glenn Miller and Tommy Dorsey, whose renditions dominated 1940’s airwaves. Ella Fitzgerald’s later interpretation enriched its allure, while iconoclasts like Sun Ra and Lenny Tristano imbued it with fresh textures. The melodic phrasing is delicate, almost wistful, paired perfectly with lyrics that flirt with dreamlike abstraction.

By contrast, Miki Howard’s 1987 single “Imagination” ventures into contemporary R&B terrain, a more grounded exploration compared to its jazz predecessor. LeMel Humes’s production frames Howard’s voice with smooth instrumentation, creating a ballad that’s evocative yet restrained. Its success on Billboard’s R&B charts cemented it as a pivotal moment in Howard’s burgeoning career. The B-side, “You Better Be Ready to Love Me,” offers a complementary radio-friendly dynamic, but little else beyond its polished structure to latch onto emotionally.

Tamia’s 1998 “Imagination,” however, takes an audacious step by threading a Jackson 5 interpolation into an R&B-meets-hip-hop framework. Dupri’s signature production style adds an infectious immediacy, marked by a buoyant tempo and undeniable groove. While Tamia’s soaring vocals lift the track, it occasionally feels overshadowed by its nostalgic references, especially with The Jackson 5’s “I Want You Back” subtly embedded within. Still, its chart performance—the Hot Billboard’s top 40 nod—is a testament to its broad appeal, even if its longevity within her discography feels somewhat debated.

Rounding out the group, Imagination’s “Flashback,” released in 1981, offers a sleek journey through synth-heavy funk. Nestled within the album *Body Talk*, its polished vocals and artful instrumentation invite the listener into a haze of introspection. Though undeniably drenched in period-specific aesthetics, it somehow retains an emotional resonance, playing on themes of nostalgia without ever teetering into saccharine territory. In sum, each “Imagination” seems to chart out its own interpretive landscape, reflecting not just diverse genres, but the inimitable echoes of their respective eras.

Featured on the 1981 album “Body Talk”.

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11 . Mantronix – Who Is It

Released in 1987, “Who Is It” by Mantronix cuts through the noise of late ’80s hip hop and electro funk with a sleek, mechanized polish.

This track sits on the group’s sophomore album, *Music Madness*, an aptly titled collection that joyrides through electronic pulses and old-school hip-hop aesthetics.

Here, Kurtis Mantronik and MC Tee pair jittery drum patterns with surgical synthesizer layers, crafting a sound that feels both precise and restless.

Though it only climbed to number 68 on the US R&B charts and peaked at 21 on the Dance charts, the song’s influence weighed heavier than its commercial performance suggested.

The production whispers of a club scene evolving into something sharper, leaner—the kind of music that starts in a basement and reverberates into a genre blueprint.

Award plaques are absent for this one, but its biting beats and tight breaks leave little doubt why the track sits comfortably in the early annals of electro and hip-hop’s hybrid evolution.

“Who Is It” doesn’t break into grandiose proclamations or hooks; instead, it knits itself into a relentless groove that favors repetition over theatrics.

It refuses to cater or coddle—but if you lean in, it dares you to crash-land somewhere between the dance floor’s shadows and strobe lights.

The track’s legacy is less about innovation and more about the confident reinforcement of genre boundaries being pushed steadily outward.

Whether you’re scavenging YouTube playlists or revisiting vinyl archives, it stands as a pulsing reminder of how Mantronix made the club their laboratory in the late ’80s.

Featured on the 1986 album “Music Madness”.

Lyrics >> More by the same : Official Site

12 . The Blow Monkeys – It Doesn’t Have to Be This Way

Released in 1987 as part of *She Was Only a Grocer’s Daughter*, “It Doesn’t Have to Be This Way” is quintessential mid-‘80s pop with a slick, polished edge.

The Blow Monkeys fuse hooks and a radio-friendly vibe with an undercurrent of social commentary, a hallmark of Dr. Robert’s songwriting at its peak.

Easily the band’s most commercially successful single, it edged into the UK Singles Chart top 5 and secured high rankings in Ireland, New Zealand, and Spain, making it an international calling card for the group.

The song’s production, helmed by Michael Baker, leans heavily on the era’s lush yet controlled soundscapes, with tight instrumentation creating a polished pop sheen.

The accompanying video adds a disarming touch of surrealism, juxtaposing the crisp white backdrop and an inexplicable red refrigerator with fleeting images of pop culture ephemera—the kind of visual boldness no MTV-era hit dared to skimp on.

Its inclusion in *Police Academy 4: Citizens on Patrol* cemented its cultural moment, though its lasting appeal lies in its knack for blending upbeat melodies with pointed lyricism.

A track both entirely tied to its moment and oddly prescient—it lingers in the listener’s mind, encapsulating glimmers of pop at its most commercially savvy yet artistically deliberate.

Featured on the 1987 album “She Was Only a Grocer’s Daughter”.

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