‘Music For The Dancers’ N°312 – Vintage 80s Music Videos

1 . Stock Aitken Waterman – S.S. Paparazzi

Released in 1998 under the production umbrella of Pete Waterman, “S.S. Paparazzi” by the legendary Stock Aitken Waterman trio lands as a playful jab at the absurdities of celebrity obsession.

The chart-topping creators take aim at tabloid culture with a winking self-awareness that feels grounded in the late-90s zeitgeist, where fame often teetered on the edge of parody itself.

Thematically, the track balances humor and critique while maintaining the energetic buoyancy that defines the group’s pop sensibilities.

Its infectious rhythm and playful beats are less about deep introspection and more about capturing a cultural snapshot with a knowing grin.

What it lacks in lyrical depth, it compensates for with a refreshing irreverence, reflecting a time when poking fun at the mechanisms of fame didn’t yet carry the weight of today’s relentless social media grind.

Peaking at #19 on the UK charts, the song’s reception highlighted its ability to connect in a moment when pop was as much commentary as entertainment.

While it may not have been a groundbreaking achievement in the trio’s catalog, its vibrant energy and sharp thematic core ensure its memory as a notable entry into the pantheon of late-90s pop satire.

More by the same : Official Site

2 . Yarbrough & Peoples – Don’t Stop The Music

Released in 1980 as the flagship single for their debut album “The Two of Us,” Yarbrough & Peoples’ “Don’t Stop the Music” is a quintessential slice of early-80s R&B anchored in funk and electronic intrigue.

A product of Jonah Ellis’s pen and Lonnie Simmons’s production finesse, the track captures the pulse of an era engrossed in post-disco’s glitzy rebellion, leaving inhibitions checked at the door.

Climbing to number 19 on the Billboard Hot 100 while reigning supreme on the Billboard Hot Soul Singles chart, it wielded enough groove to cement its place as a nightclub anthem.

The song wastes no time plunging into its percussive bassline and smooth synth hooks, intertwining minimalism with unabashed energy, a tricky feat pulled off with nonchalance.

Conceptually, it’s a manifesto to movement—feet tapping, shoulders swaying, inhibitions surrendering to rhythms that almost feel alive.

Far from an innovation for its time, the song instead lands as a confident statement: pure unpretentious funk married to radio-ready sensibility.

The accompanying video becomes a time capsule, offering a voyeuristic glance into an era of feathered hair, smoky lighting, and synthesizers as central to the imagery as they are to the sound itself.

The track has since been pillaged by a mix of artists and producers, carving out new homes in hip-hop samples and modern reinterpretations.

Its nostalgic yet timeless energy earns it a comfortable spot in curated 80s playlists, though it avoids the pretentiousness of being cited as overly groundbreaking.

Rather than bending genres, it leans fully into its groove, content to thrive in its innate charm and musical offerings.

Featured on the 1980 album “The Two of Us”.

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

3 . Madonna – Angel

Released in 1985 as part of Madonna’s “Like a Virgin” album, “Angel” captures the infectious romanticism and youthful energy emblematic of mid-’80s pop.

The track, penned by Madonna alongside Stephen Bray and produced by Nile Rodgers, reflects themes of infatuation through a buoyant melody and spirited tempo.

Charting at No. 5 on the Billboard Hot 100, its commercial reception cemented its place as a staple of radio playlists in the U.S., UK, and other global markets.

What truly sets “Angel” apart is its carefree charm, blending sugary optimism with a dash of wide-eyed vulnerability.

Originally slated for its own music video, the production was shelved, replaced instead by a montage of past Madonna clips—a missed opportunity to visually leverage the song’s effervescent vibe.

The release came with a powerhouse B-side—”Into the Groove,” a track that arguably outshone the original, carving a legacy of its own.

Armed with an irresistible 12″ remix, “Angel” also made its way onto the setlist of her inaugural “Virgin Tour,” encapsulating the electric rise of Madonna as both a pop icon and cultural provocateur.

