‘Music For The Dancers’ N°326 – Vintage 80s Music Videos

52nd Street, The Four Tops, Morris Day, Wendy & Lisa, Chaka Khan, James Brown, Eddie Murphy, Robert Howard & Kym Mazelle, Fast Eddie, Shalamar, Fairground Attraction, Laura Branigan

They are the performers of twelve vintage dance tunes that were ranked in various charts, this week (05/52) BUT … in the EIghties 80s.

Here, they are reunited in one glorious playlist. Enjoy!

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For TWENTY FOUR more ‘Music For The Dancers’ – Vintage 80s Music Videos – week 05/52 – click here and here

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Tracklist

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1 . 52nd Street – You’re My Last Chance

“You’re My Last Chance” by 52nd Street feels like a time capsule from 1986, with every drum hit and swooping synth pad draped in the production hallmarks of the era.

Nick Martinelli’s touch is evident here, balancing expensive reverbs and icy electronic textures that scream mid-’80s sophistication.

The vocals are smooth and pleading, pairing heartfelt emotion with lyrics that unravel themes of desperation and romance, all underscored by a slick, polished backing track.

The inclusion of a remix, “Reprieved Dub,” nudges the track into dance floor territory, offering a slightly grittier take that contrasts the song’s otherwise glossy finish.

While it didn’t snag major accolades or climb to dizzying chart heights, it made a modest impact, briefly appearing on New Zealand’s charts at position 44—a blip reflective of its niche appeal.

It’s a track that’s less about reinvention and more about mastering its moment, a polished gem glistening in the shadow of its contemporaries.

Its unassuming presence in the broader music landscape speaks as much to its time as it does to 52nd Street’s identity, a band caught between quiet ambition and fleeting recognition.


Featured on the 1985 album “Children Of The Night”.

More by the same : Facebook

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2 . The Four Tops – Loco In Acapulco

Released in 1988, “Loco In Acapulco” blends brisk rhythms with irrepressible energy, casting the Four Tops against a tropical backdrop.

Co-written by Phil Collins and Lamont Dozier, the track boasts a distinct collaboration that straddles Motown nostalgia and late-80s pop polish.

Without overstaying its welcome, the melody drives forward with a buoyancy that feels tailor-made for a carefree seaside escape, all while Collins’ drums add their signature punch.

The lyrics—both playful and bordering on kitschy—capture a narrative of high-spirited revelry, dripping in escapist whimsy.

Its inclusion in the “Buster” film soundtrack ties the song to a broader context, but its global reception affirms its standalone appeal.

While it faltered in the US, tucked away as a B-side, its traction overseas—highlighted by a Top-10 finish in the UK—shows a stark contrast in market tastes.

The instrumentation feels lush yet compact, offering intricate guitar lines and punchy keys that avoid overwhelming the ear.

In the Four Tops’ catalog, it’s an outlier: neither as raw as their earlier hits nor embraced in their home nation, yet undeniably buoyant in its charm.

For all its jubilance, there’s an irony; a timeless Motown act chasing relevance in the slick, synth-heavy waters of 1988.

Despite such contradictions, the song remains an artifact of its era, equal parts nostalgic and daringly modern in execution.


Featured on the 1988 album “Buster: The Original Motion Picture Soundtrack”.

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

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3 . Morris Day – Oak Tree

Morris Day’s “The Oak Tree,” released in 1985, radiates the slick confidence that anchored much of mid-’80s funk.

Straddling the tension between groove-heavy beats and a penchant for quirky braggadocio, the track is a prime example of the era’s unapologetically playful energy.

Day’s vocals teeter between sly charm and comedic exaggeration, making the song as much about personality as performance.

The lyrics, which seem to encourage listeners to “do the Oak Tree,” are breezy and borderline absurd—a playbook straight out of funk’s tradition of driving listeners to the dance floor with an inside joke.

The production leans into sharp drum machines and rubbery synth basslines, ensuring the song fits snugly within the decade’s sonic aesthetic.

While the track charted modestly, its funk-propelled exuberance carved out enough space to linger on curated playlists and retro compilations.

Less a cultural statement and more a call to step into the rhythm, “The Oak Tree” finds its charm in its swaggering simplicity.

It’s a time capsule of funky insistence, where humor and rhythm collide under shimmering synths, never apologizing for its unabashed self-indulgence.


Featured on the 1985 album “Color of Success”.