Featured on the 1984 album “Like a Virgin“.

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

4 . Shalamar – The Second Time Around

“The Second Time Around” by Shalamar exudes a polished confidence that defines late-’70s disco flirting with its slick, post-disco cousin.

Released in 1979 as part of the album “Big Fun,” it finds its groove between romance and reinvention—artfully blending sharp production from Leon Sylvers III with lyrics that present longing and hope as if they’re casually slipping into a sequined jumpsuit.

The track became a pivotal moment for Shalamar, topping the Billboard Hot Soul Singles chart and cracking the top 10 on the Hot 100, thus expanding their reach from niche floor-fillers into mainstream consciousness.

Its mix of elastic basslines, lush harmonies, and rhythmic hooks sits at an intersection: disco wasn’t dead, but its flamboyant reign was clearly giving way to a more refined funk aesthetic.

Thematically, it’s a reflection of second chances, packaged in grooves so tight they could serve as their own metronome.

The song’s television appearances, particularly on “Soul Train,” boosted its appeal, pairing the group’s polished choreography with a track that feels like it’s winking at its audience.

If there’s a critique, it’s that the track might lean too heavily on its sheen, presenting love’s redemption story without much room for raw vulnerability.

Still, its enduring presence on retrospectives and live setlists speaks to a rare alchemy: deeply nostalgic yet undeniably modern for its age.

Featured on the 1979 album “Big Fun”.

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

5 . Phil Fearon – Ain’t Nothin But A House Party

Phil Fearon’s “Ain’t Nothin’ But A House Party” dives headfirst into the late ’80s UK club frenzy, borrowing its swagger from the Show Stoppers’ 1968 hit and amplifying it with a funky British sensibility.

Released in 1986, this track isn’t so much a reinvention as it is a reimagined invitation to the dancefloor, cultivating grooves that feel tailored for neon-lit discotheques and joyous congregations of hopeful romantics.

Fearon, riding on the momentum of earlier successes like “Dancing Tight” and “What Do I Do,” wielded his signature infectious energy here once again, crafting a tune that felt both nostalgic and current — a fitting tribute to a bygone era while speaking the language of the synth-heavy decade.

What this recording captures is not mere imitation but a celebration, reframing a ’60s soul anthem as a party-ready anthem for its time.

The production, under the banner of Ensign Records, leans heavily on polished rhythms and effervescent vocal arrangements, giving it the buoyancy to glide up to an eventual #20 on the UK charts.

Unlike some of Fearon’s more universally recognized hits, this one holds its charm in its simplicity: a groove that demands attention and a chorus engineered for communal singing, underscoring themes of togetherness and unfiltered fun.

Its accompanying video, drenched in the quintessential hues and aesthetics of 1980s optimism, reinforced the mood this song unapologetically aimed for.

Ultimately, Fearon produced a track that didn’t overthink its purpose — a lively, rhythmic reminder that sometimes, a house party is all you need.

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6 . Jermaine Stewart – Say It Again

Jermaine Stewart’s “Say It Again” is a polished slice of late-’80s pop that blends smooth vocals with a mid-tempo groove, courtesy of the production talents of André Cymone and Narada Michael Walden.

Released under Arista Records in 1988, this track finds itself floating between dance-pop and R&B, exuding themes of love, commitment, and quiet yearning without veering into the saccharine.

The song didn’t smash records but made respectable chart strides, hitting No. 27 in the U.S. and climbing to No. 7 in the UK, where it found a slightly warmer embrace.

Its glossy production and infectious hook placed it in good stead among the pop-radio staples of the time, even if it didn’t fully break through to genre-defining territory.

The accompanying music video, an exercise in visual sheen, earned its due spins on MTV, bolstering Jermaine Stewart’s image as a charismatic yet understated presence in the crowded landscape of ’80s pop performers.