Lyrics >> More by the same : Facebook

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4 . Wendy & Lisa – Sideshow

Released in 1987, “Sideshow” by Wendy & Lisa emerges from their self-titled debut album, a collection characterized by its intricate musicianship and post-Prince liberation. Co-written by the duo of Wendy Melvoin and Lisa Coleman, the track unfurls with a graceful mix of melancholic undertones and sleek pop sensibilities. It’s polished yet introspective, trading grandiosity for subtle reflection.

The production, courtesy of Bobby Z. and recorded at Ocean Way Recording in Los Angeles, carries a layered sophistication, blending soft percussion from Jonathan Melvoin and a dreamlike soprano saxophone by Tom Scott. These elements glide alongside lyrics steeped in wistfulness, balancing romanticism with restrained introspection. The lyricon—a rare and somewhat ghostly addition—casts a faintly experimental shadow over the polished sheen.

Chart-wise, its modest UK peak at number 49 might read as underwhelming, but “Sideshow” doesn’t posture for hit-status glory. Instead, it situates itself as a reflective gem amid an era overflowing with bombast. The accompanying music video complements this essence, steeped in subdued visuals that channel as much hesitation as heartbreak, mirroring the track’s reflective core. Its place within a lineup that includes notable singles like “Waterfall” and “Honeymoon Express” reinforces its role as part of a cohesive yet exploratory debut project.

In the context of Wendy & Lisa’s broader narrative, “Sideshow” captures the transition from their Revolution-era camaraderie with Prince to their independent artistry. Stripped of theatrics, it’s a song that hinges on its creators’ chemistry—a subtle, elegant distillation of their collaborative prowess.


Featured on the 1987 album “Wendy and Lisa”.

Lyrics >> More by the same : Official Site

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5 . Chaka Khan – It’s My Party

Released in 1988 as the lead single from Chaka Khan’s “C.K.,” “It’s My Party” plays with grit and glitter in equal measure.

The track stitches funk-pop with a festive island breeze, thanks to the nimble steel pan and brass grooves that bump along its crisp arrangement.

Co-writer Cecil Womack’s guitar flickers between sharp rhythm work and adlibbed flourishes, while Chaka’s vocals remain incendiary, commanding every twist.

Though Russ Titelman, who once helmed Rufus’ “Ain’t Nobody,” mans the production, this cut trades their signature tension for something lighter but no less spirited.

Chart-wise, it climbed to a respectable number 5 on the US R&B chart, though its UK landing at 71 suggests its transatlantic appeal didn’t fully translate.

The accompanying video mirrors the song’s high-energy bounce, unfolding like a kaleidoscopic fever dream of celebration and control.

While “It’s My Party” lacks the heavyweight collaborations from other “C.K.” tracks (looking at you, Prince and Miles Davis), it doesn’t skimp on personality, standing firmly as poised yet unpretentious fun.

It might not boast big trophies or critical love letters, but the track is testament to Chaka’s ability to make joy sound stylish, even when it courts chaos.


Featured on the 1988 album “CK“.

Lyrics >> More by the same : Official Site

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6 . James Brown – Living in America

Released in December 1985, James Brown’s “Living in America” stomps onto the scene as a swaggering, funk-charged anthem dressed in red, white, and blue.

Slinging a relentless groove crafted by Dan Hartman and Charlie Midnight, the song channels a brassy, kinetic energy emblematic of mid-80s production.

Brown’s unmistakable growl pairs with punchy instrumentation, delivering a high-voltage performance that pulses with patriotic bravado.

Featured in *Rocky IV*, the track doubles as both a musical backdrop to Cold War-era tensions and a larger-than-life ode to the sprawling hustle of American urbanity.

Its lyrical roll call of cities—New Orleans, Detroit, New York—offers a whistle-stop tour of regional pride while pushing Americana to its most performative extreme.

The accompanying visuals amplify this theme, juxtaposing Brown’s electrifying on-stage charisma with images of highways, factories, and gaudy neon, almost parodying the very patriotism it celebrates.

Charting at number 4 on the Billboard Hot 100 and nabbing a Grammy for Best Male R&B Vocal Performance, the track reaffirms Brown’s status as the tireless Godfather of Funk, even as it marked the twilight of his crossover chart success.

“Living in America” thrives on excess, a hyper-charged collage of grit, glamour, and booming brass that both celebrates and critiques the performative nationalism of its time.


Featured on the 1986 album “Gravity”.

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

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7 . Eddie Murphy – Party All the Time

Eddie Murphy’s *“Party All the Time”* feels like an artifact of its era—a neon-lit jaunt through 1985’s kaleidoscope of excess and ambition.