While not anthemic, the track captures a specific moment in pop music when slick production and earnest vocals were enough to win over fans craving warmth and reassurance.

Featured on the 1987 album “Say It Again”.

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

7 . Whitney Houston – So Emotional

Released in 1987, “So Emotional” is a striking fusion of pop, rock, and dance that reflects a high-octane intensity emblematic of Whitney Houston’s late ’80s peak. Propelled by Tom Kelly and Billy Steinberg’s songwriting, the track finds itself nestled comfortably within their repertoire of chart-dominating hits, like Madonna’s “Like a Virgin.” Its production by Narada Michael Walden injects a polished yet dynamic flair, a hallmark of Houston’s catalog during this era.

The song blitzed the Billboard Hot 100, seizing the number-one slot in January 1988—Houston’s sixth consecutive chart-topper, setting an unprecedented record. Internationally, it hit top-ten status, signaling its cross-continental appeal, from Canada to the Netherlands.

Its music video offers an unfiltered look at Houston’s touring life, intertwining concert footage with candid backstage moments, positioning her as both a polished performer and a personable icon. Yet, behind the glitz, the song’s underlying themes—emotional upheaval and romantic yearning—struck a universal chord with audiences.

“So Emotional” remains a key entry in Houston’s live performances, marked by soaring vocals that carried the same vigor onstage as in the studio. Its inclusion in the 2000 compilation *Whitney: The Greatest Hits* further etched its place as one of her quintessential tracks—effervescent, robust, and profoundly charged with the duality of heartbreak and passion.

Featured on the 1987 album “Whitney“.

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

8 . Hithouse – Jack to the Sound of the Underground

If there’s a track that bottles up the frenetic pulse of late ’80s dancefloors, Hithouse’s “Jack to the Sound of the Underground” certainly stakes a claim.

Released in 1988 and crafted by Dutch producer Peter Slaghuis, the song merges the raw grit of Chicago house with a distinctly European gloss, capturing a moment when club culture began flexing its creative muscles across the Atlantic.

This isn’t just another house track—it’s a collage of influences, layering samples ranging from First Choice’s “Let No Man Put Asunder” to The Bar-Kays’ “Stax Stomp,” a nod to Slaghuis’ skill as a remixer and selector.

While it reached #14 on the UK Singles Chart and ranked higher in Norway and Finland, chart numbers only tell part of the story; this track belonged to the people, soundtracking nights where sweat and sequins collided under the bass-heavy hum of nightclub speakers.

Its animated music video may feel dated today, but back then it amplified the song’s carefree ethos, linking rhythmic freedom with visual whimsy.

Tragically, Peter Slaghuis didn’t live to see how his needle-skipping ingenuity carved a niche in electronic music’s evolving narrative, passing away in a car crash in 1991.

Still, “Jack to the Sound of the Underground” endures, a time capsule of BPM-fueled freedom from the denim and neon haze of 1988.

Lyrics >> More by the same : Wikipedia

9 . Fine Young Cannibals – Suspicious Minds

Fine Young Cannibals’ take on “Suspicious Minds” delivers a slick, polished reimagining of Elvis Presley’s 1969 classic. Plucked from the soundtrack of *The Vietnam War Story Volume 1* and later appended to reissues of their debut album, the track serves as a fascinating bridge between eras, trading Presley’s raw drama for a more angular ‘80s pop sheen.

Roland Gift’s unmistakable voice avoids mimicking Elvis, instead leaning into his signature high-register delivery, adding enough nuance to sidestep outright imitation. The arrangement, handled by Andy Cox and David Steele, is tight but sparse, weaving synth textures with a crisp rhythm section that never overstays its welcome.

The video, rife with shadowy silhouettes and stylized performance shots, embodies mid-‘80s music video clichés in ways that are both endearing and amusingly dated. The drama’s amplified, but at no point does it veer into self-parody.