Written and produced by Rick James, the song playfully marries Murphy’s comedic bravado with a surprisingly earnest vocal performance, creating a track that leans heavily into synth-driven pop with disco’s lingering grooves still pulsing in its DNA.

The backstory, allegedly born from a wager with Richard Pryor, adds a meta-layer to its charm, encapsulating Murphy’s larger-than-life persona and his relentless appetite to prove doubters wrong.

Musically, the track shimmies on a buoyant bassline, slick drum programming, and James’ signature funk flourishes, while Murphy croons about his mythical heartbreak with unexpected gusto.

The accompanying video, a joyous studio romp doubling as a self-aware wink to the audience, cemented its visual presence on MTV, riding the network’s golden age wave of flamboyant music videos.

What’s striking is how the song doesn’t apologize for its over-the-top delivery—it revels in it, reflecting a time when pop music wasn’t afraid to be brash or unabashedly fun.

The track’s inclusion on the *Grand Theft Auto: Vice City* soundtrack decades later restored its playful energy for a new generation, proving its staying power despite its intentionally lightweight origins.

Critics have often debated its place within Murphy’s wider career, but *“Party All the Time”* undeniably encapsulates a peculiar time when comedians dabbled in Top 40 flamboyance and somehow pulled it off with aplomb.

It’s not groundbreaking, nor does it try to be; instead, it stands as a technicolor snapshot of glitzy ambition—equal parts novelty and nostalgia.


Featured on the 1985 album “How Could It Be”.

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

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8 . Robert Howard & Kym Mazelle – Wait!

“Wait!” pairs the smoky elegance of Robert Howard’s pop sensibilities with Kym Mazelle’s commanding house-inflected vocals, resulting in an energetic track that bridged genres in 1989.

The production leans into garage influences while retaining a polished pop structure, a stylistic juggling act that feels both ambitious and accessible.

Lyrically, the song works through themes of longing and patience, though it indulges more in rhythmic hooks than deep storytelling.

The juxtaposition of Howard’s understated vocal delivery and Mazelle’s powerful, soulful tone underscores a compelling dynamic, giving the song its edge without veering into melodrama.

Its inclusion on charts across multiple countries highlights its cross-border appeal, though it never quite hit the upper echelons of cultural permanence.

The video, with its black-and-white effects, feels deliberately moody, adding a cinematic quality to the upbeat tempo, though it stops short of being visually groundbreaking.

While not revolutionary, “Wait!” is a solid example of late-’80s genre-blending, offering just enough novelty to stand out without betraying the pop music conventions of its time.

Its legacy lies not in reinvention but in the unexpected synergy between band-frontman polish and house music grit.


Featured on the 1989 album “Crazy / Brilliant! “.

Lyrics >> More by the same : Official Site

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9 . Fast Eddie – I Can Dance

“I Can Dance” by Fast Eddie is a snapshot of the late 1980s, when house music began rubbing shoulders with hip-hop, giving birth to the hybrid genre of hip house.

The track’s blend of rapid-fire beats, syncopated rhythms, and cheeky vocal delivery channels the energy of Chicago’s underground music scene, where Fast Eddie made his mark.

Released in 1988, the song oozes swagger, built around a looped bassline and crisp percussion that seem almost engineered to keep feet tapping on the dance floor.

It lacks the polish of mainstream hits, which may explain its absence from major charts, but its influence among dance enthusiasts can’t be ignored—highlighted by its inclusion in Record Mirror’s disco lists that year.

With no guest verses or flashy collaborations to weigh it down, “I Can Dance” thrives on its simplicity, offering a playful proclamation of confidence that embodies the era’s carefree ethos.

The lyrics, though repetitive, align perfectly with the track’s mission: equal parts fun and functional, tailor-made for smoky clubs and crackling sound systems.

Nearly four decades later, the song lurks in the corners of Spotify playlists, a quiet artifact of a musical movement that married rhythm and attitude with unabashed glee.


Featured on the 1988 album “Jack To The Sound”.

More by the same : Wikipedia

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10 . Shalamar – My Girl Loves Me

In 1984, Shalamar’s “My Girl Loves Me” beams as a track reflecting the reinvention of the band amidst shifting dynamics. Originating from their album “Heartbreak,” it lands during a period thick with upheaval—the pivotal replacement of Jody Watley and Jeffrey Daniel with the talents of Delisa Davis and Micki Free. Cue Howard Hewett, holding steady as the glue binding fresh harmonies to their disco-R&B roots.

Charting respectably at No. 22 on the US R&B and No. 45 on the UK Pop rankings, the track nestles itself somewhere between a commercial win and a radio-friendly callback to the groove-laden essence of the late ’70s. Although the album carried tracks like “Dancing in the Sheets” (hello, “Footloose”) and “Don’t Get Stopped in Beverly Hills” from “Beverly Hills Cop”—both sliding into cinematic sweepstakes—the true gold lies in its ability to balance mainstream appeal while flirting with deeper R&B textures.

Musically, Shalamar folds their signature velvety vocals into a smoother palette, opting for a glossy production style emblematic of mid-’80s excess. The layered synths pulse alongside understated but polished instrumental flourishes. Lyrically, the romantic idealism feels both tender and ambitious, a love letter glazed in sentimental confidence.

Interestingly, while it avoids breaking any genre barriers, the song feels calculated and yet deeply genuine. It aligns itself to a commercial mold, sure, but the trio’s chemistry doesn’t falter under pressures to mingle radio expectations with evolving lineup dynamics. Shalamar may not be shouting here—no anthem-sized ambitions—but “My Girl Loves Me” succeeds in pulling listeners into its orbit without overreaching.


Featured on the 1984 album “Heartbreak “.

Lyrics >> More by the same : Official Site

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11 . Fairground Attraction – Clare

Fairground Attraction’s “Clare” slides comfortably into the niche carved by the band’s distinctive folk-pop blend. A track from their debut album *The First of a Million Kisses*, it eschews the obvious polish of the album’s chart-topping single “Perfect” in favor of subtle, evocative charm.

The lyrics, often interpreted as an ode to a woodwind instrument, carry a curious ambiguity that pairs well with the track’s earthy instrumentation. Whether the reference is literal or metaphorical remains unclear—an ambiguity that lends the song an oddly endearing mystique. With a mid-tempo arrangement that showcases the band’s knack for understatement, the song feels like an intimate conversation in a London pub, stripped of pretension yet rife with meaning.

Speaking of pubs, “Clare” was part of the band’s live repertoire during their performances around Islington, adding a shiny yet unassuming thread to the fabric of London’s late-1980s gig culture. Its music video, hosted on their official YouTube channel alongside better-known tracks, carries the visual modesty that aligns with the song’s tone.

While it lacked the commercial punch of its more radio-friendly siblings, the track earns its place as a quiet gem. It’s less about making grand statements and more about finding beauty in the hushed corners of Fairground Attraction’s catalog, a reflection of their understated ethos rather than a detour from it.


Featured on the 1988 album “The First of a Million Kisses”.

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

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12 . Laura Branigan – Gloria

Originally an Italian hit, “Gloria” finds its second life in Laura Branigan’s 1982 rendition, which trades Umberto Tozzi’s Mediterranean breeziness for explosive pop theatrics.

Transforming the song into a portrait of a woman unraveling under societal pressures, Branigan’s voice alternates between commanding and pleading, threading raw emotional fragility through a pulsating synth-laden beat.

Branigan’s adaptation amplifies the drama, its relentless tempo and brassy arrangement offering a sonic urgency that mirrors the protagonist’s desperation.

The track twists the jubilant undertones of the original into something nervier—both an anthem and an interrogation of glory itself.

A commercial juggernaut, the song lingered on the U.S. charts for 36 weeks, with its relentless momentum earning it a rare Grammy nod for a cover, though not a win.

In the UK, it achieved solid traction, though it never reached the cultural omnipresence it claimed stateside, where even ice rinks and sports arenas couldn’t escape its gravitational pull.

The song’s uncanny resurgence as a rallying cry for the 2019 St. Louis Blues only underscores its curious staying power, metamorphosing yet again into a symbol of communal defiance and camaraderie.

If anything, the track’s versatility underscores its peculiar duality, straddling the line between kitsch and catharsis, often in the same breath. One minute it’s flashy neon, the next it’s unraveling existential dread.

Tozzi’s Europa-passport grooves meet Branigan’s high-energy Americana, making “Gloria” feel like a cultural chimera—equal parts gloss and grit, endlessly looping through the pop zeitgeist with unapologetic tenacity.


Featured on the 1982 album “Branigan “.

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

For THE FULL ‘MUSIC FOR THE DANCERS’ COLLECTION click here

This week Top 20 New Music on RVM *

(*) According to our own statistics, upadted on February 16, 2025

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