Charting at #8 in the UK and showing robust international appeal, their version trades theatrical heartbreak for a cooler, more measured introspection. While it may not rewrite the narrative of the original, it stands as a confident cover that hints at the band’s knack for making something old sound startlingly fresh without dismantling its core.

Featured on the 1985 album “Fine Young Cannibals”.

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10 . Malcolm McLaren – Duck for the Oyster

Malcolm McLaren’s “Duck for the Oyster” is an eccentric slice of his genre-hopping repertoire, showcasing his fascination with cultural bricolage.

Taken from the 1983 “Duck Rock” album, this track draws from square dance traditions, threading old-timey folk calls into an offbeat, globally influenced sonic tapestry.

McLaren’s knack for repurposing sounds is evident here, as he juxtaposes rustic American rhythms with production marked by his signature edgy irreverence.

The humor inherent in its call-and-response format injects levity, while the intricate layering of instrumentation reflects a playful yet deliberate approach to production.

Though not a chart-topping anthem, the song stands as a quirky artifact, a time capsule of McLaren’s audacious willingness to blur musical boundaries.

The album itself sparked lively debates in pop culture, blending styles from hip-hop to world music, proving McLaren’s uncanny ability to stitch together contrasting elements into something uniquely his own.

Featured on the 1983 album “Duck Rock “.

Lyrics >> More by the same : Wikipedia

11 . The Klaxons – Clap Clap Sound

Released in 1983, “Clap Clap Sound” by The Klaxons serves up an infectious rhythm that unapologetically prioritizes light-hearted cheer over lyrical intricacy.

Debuting under Arcade Records and guided by Jean Kluger’s production, this track captured the zeitgeist of the early ’80s—when novelty hits had their moment of glory amidst the more self-serious strains of pop and rock.

The song revels in its own simplicity, its quirky beats and repetitive claps striking a chord with listeners who sought unconstrained fun rather than profound artistry.

Charting at #20 on the UK charts, it’s hard to ignore its broader implications, acting as a barometer for an era that balanced experimental synthpop with humorous detours like this.

This isn’t a track you’d overanalyze, and perhaps that’s the point: it’s built for the dance floor, the living room, or anywhere else people could abandon pretense to move in rhythm with its buoyant pace.

Critically, it might slip through the cracks of serious musical retrospectives, but it endures in its niche—a reminder that pop doesn’t always have to disguise its frivolities to leave an impression.

Nostalgia creeps in when we hear it today, not because it represents anything groundbreaking, but because it embodies carefree moments oddly missing from the tightly curated soundscapes of modern playlists.

More by the same : Wikipedia

12 . Public Enemy – Bring The Noise

Public Enemy’s “Bring the Noise” detonates as a hypercharged blend of political fervor and sonic experimentation, rooted in their groundbreaking 1988 album, *It Takes a Nation of Millions to Hold Us Back.*

The production, masterminded by The Bomb Squad, is an audacious assembly of frenetic beats and jagged samples that demand attention while refusing passive listening.

Chuck D delivers his rhymes with authority, oscillating between scathing critiques of media hypocrisy and celebratory nods to rap’s rising cultural capital, punctuated by Flavor Flav’s chaotic, yet calculated, ad-libs.

The track steps boldly into cross-genre territory in its 1991 collaboration with Anthrax, effectively bridging hip-hop and thrash metal into an abrasive yet oddly seamless union, pushing the boundaries of both genres.

It’s this 1991 version that carries extra grit, translating anarchic energy into a rock-chart success while laying a blueprint for the then-nascent rap-rock movement.

Noisy yet precise, its contradictions—unapologetically abrasive yet meticulously constructed—embody Public Enemy’s defiant ethos as much as its soundscapes challenge musical conventions.

“Bring the Noise” remains as unsettling and relevant as its first release, an anthem of rebellion and empowerment that resists losing its edge even decades removed from its origins.

Featured on the 1988 album “It Takes A Nation Of Millions To Hold Us Back“.

Lyrics >> More by the same : Official Site